A poem is not a laundry list or a legal document. Nor is it a novel or a letter, although these latter may have "poetic" moments when they share some of the distinctive qualities of poetry. Part of this distinctive character of poetry we recognize intuitively. To this I will return directly. But, mostly we recognize poetry because it corresponds to a body of conventions that sets it apart--that distinguishes poetry from other forms of written (and spoken) communication. Most of these conventions we have learned, either picking them up casually through exposure to poetry or formally through a direct process of instruction.

In the western world, dominated by Euro-centric ways of thinking, three primary conventions have characterized classic poetic composition: rhyme, rhythm, and meter. Rhyme, the use of similar or identical sounds to conclude multiple lines of poetry is perhaps the more obvious poetic technique.

I never saw a purple cow.

I never hope to see one,

But, I can tell you anyhow,

I'd rather see than be one!

(by Gelett Burgess)

A second obvious (though less obvious than rhyme!) poetic convention characterizes classic Western poetry. The description of rhythm is an attempt to identify and regularize various combinations of stressed and unstressed syllables in poetic lines. Such concerns are actually reflective of the originally oral character of poetry, since this kind of stress and lack of stress are only operative in spoken language. All spoken language naturally employs a variety of combinations of stressed and unstressed syllables (to avoid any stress in speech is to be monotone and is considered peculiar or unnatural). Classical western poetry differs from normal speech by limiting the appearance of stress and unstress to a controlled and regular pattern

Modern poetry in the first half of the 20th century grew out of a rejection of earlier poetic conventions, including the notions that a poem should rhyme, or that lines should contain a certain number of syllables or end a certain way.

Many writers from the time, such as E.E. Cummings and Gertrude Stein (whom we'll use as our primary example), experimented heavily, rejected many rules of syntax and grammar, and found new ways to use words. While their work still seems strange and experimental to many new readers today, many of their innovations continue to inform contemporary poets, and the majority of poetry since has been free verse. Other important innovations of modern poetry that remain current are the use of nontraditional forms and line breaks, and particularly an emphasis on concrete imagery.

We don't want to imply with this project that the works of these writers can be compared to refrigerator poetry, but it can be a fun and useful introduction to some of the elements of modern poetry, and a way for students to experiment with words, syntax, and meaning.

Objectives

Students will

examine examples of modern poetry with regard to their treatment of poetic conventions

review parts of speech

experiment with syntax and words

Skills

Writing; critical thinking and analysis; vocabulary use

Terminology - Define the concepts of abstract and concrete as they apply to the visual arts and poetry. In language, an abstract noun is anything that cannot be seen or touched. Concrete nouns can be seen and felt. The focus here will be on the concrete images. Comparisons may also be made between the elements of art and the elements of poetry (rhythm/meter, medium/genre, tone, theme, etc).

Reading Model - This can fit into a larger unit on poetry or modern poetry, or be done as its own project. Students will read several poems with a related theme and write journal entries that are purely their own personal reactions to the poems. You may want to use at least one experimental poem, such as the one by Gertrude Stein that we use below. This step may take several days, and may include discussion about Stein's place in literary history as a rebel, innovator, and influence on other famous artist and writers.

Talking Poetry - Choose some poems to discuss in class, and have students read them aloud. Then discuss the poems. Is the meaning obvious or implied? What are the concrete images, and how do they affect the senses and the effect of the poem? Is the poem experimental? If so, in what ways?

Plum Words - As a class or homework assignment, have students make a collection of words they like. These can come from the poems read aloud in class, or also from their journals or other sources. Encourage students to use concrete nouns for at least half of their words. One professor calls these nouns "plum words," after the William Carlos Williams poem "This Is Just To Say," explaining that these are words that engage the senses. Just say "plum," and most people instantly conjure the look, feel, smell, taste, and all their own associations with a plum. This would be a great poem to use as an example. Working in groups or individually, they will write their words on "refrigerator magnet" sheets. It would be great if you could attach them to real magnets on the chalkboard, but if not, just sheets of cardboard arranged on tables, the floor, or any large, clear surface will work fine. Instruct students to cut out their words and spread them in front of them. Then allow them ten free spaces for other words they may need to make poems- verbs, pronouns, prepositions, more nouns. Then, just give them some time to arrange and rearrange their words in front of them into poems. When they have something they like, have them write it down as a poem. Collect the finished products.

Related Activities

Send a poem to someone you love. You can relate this to a seasonal activity if you want, maybe for Valentine's Day, Mother's Day, etc.

Collect a gallery of poems that students really like.

& Now...

Reading poetry can be more satisfying if you become familiar with poetic convention.

A few conventions that poets make use of universally are things like using lines, stanzas, rhyme, and rhythm. The sound of poems make them physically pleasing-to our ears at least-they provide a visceral as well as intellectual, emotional, or spiritual experience. Rhyme, rhythm, and verse are all contribute to a poem's sound, its physical being. For some poets, meaning becomes secondary to sound, or at the very least, equally important.

Consider this brief little gem by Robert Frost.

Dust of Snow

By Robert Frost

The way a crow

Shook down on me

The dust of snow

From a hemlock tree

Has given my heart

A change of mood

And saved some part

Of a day I had rued.

gary {truth}tindall

source

http://brainstorm-services.com/wcu/reading-poetry.html

Here are some examples of poetic convention

Poetic convention is alliteration which is the recurring of initial sounds and antithesis which is deliberate

contrasting of two terms for effect.

Rodney B.