We had Instapoetry as a topic in class, and we had a long discussion about what poetry is, etc., and the professor said, "everything that claims to be a poem is a poem." This reminded me of the book "How poetry means" by John Ciardi, which you recommended a while ago. Having read a lot of Instapoetry, I'm not sure my prof's definition is valid: if everything can be poetry, then nothing is. Just because something's structured in lines and stanzas doesn't make it a poem. What are your thoughts?
Your professor is as wrong as wrong can be. If I claim to be a pencil, does that make me one? Self-identification means nothing if it's not based in reality. If words don't have meanings, they... don't mean anything. So you're quite right. If any particular thing is a poem, poetry is nothing in particular.
The last century's experiment with changing the definition of art from "a work meeting specific criteria for creation and excellence in a given medium" to "this is art because I am an artist" and "it's art because I say it is" is a case study in degeneracy. "Anything is art" is a failed experiment. You can't get anyone to admit it though because it is so tied to a worldview - like all claims about art, it's really a claim about the nature and purpose of human beings and reality. And people get defensive when you question their religion.
The New Princeton Encyclopedia of Poetry and Poetics entry on "poetry" discusses versification, lineation, and heightened language as essential to this "verbal art." "Prose is cast in sentences; poetry is cast in sentences cast into lines."
Poetry is an art crafted of words that are extremely ordered. As Coleridge said, prose is words in the best order, poetry is the best words in the best order. Contemporary "free verse" like instapoetry, even if it contains incidental rhythm or the occasional rhyme or some other individual characteristic of poetry, is usually a single emotion, thought, or political statement stripped of the very layers of kinds of order that poetry is made of - meter, lines (distinct from inconsequential hits of the enter key,) heightened language, image (concrete, metaphorical, or imaginative), beautiful sound, "an experience irreducible to paraphrase," or even that delicate triangle balance of thought, emotion, and image that constitutes what's considered good contemporary free verse. It's not just about the content, but about what the physical (as it were) words are doing, and - this is where Ciardi comes in - how they do it.
I think the point about lineation is worth coming back to. You said "Just because something's structured in lines and stanzas doesn't make it a poem." Exactly this. Take this paragraph; I could go back through and format it to "look" like a poem, with shorter lines and stanza breaks, but that would not add anything to the content. Poetic lines have actual function in the meaning and experience of the poem.
"True ease in writing comes from art, not chance,
As those move easiest who have learned to dance.
'Tis not enough no harshness gives offense,
The sound must seem an echo to the sense."
Thanks for this ask!
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Perdita of Sicily and Bohemia
Princess, Daughter of a Shepherd or Shepherdess, Daughter of a King?
The Winters Tale. post - Act 5. Scene 3.
All but Perdita exit. She looks off.
Perdita speaks.
I wonder if there is more story here.
[a pause]
There is, of course. There always is.
A story cannot stand alone -
Not one line holds the next line back
For fear his time will not be shown.
A man writes words, woman recites
Here we go, never-ending plight
And yet I stand here,
Woman, wife, daughter, princess
And even now I wish for more -
Or else, perhaps. A shepherdess,
With the name of royalty.
[Another pause. She laughs without humor.]
A shepherdess! A shepherdess, or a princess?
Who can tell the difference now.
I stand here with red skin and calloused fingers
I use lanolin to treat them, but here!
Where are my sheep, my care?
Sicily’s cold coast holds me away
And my wool will be fine now -
Spun by someone far away,
Carded and combed and washed
By a woman I will never meet.
A farmer in the employ of my father -
My father, a man called Leonates - a king -
Not the shepherd of my upbringing,
Not my beloved carer, but a man in a castle
Who cast me away, doomed my mother to death,
At a glance which he now knows was nothing
Leonates claims me as his own daughter, now
But as an infant - fresh from the womb,
The most innocent of gods creatures
He set me to die, to be left for the wild.
And I am lonely, here - I have a husband, my dear, Florizel,
but I knew him by another name not weeks ago,
And I knew not of his father - the King,
Another king, who now calls me daughter
While my own father stands there, beside me,
Dressed in finery I could never have imagined in my youth,
My brother beside him, his own fine clothes that do not fit
The fool I know him to be.
Here, they too, are called kin -
Leonates calls my father ‘brother,’ my brother ‘son’.
My mother, a woman I knew not of and then believed to be dead in only a minute,
Now suddenly stands tall, marble come to warm life.
And a brother, too - not that which has been with me through my childhood,
But another, dead from when I was hardly a day old. Shall I mourn him too?
A child, so much younger than I am now, dead nearly all my life,
but with blood and lineage the same as mine. He fell with grief,
for the woman he called mother his whole life, and I wonder where my grief should be? Should it be long gone, with the rest? Should I be celebrating this joyous reunion?
I should, I know! I know, I know, I know!
And still there are more to know - Paulina, who must be my mother’s -
(‘the queen’, instead, for I cannot find it in myself yet to call her mother,)
Handmaiden, a woman loyal beyond words.
She embraced me upon recognition, gave me words of comfort,
And so I am grateful to her,
And the man Antigonus, her husband, whom they tell me is long dead,
Killed while saving my life. My life, worth that of this noble man’s.
But Paulina stands as if she is indebted to me - she bids me bow to my mother,
As if I was not mourning her death but a moment ago -
This, I think! I am told I have a mother, told she is dead, told we are to see her likeness, told she is alive
And now Leonates wishes us to speak
To know one another, our lost time -
Must I? Must I know this life?
I am happy with my love, and with the wealth my father and brother, the shepherds, have received
I would not deign to lack forgiveness, for the gift I have been given
In love, and wealth and family, both old and new.
