In the chapter Meter, Rhyme, and Form, Addonizio and Laux share that in contemporary times, you don’t often see much traditional structure in poetry. Instead of following strict patterns, modern poetry often features lines of different lengths that move freely across the page, and the poets who abandoned traditional forms were challenging what they saw as the limitations imposed by rigid rules. As poetry continued to shift away from traditional forms, new generations of writers become unfamiliar with the structure of a sonnet and seldom attempt to write one. I agree with this. In my English classes growing up, we spent very little time on poetry. We were given some knowledge of meter, rhyme, and form, but it was so brief and superficial that I wasn’t able to fully grasp it, and now I struggle to read and hear it correctly.
The book also points out that poets in earlier times were familiar with formal traditions before making the then-radical shift to free verse. They understood the music of language, which allowed them to make that transition while still preserving a foundational sense of sound. Addonizio and Laux explain that we can develop a sense of rhythm similar to that of traditional poets, but because we primarily read poetry silently and rarely aloud, we aren’t able to fully hear it. In doing so, “we deprive ourselves of one of the cruel pleasures of poetry.” I think this is true. As we discussed in class on Tuesday during our Donald Hall discussion, hearing a poem aloud changes our perception of it—its theme, its message—because the sound affects the way we experience/understand it.
These concepts are especially important when considering the second half of the chapter on Meter, Rhyme, and Form. I found this section challenging because of the terminology and the rules associated with these concepts. I’ve always struggled with things like iambic pentameter and the units of measurement in meter. Meter, in particular, is the most difficult for me to understand, while rhyme comes more easily, likely because I’ve had more experience working with it. I think this also connects back to our class discussions and the beginning of the chapter about sound and poetry literacy: practicing traditional forms and reading classic poets aloud helps deepen our understanding of these concepts.
A common theme throughout this chapter is that poetry is about the sound of the language. I found I’m struggling to move away from a traditional rhyming scheme with my poems. I think that in my writing process, I get stuck on how the ending word sounds and feel I must rhyme the following with that. Sometimes it’s hard to build from the word, and I don’t appreciate the piece as much. After reading about strict rhymes, it clarified that I don’t have to focus so much on the end sounds, but rather on how each line can interact internally. I found this journal helpful because it provided examples of different structures and clarified patterns I was unaware of. A statement that stood out to me is that sometimes, restriction to a form pushes the writer to be resourceful and find the language they need. Reflecting on my stated struggle, I have a better concept of poetry forms and feel I can move away from my self-imposed rigid structure. It’s helpful to know that rhyming can be similar, not always so direct, which helps with my mindset. My choice of words can either look similar or sound similar, which is a half rhyme. Finally, I do read my poems out loud as they are crafted, but I now have a better understanding of how I can expand the language use and create different patterns within it.
This chapter encouraged me to become familiar with traditional forms of writing poetry. I usually prefer and am more familiar with free verse poetry. I like the quote “the individuality of a poet may often be better expressed in free-verse than in conventional form.” However, the description of meter, stressed and slack syllables, and iambic pentameter opened my eyes to how these details and inner workings of writing and language can improve a piece of poetry just with the sound of a word. I found it interesting how nursery rhymes and tongue twisters are related to the delight of reading poetry aloud in this chapter. It’s stated that “in poetry, a new cadence means a new idea.” Maybe that’s why children’s books tend to have writing with rhyme in it, they might stimulate creative thinking. I’d never heard of villanelles, rondeaus, or internal rhyme before, I never realized that different types had different names or terms, or that there’s so many different types. I thought that rhyme was just rhyme, no rules, just words that sound the same. The writing in this chapter points out how you can use rhyme to emphasize important words as well as using it to create a feeling of closure by making the end of a poem rhyme. “Two rhymes back to back at the end give a reader a strong sense of finality.” I’m inspired to try implementing this into my own writing to test it out and see how it sounds. I like when a poem has sort of a grand final stanza/line. This chapter made me appreciate the technique of rhyme more. I usually don’t like reading poems with a rhyme scheme because I feel like they degrade the quality of the poem and make it less serious, but this chapter made me see it in a different light. Because it’s been revealed to me that rhyme can be so intricate and be a thoughtful addition to writing, I can see that it actually contributes and increases the quality of the poem.
