Do poems have to have rhythm or rhyme?
Creative and passionate literature graduate from KCL & Oxford
They don’t always have to rhyme! Some of Shakespeare’s most famous lines - as well as great epic poems like Milton’s Paradise Lost - are written in blank verse (non rhyming Iambic pentameter). E.g from Book 1 of Paradise Lost: Of Man’s First Disobedience, and the Fruit of that Forbidden Tree, whose mortal taste Brought Death into the World, and all our woe, With loss of Eden, till one greater Man Restore us, and regain the blissful Seat, Sing Heav’nly muse, that on the secret top Of Oreb, or of Sinai, didst inspire That Shepherd, who first taught the chosen Seed, In the Beginning how the Heav’ns and Earth Rose out of Chaos.... (Modernist free verse also tries to shake up traditional poetic principles and tries to reformulate different forms’ conventions when it comes to rhyme and rhythm.) But remember: whether poems have a regular rhythm (or Meter if we use poetic terminology) like Iambic pentameter or an irregular or inconsistent one, they are in one way or another using, playing with or adapting the inherent rhythmic nature of speech. It may not be an obvious rhythm ...or a poem may have inconsistent rhythmic structures but all poems will show some consideration of how words/sounds are ordered and hence will have rhythmic features.
UCL Graduate in Pharmaceutics with 3 years of tutoring experience
I think you mean rhyme when you say musicality? I say this since you give the case of "I was once informed that when you can't a mood, you 'twist' the word to make it seem like the past." I feel like you are looking at moving your mouth so as to expand the metrical or syllabic check of a word to make it fit, yet then when you discuss "bowing" the word you likewise say to make it seem like the last word: He moves with time To take his rhyme Into the underbelly of Cutting. I know horrendous precedent. I need to address the primary inquiry: "Completes a lyric must have a musicality to in any case be a sonnet?" I am will expect you are discussing mood, or, in other words, "intermittent variation of solid and feeble components in the stream of sound and quiet in discourse," You are tending to a stream of sound. Does the deficiency in that department make a line of words to a lesser extent a ballad? I would state no. In spite of the fact that I like the excellence of a delightful stream of words, there are lines of verse that are consistently or candidly intense just in view of what the words mean. Take for instance the principal lines of T.S. Eliot's "Scorched Norton": "Time present and time past Are both may be present in time future, What's more, time future contained in time past… " While there is an adjustment of the sort of time and an appearing movement of the multifaceted nature of the sort of time, it is the intricacy of the condition of time, the scholarly exercise of thinking about the significance, that is at the base of the quality of the lines and the lyrics overall. Knowledge of thoughts is truly where this ballad is at. It isn't such a great amount of as a result of a repetitive rotation of solid and powerless components in the Stream of sound… in discourse" that is grinding away here, in spite of the fact that it is surely present. Here is another precedent from my own composition, where I am not all that worried about sound as I am with significance and the exchange of importance as a way to a psychological exercise caused by words: Blood on the Shirt that buoys in the Wind turning yellow as a flag. Demise particulates in the last stable At the opening of the heart. Tit for tat prompts an empty sound and quietness. Every infraction is felt and comprehended As a long descendancy in mistake. The quality of the ballad lies in its convolution of thoughts, its secret of importance, in any event at the start as it is being perused out of the blue. It is giving you pieces to ponder, entire conceptual thoughts that reason you to stop and think and not know without a doubt. That is the sort of ballad I need to provide for representing that a lyric does not need to depend on sound to make intrigue.
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