What is Verse?
Introduction
VERSE is a method of formatting text. It is defined by lineation: that is by the line and the line break. It is different from a paragraph, which is defined by the margin of the page.
There are many types of verse beyond the type you're used to seeing in a Shakespeare play or in a poem. On this page, we'll take a look at a few types.
(Ideas which are original to Emily C. A. Snyder will be marked by an asterisk.) *
There are many types of verse beyond the type you're used to seeing in a Shakespeare play or in a poem. On this page, we'll take a look at a few types.
(Ideas which are original to Emily C. A. Snyder will be marked by an asterisk.) *
Types of Verse
TYPES OF VERSE can be broken down in a few ways, according to the formatting of what Glyn Maxwell calls the Black and the White - that is, the Words and the White Space. On this page, we'll be looking at arrangement of words.
There are several types of verse. Some of which are:
There are several types of verse. Some of which are:
- STICHIC: Verse where one line of verse follows after another regularly, with no regular breaks. If the stichic lines are tightly formed, such as by using strict repeated meter, we will call this eidetic stichic verse. If the lines are in stiches, but the line endings are loose over the page, we will call this protean stichic verse.*
- STROPHIC: Verse where lines of verse are organized into groups. These line groups may be even (stanzas) or uneven (pindarics).
- ADETOSIC:* Verse where the lines are in unbound or loose arrangement on the page with no particular organization. (From the Greek word for "unbound.")
- MORPHIC:* Verse where the lines create a shape (circle, star, heart, pennants, wave, etc.).
Why is Format Important?
FORMATTING the Black (words) against the White (white space) conveys important information from the playwright to the performer. Since white space, in particular, means something different depending on the formatting of the text, performers are constantly looking for clues within the formatting in order to hear and convey the "music" of the script.
- PARAGRAPH form frequently gives the performer many choices, since the playwright is not encouraging certain starts and stops through the use of white space. In paragraph form, the playwright can use emotive formatting and punctuation - as well as any other ornament such as meter, rhyme, etc. - to convey the sense of the script's music, but their use of white space is limited.
Let's try it! Take a look at the following examples and try to perform them yourself. What did you find? How was white space used? What did the placement of the lines encourage you to emphasize? Did you feel any shift from one form to another?
EXAMPLE: Eidetic Stichic Verse
STICHIC VERSE is the most common form of Anglophone verse drama from the 1560's to the present. A popular example may be the majority of the verse found in Shakespeare's work.
In this example, notice how the lines follow one after another, without any breaks between lines. Even when a white space border is put between character's lines of verse, you'll notice that the performers are encouraged to keep speaking with no pauses between character lines.
In this case, the stichic verse is eidetic, which is to say it is kept generally in a very strict, even and regulated form. This is achieved by Shakespeare's use of strict repeated meter.
In this example, notice how the lines follow one after another, without any breaks between lines. Even when a white space border is put between character's lines of verse, you'll notice that the performers are encouraged to keep speaking with no pauses between character lines.
In this case, the stichic verse is eidetic, which is to say it is kept generally in a very strict, even and regulated form. This is achieved by Shakespeare's use of strict repeated meter.
William Shakespeare, Hamlet (Act I, Scene 2)
KING CLAUDIUS.
Take thy fair hour, Laertes; time be thine, And thy best graces spend it at thy will! But now, my cousin Hamlet, and my son,-- HAMLET. (Aside.) A little more than kin, and less than kind. KING CLAUDIUS. How is it that the clouds still hang on you? HAMLET. Not so, my lord; I am too much i' the sun. QUEEN GERTRUDE. Good Hamlet, cast thy nighted colour off, And let thine eye look like a friend on Denmark. Do not for ever with thy veiled lids Seek for thy noble father in the dust: Thou know'st 'tis common; all that lives must die, Passing through nature to eternity. HAMLET. Ay, madam, it is common. QUEEN GERTRUDE. If it be, Why seems it so particular with thee? HAMLET. Seems, madam! nay it is; I know not 'seems.' 'Tis not alone my inky cloak, good mother, Nor customary suits of solemn black, Nor windy suspiration of forced breath, No, nor the fruitful river in the eye, Nor the dejected 'havior of the visage, Together with all forms, moods, shapes of grief, That can denote me truly: these indeed seem, For they are actions that a man might play: But I have that within which passeth show; These but the trappings and the suits of woe. |
EXAMPLE: Eidetic Strophic Verse in Stanzas
STROPHIC VERSE was very common in Medieval Anglophone drama when verse texts rhymed, encouraging authors to organize their verse into groups. We still see strophic verse used in modern verse drama, especially in the use of sung verse (lyrics).