While reading Meter, Rhyme, and Form, there were a few things I noticed. First of all, there was a lot of information in this chapter. One thing I was confused about was Meter. I think I understand it well enough, but I don’t think I could explain it to someone if they asked. There were a couple quotes that I thought were interesting in this chapter. The first was regarding free verse vs formal poetry. “The issue, of course, isn’t whether anyone should write free verse or formal; that decision should come out of the poem’s requirements, out of the integration of form and content.” I thought this quote was really interesting because I agree that the form of the poem should come out of the poem’s requirements. Personally, I don’t like choosing a form and then writing my poem based on the form, it is too constricting. However, if I write a poem and the form starts to emerge, I will stick to it because it is working for what I am writing. The other quote I liked was “Meter and rhyme are ultimately about the sounds of language.” I thought this was interesting because I feel like poetry isn’t read aloud enough. Poetry slams and readings are some of the ways that poetry was meant to be performed, so these things are integral to the poem’s structure and success. One last thing that I liked was how they said that rhyming can be used to emphasize words. I think that is really interesting, I have never thought of it as a way to emphasize. I think that would be a very effective way to bring attention to certain parts of a poem.
What stood out to me in this chapter is the focus on how sound plays a crucial role in poetry. When I first started writing poetry, I often found myself stuck trying to rhyme in a traditional way, feeling pressured to match end sounds perfectly. This sometimes limited the flow of my poems and left me less satisfied with the result. Although I don’t write as much poetry that has the rhyming aspect to it, I still like to occasionally challenge myself with it, although I do still struggle. Reading about “slant” or half rhymes helped me realize that rhyme doesn’t have to be exact; the sounds can be similar or visually connected, which opens up new possibilities. The chapter gave clear examples of different rhyme structures and showed how restrictions, like rhyme schemes, can actually inspire creativity rather than hinder it. This insight feels freeing, and I now want to experiment more with internal rhymes and varied sound patterns rather than relying solely on strict end rhymes.
The section on meter, rhyme, and form also helped me understand why modern poetry often feels so free and unstructured compared to older styles. Poets today tend to avoid traditional forms like sonnets or fixed meters, partly because many of us never deeply learned those structures. The book explains that poets in the past mastered formal rules before moving toward freer verse, carrying with them a strong sense of rhythm and musicality. I realize that because I mostly read poetry silently, I miss the full impact of its sound. Hearing poems aloud can change how we interpret their meaning, which we touched on in class with Donald Hall’s work. Though the terminology around meter and rhythm can be confusing for me, I see the value in practicing these forms to deepen my poetic understanding.
Overall, this chapter inspired me to appreciate traditional forms more, even though I usually prefer free verse. Learning about meter, stressed syllables, and rhyme patterns opened my eyes to how these details shape a poem’s sound and emotional effect. I was surprised to discover so many distinct rhyme types and poetic forms I hadn’t heard of before, like villanelles and rondeaus. The idea that rhyme can create a sense of closure or emphasize important words made me want to try incorporating it into my writing in a more intentional way. While I used to think rhyme made poems feel less serious, I now see it as a sophisticated tool that can enrich a poem’s impact when used thoughtfully.
I think that most of all what this chapter intends to stress is that it’s important to be familiar with the roots of a discipline. That is to say, as the author impresses upon us, even if we are strictly writing in free verse as has been the tradition for much of the past century and some change, it remains a worthwhile endeavor to be educated on the classical forms of poetry. Regardless of whether or not we’re frequently going to be writing in iambic pentameter, as poets or even just as readers and enjoyers of poetry, it’s academically worthwhile to be able to identify these forms of meter whenever they crop up in a poem. The author of the textbook especially wanted us to be familiar with the sonnet, which he says is probably the most important form of poetry when it comes to studying the classics. I also liked what the author had to say about using certain forms to give a poem a strong sense of finality. The way that they stress this was by talking about two rhymes at the end of a poem being able to potentially leave a stronger ending impression on the reader. This is something that I’m going to try in my own poetry. I also appreciated that the author talked about being able to break convention, and that once you are familiar with the specific form and meter of a poem, you can play around with it as a contemporary writer. That you can stretch the poem’s form to fit what you want to do.
