Poetic form – layout (part 1)

The way a poet sets out the text on the page is a way of conveying meaning. When analysing a poem, it always helps to look at the visual impression it makes and ask:

• Why does the poet use shorter or longer lines?
• What is the impact of dividing up the work into stanzas of particular lengths?
• Why might some lines be indented before they commence? etc.

Below is a very seasonal example of a poet’s use of layout to convey meaning.

Next week there will be a few thoughts from www.crossref-it.info to check yourself against, but meanwhile have a look at Hardy’s poem and make a few jottings about its impact on your understanding of the situation:

Snow in the suburbs

Every branch big with it, 1

Bent every twig with it; 2

Every fork like a white web-foot; 3
Every street and pavement mute: 4

Some flakes have lost their way, and grope back upward when 5
Meeting those meandering down they turn and descend again. 6

The palings are glued together like a wall, 7
And there is no waft of wind with the fleecy fall. 8

A sparrow enters the tree, 9
Whereon immediately 10

A snow-lump thrice his own slight size 11
Descends on him and showers his head and eyes 12

And overturns him, 13
And near inurns him, 14

And lights on a nether twig, when its brush 15

Starts off a volley of other lodging lumps with a rush. 16

The steps are a blanched slope, 17

Up which, with feeble hope, 18

A black cat comes, wide-eyed and thin; 19

And we take him in. 20

Thomas Hardy, 1840-1928