Poetry Errors to Avoid Literary Article |
One of the most common mistakes in writing both prose and poetry is wordiness. Unnecessary and superfluous verbiage is caused by using excessive articles (a, and, the) and pronoun forms (I, you, he/she/it, them, us, ourselves, etc.). This defect is particularly heinous in poetry when employed to "fill the gaps" to complete a rhyme scheme or satisfy the meter (cadence and pulse). In all cases, words should be chosen for their concise depiction of the emotion, thought, image or logic of the phrase. WRONG! in the wide and cruel or random arcs our cleaving nations and your changing coasts plus their raising continental templates are shifting whole, entire shorelines IMPROVED in wide, cruel, random arcs cleaving nations, changing coasts raising continental templates shifting whole shorelines Let us contemplate the traumatic stress brought on by the horrific forced rhyme, causing the strong to crumble and the handicapped to fall (or leak). Nothing induces nausea like the atrocious rhyme which doesn't really. HIDEOUS The lyricism of a palate bedecked with peanut butter Has nothing akin to riding the esteemed white buffalo. She strides in awe of one so fair, alas, we'd druther, For could we but speak, our voices would bluff a glow. RIDICULOUS, BUT BETTER Taste buds slathered with peanut butter Ne'er afflict the noble white buffalo. The thought alone t'was comic flutter, A silly whim slips past on-the-go. As we are ever advised in writing prose, be it short story or novel, leave in only that which advances the story, fulfills depth of characterizations or enhances meaning. Apply these rules to poesy, adding the acceptability of words creating visualizations or sound effects. This is often referred to as excellent phrasing. GREAT EXAMPLE OF ALL I heard a fly buzz when I died By Emily Dickinson I heard a fly buzz when I died; The stillness round my form Was like the stillness in the air Between the heaves of storm. [Precise contrast of sound and silence] The eyes beside had wrung them dry, And breaths were gathering sure For that last onset, when the king Be witnessed in his power. [Incredible picture of past and current time, the impatience of the death watchers, all cried out.] I willed my keepsakes, signed away What portion of me I Could make assignable, and then There interposed a fly, [The shallowness of inheritance versus focus of life.] With blue, uncertain, stumbling buzz, Between the light and me; And then the windows failed, and then I could not see to see. [Elicits sound and vision as well as the impact of losing them.] Repetition strides both worlds in poetry, the best and the worst of it. A particular flaw is seen in the use of one word redundantly appearing at random without purpose or good effect. When it works, it adds depth to emotions and reinforces the meaning of that being conveyed. EXCESSIVE NEEDLESS REPETITION FORCED RHYME The twilight struck my eye with visions of you, Your image filled my every view, The sweetness of you swelled my heart, You turned my life around too. GOOD STUFF! The Raven By Edgar Allen Poe Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore, While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. "'Tis some visitor," I muttered, "tapping at my chamber door- Only this, and nothing more." William and Sandra Rieser |