This chapter stood out to me a little bit, but it was also a little confusing. I did not understand at first how formal poems should not follow any specific rules but should still have their own special spark. What I did understand was the way these poems can be constructed. I liked how they explained that something like formal poetry is not useless, it can be used as a tool instead of a trap. They want the reader to know that meter and rhyme are not rules, they are pathways to shaping better poems. One thing I thought was interesting is their take on Form. They explained how form is not meant to limit creativity, but to channel it instead. So, I believe that could lead to things like different word choices or phrases. This all works within your own boundaries, so I think I can apply this kind of thinking to my own writing. What was helpful is how Meter can be broken down into more readable language. So instead of making it boring, you can connect rhythm to language in a way where you can almost hear the lines come to life when reading them out loud. So, I think Meter is something that your ears can learn over time instead of just memorizing everything all at once. Something that left me curious about this chapter was that writing in form, even if you do not use a lot of form in your poems, can train your mind for better writing. Rhyme is not just stuff you throw in a poem for the fun of it. It is more like a workout routine for the mind. I might never publish my own poems anywhere, but I can still sharpen my senses using what I learned in this chapter through free writing. I really thought this chapter changed my view on how formal poetry feels deep down. It should be less restrictive and more creative so I do not have to stress about what is good or bad writing.
At first, this chapter was extremely confusing to pick up on. At the beginning, they make an analogy about the directive and choice to write between free write and formal as a baby being thrown out with water, and I was completely clueless on what exactly that meant. Later on though, the writer talks about the deprivation we put upon ourselves of a crucial pleasure of poetry when we write poems without the intention of reading them out loud. Maybe what I am taking away from this part is that we should spend less time analyzing the poems and more time reading them, and taking them in. Implement them inside our heads and start the engine before trying to fly the plane. However, as I was reading the chapter more in depth, I think the main takeaway for this chapter that I picked up on was that instead of pushing aside the idea of rhyming and meter and instead utilizing them as the sounds of language, and that meter is organized rhythm. We can utilize them as formal roots in English Poetry. All in all, we should be familiar with the traditional forms of poetry but also experiment with writing straitjacket. Experimenting with poetry is one of the most powerful weapons we have, and we don’t tend to utilize it as much as we should.
Reading “The Lull” made me realize that the poem form is something that can be used contemporarily. Like many others, I thought of strict poem form and rhyme to be a limiting factor on what I could write. I found it to be too restrictive and make things feel forced. Peacock’s poem, on the contrary, flows because of the enjambment the book notes. It makes me realize that there is still a lot of fun to be had in constructing a sonnet with firm rhyme structures.
Poets have overwhelmingly agreed that the traditional forms of poetry cannot show the expression of new moods. To create a new rhythm, to create new moods, poets do not follow “free-verse” as the only method of writing poetry instead they state that the individuality of a poet can be best portrayed in free verse. Every poem has rhythm but when the rhythm is highly organized and syllables are stressed is when we have meter. When we read poetry and pay attention to the meter it is called scansion. Without this and meter it is just you and a blank page with no emotions. There are also many different types of sonnets. Sonnets are composed of different rhyme schemes. Some of them include petrarchan, shakespearean, and spenserian. Something that I found helpful in this chapter is the explanations of traditional poetic language. This was helpful to me because when I started to write poetry I didn’t consider rhyming schemes but now I think it would be interesting to implement them every once in a while.
Chapter eight goes into depth about meter, rhyme, and form–explaining the meanings and significance of using them in poetry. Most people think a rhyme just consists of words that sound similar such as “hide” and “tide” but, there are also such things as slant rhymes, vowel rhymes, eye rhymes, and of course strict rhymes. Before reading this chapter I was not aware that eye rhymes existed. An eye rhyme is something that doesn’t sound similar but appears to the eye–a visual rhyme; for example, “plough” and “cough”. A cool detail about rhyming is that it can be used to emphasize significance–in other words to intentionally highlight a word the author wants to stand out to the reader. There are many different forms of poetry, you got the traditional form: a sonnet, petrarchan, shakespearean, and spenserian. The original sonnet originated in Italy. What I found interesting about this chapter is the meter aspect of poetry–it is not something I would have expected to play a role in poetry but now I can see why it matters.
This chapter discusses a lot of the technical aspects of poetry, which are new to me. I learned a lot about meter and how the rhythm and syllables are very important. Before reading this chapter, I wasn’t familiar with the concept of feet in a metric verse. After reading I now see how the meter affects the poem, and how the actual sound of the poem is really important. I am still a little bit confused on some of the terms, like iambic pentameter and stress and slack syllables, but I am slowly learning about meter and rhyme.
