The Ode Less Travelled: Unlocking The Poet Within

What is Form and Why Bother with It?

Stephen gets all cross

By form

, just so that we are clear, we mean the defining structure of a genre or type. When we say formal, the word should not be thought of as bearing any connotations of stiffness, starchiness, coldness or distance–formal for our purposes simply means ‘of form’,

morphological if you like.

In music, some examples of form would be sonata, concerto, symphony, fugue and overture. In television, common forms include sit-com, soap, documentary, mini-series, chat show and single drama. Over the years docu-dramas, drama-docs, mockumentaries and a host of other variations and sub-categories have emerged: form can be undermined, hybridised and stretched almost to breaking point.

Poetic forms too can be cross-bred, subverted, made sport of, mutilated, sabotaged and rebelled against, but HERE IS THE POINT. If there is no suggestion of an overall scheme at work in the first place, then there is nothing to subvert or undermine: a whole world of possibility is closed off to you. Yes, you can institute your own structures, you can devise new forms or create a wholly original poetic manner and approach, but there are at least three major disadvantages to this. First, it is all too often a question of reinventing the wheel (all the trial-and-error discoveries and setbacks that poetic wheelwrights have undergone over two millennia to be caught up with in one short lifetime); second, and this flows from the first point, it is fantastically difficult and lonely; third, it requires the reader to know what you are up to. Since human beings first sang, recited and wrote they have been developing ways of structuring and presenting their verse. Most readers of poetry, whether they are aware of it or not, are instinctively familiar with the elemental forms–for a practising poet to be ignorant of them is foolish at best, perverse and bloody-minded at worst. We can all surely admit without sacrificing any cherished sense of our bold modernity and iconoclastic originality that a painter is in a better position to ignore the ‘rules’ of composition or perspective if he knows exactly what those rules are. Just because poems are made of our common currency, words, it does not mean that poets should be denied a like grounding and knowledge. Besides, as I have emphasised before, initiation into the technique of poetry is all part of becoming a poet and it is pleasurable: one is in the company of one’s forebears, one is not alone.