The next book on my reading list was The Ode Less Travelled: Unlocking The Poet Within, by Stephen Fry, 2005, Gotham Books, ISBN 1-592-40248-8. I won this book, the second place prise for the February 2008 sonnet contest at Absolute Write. I began reading it less than a month ago, and finished just this afternoon.
This is a teaching book, a primer on writing poetry. No, that’s not exactly right: it’s a primer on writing formal poetry–that is, metrical poems in rhyme, typically to some specific form. Here are a couple of excerpts from the author’s Forward.
“I believe poetry is a primal impulse within us all. I believe we are all capable of it and furthermore that a small, often ignored corner of us positively yearns to try it. I believe our poetic impulse is blocked by the false belief that poetry might on the one hand be academic and technical and on the other formless and random.”
“I have written this book because over the past thirty-five years I have derived enormous private pleasure from writing poetry and like anyone with a passion I am keen to share it.”
Fry does this by focusing totally on formal poetry. Free verse is not mentioned, not even as something he plans not to cover. He begins with a 121 page discussion of meter, describing all the metrical feet, how they are put together in lines, and how lines can be grouped for metrical effect. He next covers rhyme, 66 pages worth: the basics of end rhyme and internal; full rhymes, partial rhymes, and identical rhymes; couplets, triplets, envelope rhymes, interlocking rhymes, cross rhymes. Next is a long section, 136 pages, on various forms. He begins with defining stanzas, and then defines a bunch of forms and discusses them: terza rima, quatrains, rubai, rhyme royal, ottava rima, Spenserian stanza, ballad, heroic verse, odes, villanelles, sestinas, pantoums, ballades, rondeau and its many cousins, etc. Last is a short chapter on poetic diction and poetics today.
I find much to commend in this book, and much to fault. In an era dominated by free verse and the “poetry as emotional release crowd”, I find the emphasis on formal poetry refreshing, especially the section on meter. Fry also emphasises that modern poetry should have modern diction. He speaks against what he calls “wrenched syntax” just for the sake of meter and rhyme–I like that, as I believe poetry should be written in the language of the era in which it is written.
I found some things I disagree with, that were treated either shallowly or were, IMHO, inappropriate for a primer on poetry.
– The section on forms contained too many forms, and hence they were not treated either sufficiently or well. What makes for writing a good poem in that form was never discussed, only the specifications for the form.
– There was no discussion of free verse. I understand, by its content, that the book was about formal poetry. But not having stated that, the impression is given that only formal poetry is poetry and free verse is not. I’m a formalist, but I found this handling of free verse somewhat baffling.
– The order of the book seemed backwards to me. The discussion of poetic diction and the condition of poetry today should have been first, since poetic diction is common to all poems, formal and free, metrical and non, etc.
– The book had no discussion of the line as the fundamental element of poetry, nor of metaphor, simile, figures of speech, imagery, personification, and many other poetic devices. Some of these should certainly be in a primer on writing poetry.
– As I mentioned, there was little discussion on poetic quality, or regardless of formal verse or free; what makes for a good poem? You won’t learn that by reading this book.
– Fry uses his own, “made-up” poems to demonstrate most forms. Sometimes he uses the poems of others, but not often. This was somewhat annoying, though I think part of Fry’s argument: See how easy it is, with just a little knowledge.
– The book has some cursing. This is almost all towards the end, with increasing frequency the closer you got to the end. It’s as if Fry knew cursing would turn some people off, and held off with using it till the readers was well into the book and hooked. The book could have easily been written without it, and this fact alone will limit the number of people to whom I can recommend the book.
And I can recommend the book, though with cautions. It does not give a beginner’s treatment to the broad spectrum of the poetry world, but rather to a small part of it. And, it is unlikely to be much help by itself. The one who desires to learn how to write poetry will need to find other books to supplement this one.
