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Accentual Poetry, AE Housman, Ballad, dVerse Poets Pub, FormForAll, Led Zeppelin, Oscar Wilde, Robert Service, Rudyard Kipling, Tony Maude
Hello poets everywhere. My name is Tony Maude and it’s my privilege, once again, to welcome you to Form for All.
There comes a time when nearly everyone who learns to play the guitar ‘invents’ the pentatonic scale, the sequence of tones and semitones which forms the foundation of almost all modern western music from Mozart to Metallica. In the same way, it doesn’t take long for a developing poet to ‘invent’ a system of quatrains of alternate cross-rhymed iambic tetrameter and trimeter – what in plain English is called the ballad form.
We shouldn’t be surprised at this. From nursery rhymes to rock music, the ballad form is everywhere. Its lilting dance (the term ballad comes from the Italian ballare, meaning to dance) is a very familiar component of the cultural landscape. Take, for example, this nursery rhyme;
Doctor Foster went to Gloucester
in a shower of rain.
He stepped in a puddle right up to his middle
and never went there again.
Here’s another example from my childhood:
Jack Spratt could eat no fat.
His wife could eat no lean.
And so between them both, you see,
They licked the platter clean.
Or what about this from Led Zeppelin?
There‘s a lady who‘s sure all that glitters is gold
and she‘s buying a stairway to heaven.
When she gets there she knows, if the stores are all closed,
with a word she can get what she came for.
These are all perfect examples of the form – and we’ll be using them as we look more closely at the characteristics of the ballad, thinking particularly about rhythm, meter, rhyme, and stanza length. We have to start somewhere, so we’ll begin with:
Rhythm or Meter?
When I mentioned to the dVerse staff that I was considering bringing the ballad form to the pub this week, it didn’t take long before I was asked, “Are you talking about the form with alternate lines of tetrameter and trimeter?” The short answer is, Yes, but that’s not the whole story.
Strictly speaking the ballad form is NOT metrical, but accentual. Although most literary examples of the form do follow a regular metrical form, what actually matters is the number of beats in each line; four beats in the long line, three in the shorter one. If we subject the examples I’ve already given to some metrical analysis, that will hopefully become a bit clearer. We’ll deal with Doctor Foster first. Here’s the rhyme written out with the accented syllables in Upper Case letters and lines to denote the metrical feet:
DOCTor/ FOSTer/ WENT to/ GLO(uce)STer
IN a/ SHOWer/ of RAIN/.
He STEPPED in/ a PUDDle/ right UP to/ his MIDDle/
and NEV/er went THERE/ aGAIN/.
We can see that the first line contains four trochees, one for each accent. But the second line has two trochees and an iamb for its three accents. The third line has amphibrachs for each of its four stresses, while the last line goes iamb/anapest/iamb – three stresses. To put it frankly, the meter is all over the place. But the rhythm is perfect.
Performing the same exercise on the Jack Spratt rhyme gives this result:
JACK/ SPRATT/ could EAT/ no FAT/.
His WIFE/ could EAT/ no LEAN/.
And SO/ beTWEEN/ them BOTH/, you SEE/
they LICKED/ the PLATT/er CLEAN/.
This is an almost perfect set of iambs – apart from those two pesky monosyllabic feet right at the start of the first line.
It is Led Zeppelin who are the most consistent with their use of meter:
There’s a LA/dy who’s SURE/ all that GLITT/ers is GOLD/
and she’s BUY/ing a STAIR/way to HEAVen/.
When she GETS/ there she KNOWS/, if the STORES/ are all CLOSED/,
with a WORD/ she can GET/ what she CAME for/.
Perfect anapestic meter, with feminine line endings in the three-stress lines.
Now that’s been pretty heavy going and I think that if you have got this far you deserve a break. Here’s a link to The Bricklayer (a.k.a. The Sick Note) performed by the Corries – a song that demonstrates perfectly the strong rhythm (alternate lines of four and three accents) and wobbly meter of the ballad form. If you’re up for a challenge, you might like to try a metrical analysis on the lyrics … smiles. You can find them here among other places.
