7 Poems that don't rhyme
Are poems that don't rhyme prose? Not necessarily. Virginia Woolf (1882–1941), a novelist rather than a poet, and T.S. Eliot (1888–1965), known particularly for his poetry, both wrote descriptive pieces best described as ‘prose poems’. These look like short prose passages since there is no attention to line lengths or layout on the page, as there was, for example, in ‘Mariana’. When you study Shakespeare you will come across blank verse. ‘Blank’ here means ‘not rhyming’, but the term ‘blank verse’ is used specifically to describe verse in unrhyming iambic pentameters.
Although iambic pentameters resemble our normal speech patterns, in ordinary life we speak in prose. You‘ll notice if you look through Shakespeare's plays that blank verse is reserved for kings, nobles, heroes and heroines. They may also speak in prose, as lesser characters do, but commoners don't ever have speeches in blank verse. Shakespeare – and other playwrights like him – used the form to indicate status. It is important to recognise this convention, which would have been understood by his contemporaries – writers, readers, and audiences alike. So choosing to write a poem in blank verse is an important decision: it will elevate the subject. One such example is Milton's epic Paradise Lost (1667), a long poem in twelve Books describing Creation, Adam and Eve's temptation, disobedience and expulsion from Paradise. It sets out to justify the ways of God to man, so blank verse is entirely appropriate. This great epic was in Wordsworth's mind when he chose the same form for his autobiographical poem, The Prelude.
Click on the link below to compare the extract from Book XIII of The Prelude, where Wordsworth is walking up Mount Snowdon, with the extract from ‘The Idiot Boy’, one of his Lyrical Ballads. What effects are achieved by the different forms?
Both poems use iambic metre – an unstressed followed by a stressed syllable. The extract from The Prelude uses iambic pentameters, five metrical feet in each line, whereas ‘The Idiot Boy’ (like the ballad, ‘Love From the North’) is in tetrameters, only four, establishing a more sing-song rhythm. Other stylistic techniques contribute to the difference in tone too: the language of The Prelude is formal (Wordsworth's ‘Ascending’ rather than ‘going up’), whereas ‘The Idiot Boy’ uses deliberately homely diction, and rhyme. Three simple rhyme words ring out throughout the 92 stanzas of the latter: ‘Foy’, ‘boy’ and ‘joy’ stand at the heart of the poem, expressing the mother's pride in her son. The moon features in each extract. In The Prelude, as Wordsworth climbs, the ground lightens, as it does in The Old Testament before a prophet appears. Far from being a meaningless syllable to fill the rhythm of a line, ‘lo’ heightens the religious parallel, recalling the biblical ‘Lo, I bring you tidings of great joy’: this episode from The Prelude describes a moment of spiritual illumination. Wordsworth's intentions in these two poems were quite different, and the techniques reflect that.
Other poems that don't use rhyme are discussed later in this course (‘Wherever I Hang’; ‘Mona Lisa’; ‘Poem’). Notice that they use a variety of rhythms, and because of that none can be described as blank verse.