The Measure of Metre
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Introduction
Whatever you write will automatically have a rhythm in-built. However, careful control of the number of “beats” per line can improve your writing simply because your readers will find them easy to read.
The rhythm will create in them a pleasant experience, like a subliminal message, which will leave them thinking, ‘Now that was a good poem’.
Metre is the skeleton on which you build your thoughts, words and message like ligament, vein and muscle. But, just like a person, if bones are dislocated or out of joint we tend to see this and fail to see the beauty of (e.g.) the skin or hair or eyes.
So, just as a healthy skeleton brings good posture and graceful movement without it itself being noticeable, the metre is that underlying strength which makes the poem flow naturally and easy to read.
In fact if you get the metre right the reader will hardly even notice it. It will only register as the pleasing la-dee-da-dee-da, singing-sound we find so pleasing in poems. And you definitely want the poem to read or flow well, so people notice what you are saying, not how you are saying it.
The best poems establish the metre in the first verse (or stanza) and stick to it; but this is not a hard and fixed rule.
The “How To” of Metre
There are many websites that deal with this subject in an academic way and give all the different classifications of metre. But for our purposes we will be dealing with only a few, our goal in these paragraphs being not in any way aimed at high academia.
1. “Fixed Metre”
The most popular poems written by most aspiring poets are what I call “fixed 4’s.” By this I mean that there are 4 “beats” to each line. But in practice there can be regular beats of 3, 5, or 6 … its up to you.
I wandered lonely as a cloud 4
That floats on high o'er vales and hills, 4
When all at once I saw a crowd, 4
A host, of golden daffodils; 4
William Wordsworth, “I Wandered Lonely As A Cloud.”
This whole poem carries the metre, or rhythm, of 4 beats per line. The result is a smooth, repetitive, (and therefore, comforting) procession of words. The words flow easily and carry us to the end of the poem focussing on the vision of the daffodils and not the rhythm of the poem.
2. “Mixed Metre”
As the name suggests, the adventurous step is made to mix the number of beats in each line. It’s adventurous because a departure is made away from an essentially ‘poetic’ contrivance, to something more like natural language. As we don’t normally speak in a ‘fixed metre’ you might prefer the effect created here.
Beneath these fruit-tree boughs that shed 4
Their snow-white blossoms on my head, 4
With brightest sunshine round me spread 4
Of spring's unclouded weather, 3
In this sequestered nook how sweet 4
To sit upon my orchard-seat! 4
And birds and flowers once more to greet, 4
My last year's friends together. 3
William Wordsworth “The Green Linnet”
Here we have the straightforward 4 beats per line, but then a subtle change on the 4th line. There are only 3 beats here, and the effect is one of an end being reached, or a slowing down to complete a thought. This effect is pleasant and is more like natural speech. I think it is perhaps more appropriate in the sharing of thoughts, and has a more intimate sound to it.
When mixing the number of beats in your lines, it is always best to create a pattern, which repeats through the verses. This is because random beats cause uncertainty in the reading, and are a bar to the reader understanding what you are saying.
3. Other Mixes
There is really no hard rule that says you must use a fixed metre or a simple mixed metre. In theory any amount of “beats” in a line could be used and varied in every single line. I think it is fair to say that when metre is less structured, the poet has other higher purposes to realise; so remember, that as beneficial as metre’s structure may be, it will happily give way to that which you consider most important. Hebrew (Biblical) poetry pays little heed to metre, because what is said is more important than how it is said: and yet it is some of the most beautiful poetry ever written.
4. More Complicated Mixes
At sight of thee my heart with joy o’erflows 5
For knowledge of the smiles that in thy presence grow; 6
Or how the sunny beams repose upon thy head, 6
And whisp’ring angels round thee lightly tread 5
In bliss complete. 2
R.J. McDowell. “Enoraed”
More complicated mixes don’t necessarily mean confusion – in fact because they most resemble natural speech they are very pleasant, and roll off the tongue just as easily as straight 4’s – after some practice! In the poem above we have a line of 5 a line of 6 and so on. The 5’s on either side of the 6’s give good balance, and the 2 of the last line brings the thought to a soft completion.