Rhyme
When it comes to a consideration of rhyme in the ballad form, then there is one dominant pattern – although others can be used. Here is Emily Dickinson’s Because I could not stop for Death which displays this scheme clearly:
Because I could not stop for Death,
He kindly stopped for me;
The carriage held but just ourselves
And Immortality.
We slowly drove, he knew no haste,
And I had put away
My labour, and my leisure too,
For his civility.
We passed the school where children played,
Their lessons scarcely done;
We passed the fields of gazing grain,
We passed the setting sun.
We paused before a house that seemed
A swelling of the ground;
The roof was scarcely visible,
The cornice but a mound.
Since then ’tis centuries; but each
Feels shorter than the day
I first surmised the horses’ heads
Were toward eternity.
If we concentrate on the first stanza, the rhyme scheme is easy to spot:
Because I could not stop for Death, (x)
He kindly stopped for me; (a)
The carriage held but just ourselves (x)
And Immortality. (a)
As you can see, lines 1 and 3 are unrhymed, while lines 2 and 4 rhyme. This is the dominant rhyme scheme in the ballad form.
According to Frances Stillman in The Poet’s Manual and Rhyming Dictionary – if you don’t have a copy of this, I strongly recommend that you get one – the reason for this has to do with the origins of the ballad form. She says:
“Heptameter is the name of the seven-foot line. It is frequently called the ballad line, since it is often used in that form of poetry. In ballads the line, used in couplets, has a break (or caesura) after the fourth foot; it is usually broken into lines of four and three feet.”
It is this use of the line break (or caesura) that results in the familiar ballad rhyme scheme we saw in Because I could not stop for Death above.
But that isn’t the only possible rhyming pattern. If we look again at Stairway to Heaven we can see another:
There‘s a lady who‘s sure all that glitters is gold (a)
and she‘s buying a stairway to heaven. (x)
When she gets there she knows, if the stores are all closed, (a)
with a word she can get what she came for. (x)
Here lines 1 and 3 rhyme – it’s consonant rhyme – and lines 2 and 4 are unrhymed. (While we’re here, have you spotted the internal rhyme knows/closed in line 3?)
I’m sure that if you want to you could write ballads with other rhyme schemes; abab and aaxa spring to mind as possibilities, but we need to move on before this already lengthy article becomes simply too long for anyone to bother about.
We have three more things to consider, of which two have to do with the layout of our ballads. The first is:
Line Length
Traditionally ballads are laid out in alternating lines of four and three stresses, but they don’t have to be. There are lots of poems where the ballad lines are not divided. Examples include Rudyard Kipling’s Tommy, A E Housman’s The Colour of His Hair and Robert Service’s The Shooting of Dan McGrew, the opening stanza of which I quote here:
A bunch of the boys were whooping it up in the Malamute saloon;
The kid that handles the music-box was hitting a jag-time tune;
Back of the bar, in a solo game, sat Dangerous Dan McGrew,
And watching his luck was his light-o’-love, the lady that’s known as Lou.
If you read it out loud, you can easily tell where the caesuras would be if Service had chosen to use them.
The second part of thinking about the layout of our ballads is:
Stanza Length
Traditionally ballads are laid out in quatrains, but they don’t have to be. Kipling’s Tommy is laid out in octains while Oscar Wilde’s The Ballad of Reading Gaol is laid out in stanzas of six lines, one of which I show here:
He did not wear his scarlet coat,
For blood and wine are red,
And blood and wine were on his hands
When they found him with the dead,
The poor dead woman whom he loved,
And murdered in her bed.
Subject
When it comes to the subject for your ballad, the world really is your oyster. Pretty much anything goes, although it is fair to say that the vast majority of poems in ballad form are written in a narrative style. This is poetry with a story to tell – usually high on action, not so strong on description – but, as we have seen, the form is incredibly flexible.