In this example, notice how the lines are grouped. Notice too that the white spaces between the strophes are not necessarily invitations to silence, even when lines are shared by more than one character. In this example, the strophes are pindaric, which means that they are of uneven lengths. For the sake of this example, the "refrain" area of Dipsychus' lines are slightly indented. In strophic, as in adetosic verse, indentations from the left-justified line do not necessarily indicate the performance of silence.
In this example, notice how the lines are grouped. Notice too that the white spaces between the strophes are not necessarily invitations to silence, even when lines are shared by more than one character. In this example, the strophes are pindaric, which means that they are of uneven lengths. For the sake of this example, the "refrain" area of Dipsychus' lines are slightly indented. In strophic, as in adetosic verse, indentations from the left-justified line do not necessarily indicate the performance of silence.
Arthur Hugh Clough, Dipsychus (Part II)
DIPSYCHUS.
How light we go, how soft we skim, And all in moonlight seems to swim! The south side rises o’er our bark, A wall impenetrably dark; The north is seen profusely bright; The water, is it shade or light? Say, gentle moon, which conquers now The flood, those massy hulls, or thou? (How light we go, how softly! Ah, Were life but as the gondola!) How light we go, how soft we skim! And all in moonlight seem to swim. In moonlight is it now, or shade? In planes of sure division made, By angles sharp of palace walls The clear light and the shadow falls; O sight of glory, sight of wonder! Seen, a pictorial portent, under, O great Rialto, the vast round Of thy thrice-solid arch profound! (How light we go, how softly! Ah, Life should be as the gondola!) How light we go, how softly-- SPIRIT. Nay; ’Fore heaven, enough of that to-day I’m deadly weary of your tune, And half-ennuyé with the moon; The shadows lie, the glories fall, And are but moonshine after all. It goes against my conscience really To let myself feel so ideally. Come, for the Piazzetta steer; ’Tis nine o’clock or very near. These airy blisses, skiey joys Of vague romantic girls and boys, Which melt the heart and the brain soften, When not affected, as too often They are, remind me, I protest, Of nothing better at the best Than Timon’s feast to his ancient lovers, Warm water under silver covers; ‘Lap, dogs!’ I think I hear him say; And lap who will, so I’m away. |
EXAMPLE: Adetosic Verse
ADETOSIC VERSE* has become more popular since the 20th Century with the rise of free verse from the French schools. Adetosic verse allows the Black to freely sprawl over the White. Sometimes indented, sometimes scattered, sometimes in the occasional strophic or stichic passage, and so on. Performers are encouraged to express the verse by instinct, rather than by a set of rules governing the performance of white space on the page.
In this example, notice how there is borrowed use of strophic and stichic passages, that the Black is still freely arranged on the White of the page. While in stichic verse (like Shakespeare) an indentation at the beginning of a line might indicate silence, here the lines are freely justified (rather than left justified), and indentation may not necessarily encourage silence (similar to strophic verse). However, unlike strophic verse, the white space between groups of text may indicate a slight pause, the way it might in stichic verse. Ultimately, performers are encouraged to feel their way intuitively through the text.
In this example, notice how there is borrowed use of strophic and stichic passages, that the Black is still freely arranged on the White of the page. While in stichic verse (like Shakespeare) an indentation at the beginning of a line might indicate silence, here the lines are freely justified (rather than left justified), and indentation may not necessarily encourage silence (similar to strophic verse). However, unlike strophic verse, the white space between groups of text may indicate a slight pause, the way it might in stichic verse. Ultimately, performers are encouraged to feel their way intuitively through the text.
