Description
PART 1 :
Write no fewer than two and no more than seven poems, all of which use some of the formal structures outlined in Chapter 15 of the Handbook (80–100 lines). (around 900 words)
Poetry TMA 5 GUIDANCE
If you choose this option, your poems should explore the potential of the forms discussed in Chapter 15 of the Handbook: the villanelle, the pantoum, the sestina, the sonnet.
You may limit yourself to one of the forms (for instance, you could submit two sestinas), or you may submit examples of two, three or all four forms. It is up to you whether you choose a conventional or more experimental version of any of these forms, although your decision here should not be arbitrary, and will need to be explained in the commentary. The subjects of each poem may be entirely different, or, if you prefer, you may link two or all of the poems.
To remind you about respective length,
• . a villanelle is 19 lines;
• . a pantoum uses 4-line stanzas, but can be of any length;
• . a sestina is 39 lines;
• . a sonnet is traditionally 14 lines.
You could therefore (for instance) present any of the following within the 80–100 lines maximum stipulated for this TMA:
o . six or seven sonnets (84 or 98 lines);
o . two sestinas (78 lines);
o . two sestinas and a sonnet (92 lines);
o . a villanelle, a sestina, a sonnet and a pantoum of up to 28 lines (100 lines).
There are many other possible variations.
Please put a line count under each poem, and a total line count at the end. Epigraphs, footnotes, titles or sub-titles are not part of the line count.
Writing in received forms, or experimental versions of them, is not simply a question of being accurate about length. You should bear in mind the advice given in the Handbook and on the CDs about the use of interesting and dramatic language; the use of analogy; the power of repetition; and the need for economy. There are several poems in the Handbook and some on CD3 which may help you to find an appropriate form for what you write. All of them use repetition of some kind, whether of phrasing, sound, image or form.
Your poems may be based on experience or imagination, or a mixture of the two. Bear in mind the guidance given in the Handbook about the kinds of subject which are appropriate to the chosen forms. Note that the use of rhyme is not mandatory in any of the forms, except the villanelle (and there are even examples of unrhymed villanelles). If you do use rhyme, try to do so subtly, such as via half or slant rhyme. Be wary of rhymes which chime in an unintentionally absurd manner. A poem which uses exact and simple end-stopped rhymes and a very pronounced beat may sometimes lead to an unintentionally comic or childish effect. Avoid using archaic language and inverting your syntax artificially. Also, unless you have a convincing reason, it is unwise to write in a series of very short lines.
A good poem needs to have a clear focus. It should avoid abstractions and any lengthy exposition or explanation. These forms are not made for ‘telling a story’; it is best to see each of your poems as an exploration of a particular incident, subject, insight or theme. Make sure to read what you have written aloud, to check for sound and rhythm, fluency and pace.
PART 2
Write a commentary (750 words) about the process of creating your writing. In your commentary, you should reflect on your use of form, structure and style, with specific reference to Part 3 of the Handbook.
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