Whatever you write will automatically have a rhythm in-built. However, careful control of the number of “beats” per line can improve your writing simply because your readers will find them easy to read.
The rhythm will create in them a pleasant experience, like a subliminal message, which will leave them thinking, ‘Now that was a good poem’.
Metre is the skeleton on which you build your thoughts, words and message like ligament, vein and muscle. But, just like a person, if bones are dislocated or out of joint we tend to see this and fail to see the beauty of (e.g.) the skin or hair or eyes.
So, just as a healthy skeleton brings good posture and graceful movement without it itself being noticeable, the metre is that underlying strength which makes the poem flow naturally and easy to read.
In fact if you get the metre right the reader will hardly even notice it. It will only register as the pleasing la-dee-da-dee-da, singing-sound we find so pleasing in poems. And you definitely want the poem to read or flow well, so people notice what you are saying, not how you are saying it.
The best poems establish the metre in the first verse (or stanza) and stick to it; but this is not a hard and fixed rule.
The “How To” of Metre
There are many websites that deal with this subject in an academic way and give all the different classifications of metre. But for our purposes we will be dealing with only a few, our goal in these paragraphs being not in any way aimed at high academia.
1. “Fixed Metre”
The most popular poems written by most aspiring poets are what I call “fixed 4’s.” By this I mean that there are 4 “beats” to each line. But in practice there can be regular beats of 3, 5, or 6 … its up to you.
I wandered lonely as a cloud 4
That floats on high o'er vales and hills, 4
When all at once I saw a crowd, 4
A host, of golden daffodils; 4
William Wordsworth, “I Wandered Lonely As A Cloud.”
This whole poem carries the metre, or rhythm, of 4 beats per line. The result is a smooth, repetitive, (and therefore, comforting) procession of words. The words flow easily and carry us to the end of the poem focussing on the vision of the daffodils and not the rhythm of the poem.
2. “Mixed Metre”
As the name suggests, the adventurous step is made to mix the number of beats in each line. It’s adventurous because a departure is made away from an essentially ‘poetic’ contrivance, to something more like natural language. As we don’t normally speak in a ‘fixed metre’ you might prefer the effect created here.
Beneath these fruit-tree boughs that shed 4
Their snow-white blossoms on my head, 4
With brightest sunshine round me spread 4
Of spring's unclouded weather, 3
In this sequestered nook how sweet 4
To sit upon my orchard-seat! 4
And birds and flowers once more to greet, 4
My last year's friends together. 3
William Wordsworth “The Green Linnet”
Here we have the straightforward 4 beats per line, but then a subtle change on the 4th line. There are only 3 beats here, and the effect is one of an end being reached, or a slowing down to complete a thought. This effect is pleasant and is more like natural speech. I think it is perhaps more appropriate in the sharing of thoughts, and has a more intimate sound to it.
When mixing the number of beats in your lines, it is always best to create a pattern, which repeats through the verses. This is because random beats cause uncertainty in the reading, and are a bar to the reader understanding what you are saying.
3. Other Mixes
There is really no hard rule that says you must use a fixed metre or a simple mixed metre. In theory any amount of “beats” in a line could be used and varied in every single line. I think it is fair to say that when metre is less structured, the poet has other higher purposes to realise; so remember, that as beneficial as metre’s structure may be, it will happily give way to that which you consider most important. Hebrew (Biblical) poetry pays little heed to metre, because what is said is more important than how it is said: and yet it is some of the most beautiful poetry ever written.
4. More Complicated Mixes
At sight of thee my heart with joy o’erflows 5
For knowledge of the smiles that in thy presence grow; 6
Or how the sunny beams repose upon thy head, 6
And whisp’ring angels round thee lightly tread 5
In bliss complete. 2
R.J. McDowell. “Enoraed”
More complicated mixes don’t necessarily mean confusion – in fact because they most resemble natural speech they are very pleasant, and roll off the tongue just as easily as straight 4’s – after some practice! In the poem above we have a line of 5 a line of 6 and so on. The 5’s on either side of the 6’s give good balance, and the 2 of the last line brings the thought to a soft completion.