And Finally …
So there you have it, the ballad in all its glory. There are some who look down on this form, despising its folksy feel, its lilting dance, its sing-song cadences and the fact that, very often, it is used to write humourous verse. However, as the examples above show, it was good enough for Dickinson, Kipling, Housman and Wilde – and to this list I could have added Sir Walter Scott, Lewis Carroll, W.H. Auden, John Betjeman and many others who have put it to good use.
Now it’s over to you.
What to do now.
• Write your ballad poem and post it to your blog.
• Add a link to your poem via the ‘Mr Linky’ below.
• This opens a new screen where you’ll enter your information, and where you also choose links to read. Once you have pasted your poem’s blog URL and entered your name, click Submit. Don’t worry if you don’t see your name right away.
• Read and comment on other people’s work to let them know it’s being read.
• Share your work and that of your fellow poets via your favourite social media platforms.
• Above all – have fun!
PS – Ballads and Music
added 20th September 2013
We saw above that the ballad form is a familiar part of the cultural landscape that many of us were raised in, being found in nursery rhymes, folk songs and even rock music. And it is the connection between the ballad form and music that I wanted to say something about here, because this can be a great help in writing ballad poems.
In music the most common meter is, unsurprisingly, called Common Meter, usually abbreviated to CM. Loads of really familiar tunes are in CM; Amazing Grace and Crimond (23rd Psalm) are two that come to mind immediately. Lots of folk songs are also written with CM tunes; The House of the Rising Sun and the Star of County Down spring to my mind as examples.
Common Meter is the musical equivalent of the ballad form in poetry. When you are writing a ballad, one way to keep the rhythm in mind is to imagine singing your lines to one of these tunes. If the words fit, give or take the odd extra syllable which folk songs frequently have, and you have a couple of rhyming lines in each stanza, then you’ve almost certainly written a ballad poem … smiles.
Tony Maude said:
Good day to you poets, I hope you’ve brought your singing voices with you; these ballads are a real foot-tapping sing-along treat … smiles
claudia said:
smiles… i brought my guitar…so if anyone wants to sing…i’ll play along…smiles
Tony Maude said:
We’d better tune up – I brought mine too … smiles back
claudia said:
ah nice…. this is going to be fun…smiles
Tony Maude said:
I’m going to stop singing now – my voice seems to be scaring the poets off …
claudia said:
smiles.. i don’t think it’s your voice… they’re all busy writing– and counting stresses…smiles
barbara_y said:
Many thanks. You’ve clarified several things for me.
Tony Maude said:
My pleasure. I’m so glad you found this article helpful. Will you be joining in by writing your own ballad now?
barbara_y said:
I’m thinking on it.
Tony Maude said:
You know you want to really – you don’t have to wirte an epic … smiles
Heaven (@ScarletVerses) said:
A tough challenge Tony ~ I have managed following the rhyme scheme but stress/unstress/meter….its all complicated for me ~ Thanks for showing us how its done ~
Happy Thursday to all ~
claudia said:
ah you did well grace..your orange bouquet harvest moon…hmmm… enjoyed
Tony Maude said:
Hi Grace,
The easiest way is to write the whole thing in iambs ( or anapests …or other metrical foot of your choice) and then stick to alternate lines of four and three. But the ballad is quite forgiving; some of my three-stress lines could easily have been four-stresses; it’s all a matter of how you say the lines.
Heaven (@ScarletVerses) said:
I see now that the easiest way is to write in alternate lines of 4 & 3 ~ I usually start with the ending rhymes and work backwards/fit it into a structure ~
I will be commenting/visiting when I get home from work ~ Thanks for all your support and encouragement ~
Don’t miss that harvest moon tonight, smiles ~
Tony Maude said:
No chance of seeing that moon here tonight – it’s tipping it down with rain.
Björn Rudberg (brudberg) said:
Ha, wonderfully fun.. I’m just looking for a voice for my shanty now – just been to a classic concert… No ballads there.
Tony Maude said:
Can’t think why, Bjorn – ballads can be a barrel of laughs. Of course, as yours demonstrates, they can be tragic too.