But here I stand and I miss my sheep! One, I had raised since its birth
An ewe, by the name of Dorcsa - a light joke, a tease amongst friends.
Dorcsa now, I wonder, looks for me.
I know full well she does not - I know the nature of sheep,
So long as one is feeding them,
they have no wist for those who have fed before
So perhaps she looks not for me,
But I for her - I see her, and myself, a youth,
Embracing her warm coat, picking burrs out of the wool
which I would later help my father to carefully shear.
I had imagined I would do this - shearing and burr-picking
- And feeding and grazing and corralling -
For the rest of my life, and now I know not if I will do it ever again
It is hard work, for certain, but it is the work I know.
Will the calluses on my hands go soft?
Will my skill with the sheep waver?
Will I know no-longer how to create yarn from the raw wool,
will I remember only bits of my once treasured profession?
[A pause. She is imagining her sheep, and then she looks back towards where Hermione’s ‘statue’ had stood.]
I had dreamt of my mother, throughout my youth,
And yet even today, with Kings and Lords pronouncing the power of dreams,
I know that this visionary image was not the woman who has now come to life,
As a child, and, I must confess, even so recent, I did not picture
The Queen Hermione, who stands before me now and tells me I am her own.
I saw, in those dreams, another woman, a working woman,
who shared my freckled skin and sun bleached hair,
not the pale visage and carefully arranged locks of the Queen,
and this woman, my imagined mother,
wore a crown of daisies, not gold, as Hermione does even now,
As the man my father Leonates takes her away from this old house.
I am old enough now, I know now well enough,
That this was not some ought but natural vision
But only the imagination of a youth
Who had never known from whose breast she came.
Somehow, though, I think that woman from the dream
May have made more sense as the mother to me,
A woman who now stands as a Princess - in two ways,
That of Bohemia and that of Sicily!
And yet wishes for the fields and labor that she has always known.
My new father-in-law, at the feast which I hosted,
Which seems ages ago now, in my lost home of Bohemian fields,
Said that I appeared noble, despite my poor family.
“She smacks of something greater than herself,” he said,
When he did not think I could hear, “Too noble for this place,”
He called me, and I heard, and at the time, I thought it a compliment.
I am noble, I had thought, while I danced like a child, I do appear great.
Now I think of how he must have meant it - a girl pretending,
Imagining she could be good enough, noble enough,
to marry the Prince to whom I am now wed.
Well it is alright now, Polixenes must have said,
now that I know from whose loins she came.
The noble Leonates,
who would cast an infant away for no crime of its own,
who would send his noble wife to prison because of an anxious thought.
It is his daughter, his offspring, who may marry Florizel,
Not the daughter of the poor Shepherd,
Who would find a baby alone and take her in with no question,
Who would raise her as his own, with all the love in his heart.
I told Florizel, back in Bohemia,
“I told you so,” I told him,
That nothing good could come of our relationship.
I told him, “I’ll queen it no inch farther,
But milk my ewes and weep.”
And now I do not weep, and I am without my ewes,
And I am likely to someday be Queen,
Alongside the king of that man I met by chance,
When I thought my life would be only ewes and pastures.
So now I stand here in this empty hall.
Soon enough I shall rejoin my family -
those who have lived by that name for many years,
and those who have not.
But for just a moment I will mourn.
The shepherdess Perdita, who is named for loss,
With the red cheeks and freckled skin and mess of hair
And the shepherd family and the rural home and the sheep named
In gentle teasing of friends.
And I will allow her to leave, sail away on the west wind,
Back to her rolling hills and her sheep and her childhood,
As I step towards the Princess of Sicily and Bohemia.
I wrote / made this for class lol but I was proud of it. Perdita is a character in Shakespeares The Winters Tale, who is a princess abandoned by her royal father as an infant and raised by a shepherd and his son. At the end, she has very few lines but basically seems to just accept her new life, and I wanted her to have something to say - my first stage direction here is meant to sit at the very end of the play.
I photoshopped the image myself - it's from a painting by Frederick Sandy's that's just called Perdita. The flowers are all ones she mentions in (one of? I can't remember) her first appearances in the play.
I wrote a bunch about this because it was my final project for this class, but it's mostly rambling so I didn't put it here lol, probably already rambly enough.
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. old bones .
(Went for a dig and found another old notes app poem. It’s about dysphoria, so heads up.💜)
.
There is a little girl I’ve hid beneath my bed in boxes, dressed in big clothes.
She’s tucked away within the stacks of old unfolded letters, pressed and tied closed.
(And there are things I wish someone had known to tell her.)
She shrieks and rattles the bed frame most nights, she’s a loud one.
She knows she wasn’t right when she walked the world, she was a proud one.
(She knows she was not made a cavern-dweller.)
She did not like her name then, when called aloud. It hurt her senses,
To feel the world bear down and roar like thunderclouds. She was defenseless.
She did not like the way her body felt lit from without, under the sunlight.
Within she begged for something else, a name for times of drought, a tougher birthright.
(It felt absurd to live set up beside the walking dead.)
But I could live life alive like she was not allowed, her plan backfired.
She gets quiet quickly now, the raving stops and starts. She’s growing tired.
(‘Take over, just for a little while’ is what she always said)
I stole this from her, the body lit without, the sunlit road.
I put her beneath my bed, I stuffed her skin, my fingers borrowed.
(She was the first one here. She has always owned this head)
I crawl down there to meet her there some nights when she is quiet, I tell her stories.
Of college classes, Waffle House, our latest book, those little glories.
She likes them. She’s not sure how she feels about the way we dress,
But that sick uneasy swoop that came with skirts is there with her. It’s laid to rest.
(There are so many things I’ll have to build and learn and witness in her stead.)
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