Emily C. A. Snyder, Galatea (Short Play)
GALATEA. May I speak now?
This mouth is strange: Although you cannot see it, He carved me out a tongue-- Like so: (She shows it.) And teeth and lungs, Bone, tendon, sinew, Each strand of hair A careful indication, and Aye. (Holding her stomach.) A barren place as well, to match with Here… (Touching her heart. Then—) He gave me fingernails! But would not paint them. I am prettier a blank. Often, I have heard him speak to me: complaining, Of the simplicity of women—complexity? Simplicity. Simplicity, Simplicity—simp…lisssss… The word is music on my tongue: simplicity Like that water that he places on my tongue When he kissed me once good night-- He kissed me once with tongues, and said That he would fill my mouth with words, Like so much water-- Aye! And I should catch them Snowdropped On my tongue Lap them up with kisses And arrange them into song—! He forgot my vocal chords. |
EXAMPLE: Paragraph Form
PARAGRAPH FORM is different from verse, in that it is defined not by lineation (lines or line breaks), but rather the Black is defined by the margin. In paragraph form, White is only ever used as margin or border between two paragraphs. In performance, a full line of white space between paragraphs may be an invitation to a moment of silence, while a tabbed in beginning of a paragraph may be seen as simply an border between one paragraph and another.
In this example, notice how the Black is bordered by the margin rather than how in verse the Black is bordered by the White. In this example, a full line of white space is used between the paragraphs, inviting a moment of silence. You'll notice, just by looking at these two paragraphs, that white space in a performance text should often be considered as a possible clue to performance.
The following example also goes from stichic verse to paragraph form.
In this example, notice how the Black is bordered by the margin rather than how in verse the Black is bordered by the White. In this example, a full line of white space is used between the paragraphs, inviting a moment of silence. You'll notice, just by looking at these two paragraphs, that white space in a performance text should often be considered as a possible clue to performance.
The following example also goes from stichic verse to paragraph form.
Emily C. A. Snyder, Cupid and Psyche (Act IV, Scene 3)
ADONIS.
There was one other in your loathsome hunt. APHRODITE. I said, my Prince, be silent. ADONIS. (Overlapping.) One other who loved me—once. APHRODITE. No more, my sweet…no more, I say! ADONIS. (Overlapping.) One who was all the world to you and me. And he-- APHRODITE. I say no more! ADONIS. O He, was everything! But you and I meant nothing--nothing!—Nothing In the world to Him. APHRODITE. O, peace, Adonis … ADONIS. List. I’d have you understand The day he murdered me—well, I say murdered, ‘twould better say the day I died, for I had long been murdered in his heart—the day, therefore, the god of Love last laid hands on me, he took me by the throat, shook me once, as though I were a burr he couldn’t make let go, and with his perfect hand squeezed out my carnal soul. I clung to him as long as there were feeling in my fingertips, for he was warm, and O! I loved him. And wished, mark you, yearned for him to murder me again! For then all his thoughts must turn to me. Both his hands rest firm on me. His eyes remain on mine. And I could die content within his arms. I looked into his early-morning eyes—that sometimes have shone silver when he’s glad—and hoped therein to see myself at last. But as I gazed on him, my sight grown weak, my mind befogged with a rising scream, the smell of rotting festers already in my nose—I say, as I felt my soul slip down through Hades’ viscous maw—I saw within his tender, silver eyes that all his sight was still of her. And all his thoughts possessed by her. And all my death still reeked of her. Of Her! Whom he hath made his Bride. |
Conclusions
VERSE AND PARAGRAPH are different forms which help convey different performance ideas to the actors. They can be powerful tools in the hands of a playwright.
If you'd like to take one step further, try taking the verse from above and reformatting it as a paragraph. Perform it as a paragraph then...how does it change your performance? Or try the reverse with the final paragraph. What does that do the way you perceive the Black?
If you'd like to take one step further, try taking the verse from above and reformatting it as a paragraph. Perform it as a paragraph then...how does it change your performance? Or try the reverse with the final paragraph. What does that do the way you perceive the Black?