12 thoughts on “JOURNAL # 8”
In the chapter Meter, Rhyme, and Form, Addonizio and Laux share that in contemporary times, you don’t often see much traditional structure in poetry. Instead of following strict patterns, modern poetry often features lines of different lengths that move freely across the page, and the poets who abandoned traditional forms were challenging what they saw as the limitations imposed by rigid rules. As poetry continued to shift away from traditional forms, new generations of writers become unfamiliar with the structure of a sonnet and seldom attempt to write one. I agree with this. In my English classes growing up, we spent very little time on poetry. We were given some knowledge of meter, rhyme, and form, but it was so brief and superficial that I wasn’t able to fully grasp it, and now I struggle to read and hear it correctly.
The book also points out that poets in earlier times were familiar with formal traditions before making the then-radical shift to free verse. They understood the music of language, which allowed them to make that transition while still preserving a foundational sense of sound. Addonizio and Laux explain that we can develop a sense of rhythm similar to that of traditional poets, but because we primarily read poetry silently and rarely aloud, we aren’t able to fully hear it. In doing so, “we deprive ourselves of one of the cruel pleasures of poetry.” I think this is true. As we discussed in class on Tuesday during our Donald Hall discussion, hearing a poem aloud changes our perception of it—its theme, its message—because the sound affects the way we experience/understand it.
These concepts are especially important when considering the second half of the chapter on Meter, Rhyme, and Form. I found this section challenging because of the terminology and the rules associated with these concepts. I’ve always struggled with things like iambic pentameter and the units of measurement in meter. Meter, in particular, is the most difficult for me to understand, while rhyme comes more easily, likely because I’ve had more experience working with it. I think this also connects back to our class discussions and the beginning of the chapter about sound and poetry literacy: practicing traditional forms and reading classic poets aloud helps deepen our understanding of these concepts.
A common theme throughout this chapter is that poetry is about the sound of the language. I found I’m struggling to move away from a traditional rhyming scheme with my poems. I think that in my writing process, I get stuck on how the ending word sounds and feel I must rhyme the following with that. Sometimes it’s hard to build from the word, and I don’t appreciate the piece as much. After reading about strict rhymes, it clarified that I don’t have to focus so much on the end sounds, but rather on how each line can interact internally. I found this journal helpful because it provided examples of different structures and clarified patterns I was unaware of. A statement that stood out to me is that sometimes, restriction to a form pushes the writer to be resourceful and find the language they need. Reflecting on my stated struggle, I have a better concept of poetry forms and feel I can move away from my self-imposed rigid structure. It’s helpful to know that rhyming can be similar, not always so direct, which helps with my mindset. My choice of words can either look similar or sound similar, which is a half rhyme. Finally, I do read my poems out loud as they are crafted, but I now have a better understanding of how I can expand the language use and create different patterns within it.
This chapter encouraged me to become familiar with traditional forms of writing poetry. I usually prefer and am more familiar with free verse poetry. I like the quote “the individuality of a poet may often be better expressed in free-verse than in conventional form.” However, the description of meter, stressed and slack syllables, and iambic pentameter opened my eyes to how these details and inner workings of writing and language can improve a piece of poetry just with the sound of a word. I found it interesting how nursery rhymes and tongue twisters are related to the delight of reading poetry aloud in this chapter. It’s stated that “in poetry, a new cadence means a new idea.” Maybe that’s why children’s books tend to have writing with rhyme in it, they might stimulate creative thinking. I’d never heard of villanelles, rondeaus, or internal rhyme before, I never realized that different types had different names or terms, or that there’s so many different types. I thought that rhyme was just rhyme, no rules, just words that sound the same. The writing in this chapter points out how you can use rhyme to emphasize important words as well as using it to create a feeling of closure by making the end of a poem rhyme. “Two rhymes back to back at the end give a reader a strong sense of finality.” I’m inspired to try implementing this into my own writing to test it out and see how it sounds. I like when a poem has sort of a grand final stanza/line. This chapter made me appreciate the technique of rhyme more. I usually don’t like reading poems with a rhyme scheme because I feel like they degrade the quality of the poem and make it less serious, but this chapter made me see it in a different light. Because it’s been revealed to me that rhyme can be so intricate and be a thoughtful addition to writing, I can see that it actually contributes and increases the quality of the poem.
