Melanie C. writes:
"I studied POE's poem 'Stanzas'. This poem is addressed to a lady whom the poet encourages to become perfect. Poe mirrors this idea in the perfect construction of his poem. . . ." (rest in Comments)
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2 comments:
Melanie continues:
"He choses to write it in the most classic stanza form, that is the rhymed tetrameter quatrain. The
poem has a mostly iambic structure, and rhymes perfectly, to such an extent that certain rhymes are even eye rhymes besides being true
rhymes (cf stanza 3: roam/foam, clime/Time). Poe uses meter exactly as traditional poets would: he breaks the monotony of iambic lines
by introducing trochees, which serve to emphasize important words. The trochaic ' Virtues' (line 7) echoes the trochaic 'Pure' (l.14),
'Lustrous' (l.20) and 'Gliding' (l.23), forming a (cliche) conceit of a virtue so pure that it could be compared to water - water being a
feminine element and thus strongly linked to the lady. "
[Great observation! This is a perfect illustration of how we can look to the technical details about how a poem is constructed in order to prove larger claims about how it THINKS--how the concepts work together on the page. "Lady!" and "Thine," the first words in the first two stanzas respectively, also take the trochaic substitution, which bolsters your argument even more.]
"In the last stanza, 'Blest' and 'Bright' echo each other as a promise to the lady if
she was to become virtuous. Poe also systematically uses spondaic feet whenever the poet directly addresses the lady ('Lady! I would';
'Thine should be length'; 'Thy life's free course'; and finally 'These should be thine'). The use of the spondee is found again in the 'rock-
girt shore of Time' (l.12), where it and the use of harsh consonants echo the solidity of the rocks."
[This is one of those places where scansion is not an exact science--I can see how you could pronounce "should" with a stress, but I probably would call that a trochee and de-stress the second syllable. "Rock-girt," however, is definitely spondaic, as are lots of hyphenated words.]
" In the last two stanzas, the poet
attempts to mimick the eternity of Heaven, first with the use of a dash at the end of line 24 and finally with the use of an added syllable
at the end of the last line.
All this contributes to make of this poem a 'perfect' poem, but one can feel a note of irony underlying its perfection. The poet wants the
lady to be an ideal woman, but no one can be that perfect, it is impossible. Poe seems to imply that perfect poems are as shallow as the
poet's plea for perfection. Therefore this poem, at first seeming to praise perfection, appears, on closer inspection to be a plea for
subversion."
[Very suggestive!]
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