6 Quatrains

of God as blacksmith. " seize the fire" , " twist the sinews" , " hammer" ,

The poem does indeed have a rhyme scheme, yet doesn?t conform to conventional forms of rhyme such as A, B, A, B, etc. Rather, each stanza seems to follow the order of A, B, C, A, C, B, which may not be apparent to the reader at first, but doesn?t

The imagery used in this verse appeals to the sense sight. This helps the reader visualise what the writer is taking about. It also allows the reader to relate and connect more to the poem.

The poem is structured in a way which follows the proper metre for a sonnet, however, it is unusual in a sense that it is free verse and has no rhyme scheme. The sentences are broken to fit the iambic pentameter. This creates pauses, and a choppiness in the flow

She also presents a slight rhythm to the reading that allows for smooth reading. In keeping with her open form, there is no set scheme to the rhyme pattern. However, there is a single ending sound constantly repeated without a set pattern throughout the work. She also connects pairs of lines at random just for the sake of making connections to make that particular stanza flow. At the same time, she chose blatantly not to rhyme in certain parts to catch the reader’s attention.

The poem also uses end rhyme to add a certain rhythm to the poem as a whole. And the scheme he employs: aabbc, aabd, aabbad. End rhyme, in this poem, serves to effectively pull the reader through to the end of the poem. By pairing it with lines restricted to eight syllables. The narrator creates an almost nursery-rhyme like rhythm. In his third stanza however, his last line, cutting short of eight syllables, stands with an emphatic four syllables. Again, in the last stanza, he utilizes the same technique for the last line of the poem. The narrator’s awareness of rhyme and syllable structure provides the perfect bone structure for his poem’s rhythm.

The poem is formed of eight stanzas, each one is six lines long except for the fifth stanza which is an octet. The stanzas are formed of sets of three rhyming couplets in the

Many other internal rhymes are also found within the lines of the poem. In fact, the first line of the poem contains an internal rhyme “Once upon a midnight dreary, while I pondered weak and weary”. Another example is found in Line 31 which reads “Back into the chamber turning, all my soul within me burning,” The poem is rife with such examples.

He uses this in the poem to give it rhythm to engage the reader and

Besides using certain rhythmic devices to create the fragrant timeline of the poem, James Wright also uses other rhythmic devices for different purposes. These details finally established a subtle rhyme scheme. For example, the only use of alliteration in the poem is third line’s “spare his suffering”, where the “suffering” seems to be really spared by its initial consonant sounds. In the thirteenth line, “flesh” and “flayed” connect the two sentences, enabling a much more smooth tone of the last sentence with a feeling of a tragedy ending. Some consonances are also interesting. Besides what have already been mentioned before, “victim beaten” in ninth line uses the “en” sound to imitate the stuffy voice of beating someone. Assonance is also used in the twelfth line “ when I remembered bread my flesh had eaten”; “ bread” here is used as a metaphor of Jesus, so along with this assonance, a relation ship between “bread” and “flesh” is clearly shown. When talking about rhymes, what James Wright did also adds more subtlety to the poem. Usually in a sonnet a nice formatted rhyme is already enough; however, James Wright tried to add counterpoint relationship to end-rhymes, making the whole poem more complex

However, the poem is not uninteresting as the words used to create such tone are emotive and effective to stir up the reader to experience the pain of not being able to express them. Sound devices are also a great contribution to the overall theme as well. They are particularly effective as they help to create both the meter and tone of the poem. Alliteration is used such as "black bars" to emphasize the restrictions placed on the poem. Consistent rhyme in every stanza such as "page" and "rage" also suggests that the limitations on the poet's poetic inspiration are constantly there and cannot be broken

The poem, “Po’ Boy Blues” uses rhyme in the fourth and sixth lines of each stanza.

Lockward’s use of sound was incredible. Readers can hear her anger in the beginning, her humor as she talks about writing and hiding her poem, and her husbands emotional break down at the end. The stanzas in this poem aren’t traditional, they aren’t set to a fixed pattern but each vary in the amount of lines they contain. One stanza contains five lines, while another contains eight.

The structure and tone of the poem enhance the conflict and hopelessness the speaker is feeling towards the woman he loves and desires. For the first twelve lines of the poem there is an “abab” rhyming pattern. This ties into the despairing and desirable tone and how the rhyming scheme can be an example of the speaker constantly going back and forth between emotions for this women. For example, “And that mine eyes take no delight to range About the gleams which on your face do grow.” (Gascoigne 3-4) are two phrases that contradict the speakers feelings. Stating that his eyes take no delight in range can refer to the speaker finding no use or happiness in looking at the woman. Although, he then mentions the gleams upon her face growing, giving the audience the idea that even though the speakers love for the woman causes him deep despair, he still desires her enough to describe her features in attentive detail; in this example the gleams on her face. This shows the back and forth pattern and the speakers struggle when it comes

The poem is comprised of six stanzas, each having four lines, which suggests that each stanza has a short idea that supports and leads to the underlying theme of the poem. The length of the lines are very short and choppy as complete ideas or “sentences” get separated into multiple lines. As for syllables within each line, the poem contains a pattern that switches from eight syllables in one line, six syllables in the next, back to eight syllables in the next line,and so on. Throughout the poem, the first word of each line is capitalized as well as each noun which can slow the reader down, making them pause to consider the significance of the words rather than reading past it and breezing through the poem. Dashes are commonly used throughout the poem and are at the end of almost every line. Like the capitalizations, the dashes can make the reader pause and usher on to the next line. They can also be seen as connectors or even as strings, pulling you through the poem. The particular rhyme scheme is best described as ABCB, which is a set of four line stanzas in which the second and fourth lines rhyme. Not only does the rhyme tie the poem together, but it draws attention to some important words such as, "immortality.” However, Dickinson doesn’t strictly use exact rhyme in this poem. In fact, only the first and fifth stanzas rhyme in the ABCB scheme. For example, the lines in the fourth stanza which end in "chill" and "tulle". While these words do not exactly rhyme, the similarity in the 'l' sounds carry a near or slight rhyme,