While reading Meter, Rhyme, and Form, there were a few things I noticed. First of all, there was a lot of information in this chapter. One thing I was confused about was Meter. I think I understand it well enough, but I don’t think I could explain it to someone if they asked. There were a couple quotes that I thought were interesting in this chapter. The first was regarding free verse vs formal poetry. “The issue, of course, isn’t whether anyone should write free verse or formal; that decision should come out of the poem’s requirements, out of the integration of form and content.” I thought this quote was really interesting because I agree that the form of the poem should come out of the poem’s requirements. Personally, I don’t like choosing a form and then writing my poem based on the form, it is too constricting. However, if I write a poem and the form starts to emerge, I will stick to it because it is working for what I am writing. The other quote I liked was “Meter and rhyme are ultimately about the sounds of language.” I thought this was interesting because I feel like poetry isn’t read aloud enough. Poetry slams and readings are some of the ways that poetry was meant to be performed, so these things are integral to the poem’s structure and success. One last thing that I liked was how they said that rhyming can be used to emphasize words. I think that is really interesting, I have never thought of it as a way to emphasize. I think that would be a very effective way to bring attention to certain parts of a poem.
What stood out to me in this chapter is the focus on how sound plays a crucial role in poetry. When I first started writing poetry, I often found myself stuck trying to rhyme in a traditional way, feeling pressured to match end sounds perfectly. This sometimes limited the flow of my poems and left me less satisfied with the result. Although I don’t write as much poetry that has the rhyming aspect to it, I still like to occasionally challenge myself with it, although I do still struggle. Reading about “slant” or half rhymes helped me realize that rhyme doesn’t have to be exact; the sounds can be similar or visually connected, which opens up new possibilities. The chapter gave clear examples of different rhyme structures and showed how restrictions, like rhyme schemes, can actually inspire creativity rather than hinder it. This insight feels freeing, and I now want to experiment more with internal rhymes and varied sound patterns rather than relying solely on strict end rhymes.
The section on meter, rhyme, and form also helped me understand why modern poetry often feels so free and unstructured compared to older styles. Poets today tend to avoid traditional forms like sonnets or fixed meters, partly because many of us never deeply learned those structures. The book explains that poets in the past mastered formal rules before moving toward freer verse, carrying with them a strong sense of rhythm and musicality. I realize that because I mostly read poetry silently, I miss the full impact of its sound. Hearing poems aloud can change how we interpret their meaning, which we touched on in class with Donald Hall’s work. Though the terminology around meter and rhythm can be confusing for me, I see the value in practicing these forms to deepen my poetic understanding.
Overall, this chapter inspired me to appreciate traditional forms more, even though I usually prefer free verse. Learning about meter, stressed syllables, and rhyme patterns opened my eyes to how these details shape a poem’s sound and emotional effect. I was surprised to discover so many distinct rhyme types and poetic forms I hadn’t heard of before, like villanelles and rondeaus. The idea that rhyme can create a sense of closure or emphasize important words made me want to try incorporating it into my writing in a more intentional way. While I used to think rhyme made poems feel less serious, I now see it as a sophisticated tool that can enrich a poem’s impact when used thoughtfully.
I think that most of all what this chapter intends to stress is that it’s important to be familiar with the roots of a discipline. That is to say, as the author impresses upon us, even if we are strictly writing in free verse as has been the tradition for much of the past century and some change, it remains a worthwhile endeavor to be educated on the classical forms of poetry. Regardless of whether or not we’re frequently going to be writing in iambic pentameter, as poets or even just as readers and enjoyers of poetry, it’s academically worthwhile to be able to identify these forms of meter whenever they crop up in a poem. The author of the textbook especially wanted us to be familiar with the sonnet, which he says is probably the most important form of poetry when it comes to studying the classics. I also liked what the author had to say about using certain forms to give a poem a strong sense of finality. The way that they stress this was by talking about two rhymes at the end of a poem being able to potentially leave a stronger ending impression on the reader. This is something that I’m going to try in my own poetry. I also appreciated that the author talked about being able to break convention, and that once you are familiar with the specific form and meter of a poem, you can play around with it as a contemporary writer. That you can stretch the poem’s form to fit what you want to do.