Björn Rudberg (brudberg) said:
Indeed.. But symphonies usually hides those ballads pretty deep 😉
Mary said:
Thanks for the article, Tony. Lots of information within. I really quite enjoyed it & learned some things. Appreciate you tending the bar today.
Tony Maude said:
Always a pleasure and privilege to tend the bar – and I learn quite a lot when I’m preparing the articles.
hypercryptical said:
Thank you for the excellent prompt Tony – I took clues of what it was to be after reading the lovely Claudia’s ballad. A bit tired so not sure whether I have delivered the goods – do hope so.
Anna :o]
claudia said:
just coming from your place…enjoyed your piece…autumn and ballads seem to go well together…smiles
hypercryptical said:
Thanks Claudia – much appreciated.
Anna :o]
Tony Maude said:
You certainly delivered, Anna. Thanks for joining in.
hypercryptical said:
Thank you so much Tony.
Anna :o]
Marya said:
This looks like fun, Tony, thanks for the article. Will try to come up with something, though not sure yet. Do we need a ukulele for our orchestra?
Tony Maude said:
Oh, yes please – do join in and bring your ukelele … smiles
Marya said:
Done!
Tony Maude said:
Very nicely done too – and I see I gained a promotion to Professor … smiles
claudia said:
ukulele….YES PLEASE!!!! smiles
Marya said:
🙂
charliezero1.wordpress.com said:
This sounds and looks fun. 🙂 Hopefully I could give the ballad a shot. 🙂
claudia said:
ah i hope you do charlie…
Tony Maude said:
You know you want to Charlie … resistance is futile … smiles
claudia said:
ok poets…bedtime in my german time zone…will check back in the am for new ballads….smiles… hope some of you give it a try… it is fun….at least i really had fun with it…smiles…thanks tony.. *waves over to scotland…*
Tony Maude said:
Gute Nacht, liebe Claudia, und vielen Dank.
Ballads are fun – or at least I think so … smiles
aprille said:
What a thorough and in-depth post:
‘exhaustive’ is the word I’m looking for.
Fabulous the way you touched on sides of this metre puzzle that I had not even realized I was wondering about. Very impressive.
Now I shall have to try and cobble something together. I am not hopeful, even though it seemed easy at first, it really isn’t.
Tony Maude said:
Was that exhaustive or exhausting? Seriously, I really enjoyed researching this article, and I had a blast writing my ballad.
Ballads are real pub-poetry; not too bothered about the niceties of meter as long as there’s a good rhythm and rhyme going.
Maggie Grace said:
I get lost in the language of poetic form but I did one with rhyme and rhythm. Not sure it’s exactly a ballad though.
Tony Maude said:
This is a very flexible form and your entry matches both the requirements -rhythm and rhyme … smiles
Gay Reiser Cannon said:
Tony! Awesome article on Ballads. Yipee! I had hoped to have one ready when the pub opened for business but I’ve been more than an hour late and a dollar short for some time now and today is no exception. I will absolutely see if I can get one up before closing AND if not for #OLN next time. Appreciate the information, and so very glad it’s on the website for reference.
Tony Maude said:
Hi Gay – we all know that life sometimes forces us to make choices we’d rather not have to, and that sometimes that means that we don’t get to do the things we WANT to do because of the pressure of doing what we HAVE to do.
Thanks for dropping in – and I’ll look out for your poem either before the weekend or next Tuesday.
Tony Maude said:
Well folks, it’s getting late here in Scotland, so I’m going to call it a night. I’ll be back in the morning for a bit – and then again to orrow evening – to catch up
howanxious said:
Hey,
It is good to understand ballad. I once read Lord Ullin’s Daughter by Thomas Campbell and I was deeply impressed by it and that was all the experience I had of reading and humming a ballad.
Thanks for the information. It was really interesting to know it all.
I find myself a little lazy… and hence, I have written something ballad-type. 🙂
-HA
Tony Maude said:
You’ve used the form well, HA. Ballad forms are natural candidates for writing protest poems/songs and you’ve reminded us of a really important and tragic issue with yours.
