Today, 09:01 AM
Looking over the discussion, considering some assumptions.
First, that the reading of the poem is linear - like the mouse's tale, it starts at the beginning, comes to the end, then stops.
Unless we're considering nth readings and skipping ahead, that means you start with a cleans slate and a full bag of tricks, and as the read progresses the slate gets dirty and the bag empties. (Okay, the title is on the slate to begin with, but it's easy for the reader to forget.)
So, you start with a brilliant first line or couplet. You're now one trick down and the reader's expectations are raised (assuming it worked). You see where this is going: you don't want to get well along in the work but with nowhere to go (in the story, but mainly talking about wordcraft here). On the other hand, the surprise ending (or the like) is a cliche. Where do you peak so as not to disappoint and potentially bore the reader?
The impression I get from the above is that in addition to rhetorical high points there need to be turns (like the conventional turn at the end of a sonnet). A sudden change of ground or direction as opposed to a brilliant firework line that's gone once the reader has time to savor it and then read on. And for a work of more than a few lines, there should be several such turns.
Of course they can't be too wild (in the meantime, everyone back at the ranch has died of monoxide poisoning from that leaking charcoal stove). Or can they?
First, that the reading of the poem is linear - like the mouse's tale, it starts at the beginning, comes to the end, then stops.
Unless we're considering nth readings and skipping ahead, that means you start with a cleans slate and a full bag of tricks, and as the read progresses the slate gets dirty and the bag empties. (Okay, the title is on the slate to begin with, but it's easy for the reader to forget.)
So, you start with a brilliant first line or couplet. You're now one trick down and the reader's expectations are raised (assuming it worked). You see where this is going: you don't want to get well along in the work but with nowhere to go (in the story, but mainly talking about wordcraft here). On the other hand, the surprise ending (or the like) is a cliche. Where do you peak so as not to disappoint and potentially bore the reader?
The impression I get from the above is that in addition to rhetorical high points there need to be turns (like the conventional turn at the end of a sonnet). A sudden change of ground or direction as opposed to a brilliant firework line that's gone once the reader has time to savor it and then read on. And for a work of more than a few lines, there should be several such turns.
Of course they can't be too wild (in the meantime, everyone back at the ranch has died of monoxide poisoning from that leaking charcoal stove). Or can they?
Non-practicing atheist