The Wild Iris: Form
Every poet wishes to take off and be free. While some poets believe it’s liberating to utilize their ingenuity within the secure margins of a proper metrical organization or rhyme scheme, other poets, like Louise Gluck, favor reformulating the wheel, exercising free verse to make up the poem's composition as they follow.
The Wild Iris includes seven stanzas of different lengths. Gluck frequently makes the coherent links between the stanzas mysterious in order for meanings to emerge during the white spaces. However, those recurrent white spaces are not present to ease the eye. They are intended to present the readers an opportunity to think in silence and to join the poem's ideas.
The rhythmical practice of enjambment is another approach that Gluck uses to elicit attention to what she's not stating. For example, by ending lines 3 and 17 with white spaces after the word "death" and the phrase "the other world," Gluck leaves the readers to fend for themselves without the safety kit of a period or a comma.
Although the poem does not have a fixed meter, Gluck exercises rhythm to develop the straightforward language and conversational quality of the poem. Recurrent accent on single-syllable words hints at this method’s significance in the poem: "Hear me out: that which you call death," and "I tell you I could speak again." Gluck grabs the readers’ attention by employing a formal metrical structure, in which each of the two lines includes triple spondees.
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