Once you start writing and hearing those ballad lines, it can be hard to stop … smiles
ManicDdaily said:
Thanks, Tony, for this terrific article. K.
Tony Maude said:
Thank you, k. The pleasure is all mine … smiles.
ManicDdaily said:
I also wanted to tell you how much your own poem got me thinking of what to do. It was so helpful and fun. Thanks. k.
ramblingsfromamum said:
Great article Tony, trying to get my head around it, as I am one unfortunately who doesn’t write with any form in mind – possibly good..possibly not. Very informative however and I shall give thee ballad a try! 🙂
claudia said:
great that you give it a try… i think it’s good if we stretch our poetic muscles a bit every once and a while and go beyond our comfort zone.. there’s so much to learn out there…smiles
ramblingsfromamum said:
That I shall – I think I’m starting to limber up before I get into the stretching 😉 thanks Claudia ready and waiting..
Tony Maude said:
Your ballad is great fun, Rambly – and if the Irish accent helped you to write it, then more power to your shellelagh … smiles
ramblingsfromamum said:
ah I thank you Tony – a little bit of fun *smiles*
claudia said:
whew… quite some overnites…good morning…will start reading once i had a sip of coffee…smiles
Tony Maude said:
I see there’s been a whole lot of balladeering going on while I’ve been asleep … smiles. Coffee in hand, I’m out on the trail to do some catching up.
freyathewriter said:
A challenge! I confess to being much more of an instinctive poet than one who knows and understands all the forms, so this was quite a tough one for me. I hope it works!
Tony Maude said:
This is a form that rewards practice; it’s strong rhythm and rhyme scheme gets into your head and then comes out through the pen/keyboard. Will be round to read yours later – for now, I have a creative writing group to lead
freyathewriter said:
Thank you, Tony – I wasn’t expecting a response to be honest! 🙂
I love reading poetry and it is something I have come back to after a hiatus, followed by my own tentative steps into writing it myself. I am looking forward to the journey.
Tony Maude said:
I’m through 25 now – will be back later to catch up with the rest … smiles
http://vivinfrance.wordpress.com said:
Great prompt – and a fun form, though most of my ballads end up as doggerel!
Tony Maude said:
Ah yes, that may be so, but one woman’s doggerel is another man’s poetry/folk song … smiles.
freyathewriter said:
Eeek! my link at number 30 needs to be removed, as I put the wring URL in the link (it links back to here). Please can you help a termporary Luddite? I have put the correct link in at 32… Doh!
freyathewriter said:
Sorry – it’s number 33 that is the correct one. I blame it on the cold I’m battling…
Tony Maude said:
I’ve sorted that out for you, Freya … smiles
freyathewriter said:
I’m not usually such a klutz! Thank you 🙂
Susan said:
I wrote and tossed out a ballad on nuclear waste before deciding on this content, rewritten from an earlier poem I read recently at an open mic cafe. My conclusion: the ballad form is harder than it seems! I have new respect for folk songs and writers.
Tony Maude said:
I think it’s quite hard to get started, but once you have got the rhythm in your head, then it can be equally hard to stop, which probably goes a long way to explaining why folk songs end up being so long … smiles
Liz Rice-Sosne said:
I do hope that a bit “O” freestyle is OK.
Tony Maude said:
We enjoy freestyle here too.
claudia said:
whew… made it back finally…and catching up…smiles… hope you’re all having a wonderful friday..
Snakypoet (Rosemary Nissen-Wade) said:
I love ballads! Thank you for this prompt. (And today I have a sad-but-true story which I think is perfect for the form.)
Tony Maude said:
Writing ballads can be great fun – and they can be written about almost anything. It’s such a flexible form.
Tony Maude said:
OK – it’s time for me to tidy this place up. Thanks to everyone who took part; especially those who then took time to read other poets’ work.
Once I’ve finished with the tidying, I’m sending the keys over to the US because Mary will be hosting Poetics later on Saturday. The pub re-opens at 3pm EST