This chapter stood out to me a little bit, but it was also a little confusing. I did not understand at first how formal poems should not follow any specific rules but should still have their own special spark. What I did understand was the way these poems can be constructed. I liked how they explained that something like formal poetry is not useless, it can be used as a tool instead of a trap. They want the reader to know that meter and rhyme are not rules, they are pathways to shaping better poems. One thing I thought was interesting is their take on Form. They explained how form is not meant to limit creativity, but to channel it instead. So, I believe that could lead to things like different word choices or phrases. This all works within your own boundaries, so I think I can apply this kind of thinking to my own writing. What was helpful is how Meter can be broken down into more readable language. So instead of making it boring, you can connect rhythm to language in a way where you can almost hear the lines come to life when reading them out loud. So, I think Meter is something that your ears can learn over time instead of just memorizing everything all at once. Something that left me curious about this chapter was that writing in form, even if you do not use a lot of form in your poems, can train your mind for better writing. Rhyme is not just stuff you throw in a poem for the fun of it. It is more like a workout routine for the mind. I might never publish my own poems anywhere, but I can still sharpen my senses using what I learned in this chapter through free writing. I really thought this chapter changed my view on how formal poetry feels deep down. It should be less restrictive and more creative so I do not have to stress about what is good or bad writing.
At first, this chapter was extremely confusing to pick up on. At the beginning, they make an analogy about the directive and choice to write between free write and formal as a baby being thrown out with water, and I was completely clueless on what exactly that meant. Later on though, the writer talks about the deprivation we put upon ourselves of a crucial pleasure of poetry when we write poems without the intention of reading them out loud. Maybe what I am taking away from this part is that we should spend less time analyzing the poems and more time reading them, and taking them in. Implement them inside our heads and start the engine before trying to fly the plane. However, as I was reading the chapter more in depth, I think the main takeaway for this chapter that I picked up on was that instead of pushing aside the idea of rhyming and meter and instead utilizing them as the sounds of language, and that meter is organized rhythm. We can utilize them as formal roots in English Poetry. All in all, we should be familiar with the traditional forms of poetry but also experiment with writing straitjacket. Experimenting with poetry is one of the most powerful weapons we have, and we don’t tend to utilize it as much as we should.
Reading “The Lull” made me realize that the poem form is something that can be used contemporarily. Like many others, I thought of strict poem form and rhyme to be a limiting factor on what I could write. I found it to be too restrictive and make things feel forced. Peacock’s poem, on the contrary, flows because of the enjambment the book notes. It makes me realize that there is still a lot of fun to be had in constructing a sonnet with firm rhyme structures.
Poets have overwhelmingly agreed that the traditional forms of poetry cannot show the expression of new moods. To create a new rhythm, to create new moods, poets do not follow “free-verse” as the only method of writing poetry instead they state that the individuality of a poet can be best portrayed in free verse. Every poem has rhythm but when the rhythm is highly organized and syllables are stressed is when we have meter. When we read poetry and pay attention to the meter it is called scansion. Without this and meter it is just you and a blank page with no emotions. There are also many different types of sonnets. Sonnets are composed of different rhyme schemes. Some of them include petrarchan, shakespearean, and spenserian. Something that I found helpful in this chapter is the explanations of traditional poetic language. This was helpful to me because when I started to write poetry I didn’t consider rhyming schemes but now I think it would be interesting to implement them every once in a while.
Chapter eight goes into depth about meter, rhyme, and form–explaining the meanings and significance of using them in poetry. Most people think a rhyme just consists of words that sound similar such as “hide” and “tide” but, there are also such things as slant rhymes, vowel rhymes, eye rhymes, and of course strict rhymes. Before reading this chapter I was not aware that eye rhymes existed. An eye rhyme is something that doesn’t sound similar but appears to the eye–a visual rhyme; for example, “plough” and “cough”. A cool detail about rhyming is that it can be used to emphasize significance–in other words to intentionally highlight a word the author wants to stand out to the reader. There are many different forms of poetry, you got the traditional form: a sonnet, petrarchan, shakespearean, and spenserian. The original sonnet originated in Italy. What I found interesting about this chapter is the meter aspect of poetry–it is not something I would have expected to play a role in poetry but now I can see why it matters.
This chapter discusses a lot of the technical aspects of poetry, which are new to me. I learned a lot about meter and how the rhythm and syllables are very important. Before reading this chapter, I wasn’t familiar with the concept of feet in a metric verse. After reading I now see how the meter affects the poem, and how the actual sound of the poem is really important. I am still a little bit confused on some of the terms, like iambic pentameter and stress and slack syllables, but I am slowly learning about meter and rhyme.