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My point though is that they produce interesting results--are another limitation against which to work to see what new sounds and rhythms result.
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This is my position also. It is a creative/restrictive device for the production of a poem which could not have been produced other than by this compositional technique.
To argue against syllabics on the basis that one "can't hear" the effect is absurd, since the entire poem is the result of this device.
I think this is a good example of the form, in 7s.
"In my craft or sullen art"
In my craft or sullen art
Exercised in the still night
When only the moon rages
And the lovers lie abed
With all their griefs in their arms,
I labour by singing light
Not for ambition or bread
Or the strut and trade of charms
On the ivory stages
But for the common wages
Of their most secret heart.
- Dylan Thomas