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poetic justice Nov 8, 2005 (46 of 47 found this helpful)
There was a fine fellow named Fry...who has here given the world a very funny (at times downright filthy), knowledgeable, reliable and, I would say, unique volume about the art & craft of writing poetry. I know Fry`s erudition & relentless wit can put off some people (mostly English ones - how we suspect success and excellence in this fearful country!) but I forgive the man his exuberant excesses and prefer to celebrate him as a generous-spirited Good Thing.
If you have never written a poem in your life, or you are a little afraid to, or want some encouragement, or wish to find out more about the mechanics of `prosody`, or are, indeed, already happily writing poems galore - this book is for you. Find out what a `foot` is; the difference between a Shakespearean & Petrarchan sonnet; and what in Heaven`s name is a spondee? Fry gives (often hilarious) examples of his own, and sets `exercises` at the end of each chapter. Mildly avuncular & user-friendly, without dumbing down.
My only quibble is his misunderstanding of what a haiku really is. He admits his ignorance of the intricacies of the more `exotic` verse forms, but it`s a shame he has given such poor, not to say inaccurate, examples of haiku - especially since the Guardian`s onetime haiku competition daily printed efforts by readers which utterly ignored the `break` necessary between the second & third lines. If you`re going to call something a haiku, at least have the politeness to find out what it is - and isn`t - to begin with! (Bete noir got off chest.)
This is Fry at his best. Long may he prosper until the sad but inevitable day when flights of chubby, pink-bottomed angels sing him to his well-earned rest.
Hey, that last paragraph rhymed - even if it didn`t scan.
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A volume wise and wry, from Mr. Stephen Fry. Sep 30, 2006 (27 of 29 found this helpful)
One of my favorite quotes about poetry is from Dame Edith Sitwell. "Poetry is like horticulture," she said. "Each poem should be allowed to grow according to its natural form." In his new book, "The Ode Less Travelled: Unlocking the Poet Within," Stephen Fry creates a veritable topiary garden of poetry, providing not only an encyclopedic overview of poetic meters and forms in English but a cogent, bracing and witty demonstration of their value. As its subtitle suggests, "The Ode Less Travelled" is written as a primer to both beginning and experienced poets who need, shall we say, a jump start to their creativity. Each chapter offers a discussion, with examples, of a particular meter, rhyme scheme or form, and suggests exercises at the end for readers to create their own examples. Fry quotes English poets from William Shakespeare to William McGonagall to illustrate his points, as well as a gratifyingly large array of American poets. Sometimes, when an example from the canon is not readily available, Fry will write his own, such as when he illustrates a dactyl (one stressed syllable, two non-stressed) followed by a molossus (three sharply stressed syllables in a row) in an imagined argument between Luke Skywalker and Darth Vader:
Why do you bother me? Go to Hell!
I am your destiny. Can't you tell?
You're not my father. Eat my shorts!
Come to the dark side. Feel the force!
Fry--a renowned writer, actor, director, wit and polymath--brings all his Cambridge erudition to "The Ode Less Travelled," combined with the passion of a man who cares to the depth of his soul about language and his possibilities. By learning as much as possible about the meters and forms available to us as poets in English, he argues, we gain insight into the sheer potential of the English language. That is a lesson that has importance far beyond the realm of poetry. In one of the book's closing chapters, he expounds on what he calls the flexibility of English, compared with other languages: "(I)t is more than a question of the thousands more words available to us, it is also a question of the numberless styles, modes, jargons and slangs we have recourse to. If by poetry we mean something more than the decorative, noble and refined, then English is a perfect language for poetry. So be alert to it at all times." Hear, hear!
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Very Pleased Oct 16, 2006 (6 of 6 found this helpful)
Having just enjoyed listening to Mr. Fry read his novel "The Hippopotamus" on my long commutes, I was immediately attracted when I heard of "The Ode Less Traveled." I have often wondered why I don't understand many poems, (and not just modern ones), and can't tell good from bad. I have tried a number of other books on poetry with no success. Beginning "The Ode..." however, I immediately recognized Mr. Fry's cadence of speech and humour and the first twenty pages have been very easy to follow. Now I am doing his suggested exercises with iambic pentameter, and I am looking forward to the rest and finally knowing something about poetry. In my opinion, Stephen Fry is one of a kind, and what fun it would have been if he had been my high school English teacher!
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"I believe poetry is a primal impulse within us all." Aug 20, 2007 (5 of 5 found this helpful)
Whether writing poetry is curse or gift, the cat is out of the bag: the most unexpected people write poetry. It is Stephen Fry's intention to unveil the mystery, which he does with enthusiasm in chapters addressing Metre, Rhyme, Form, and Diction and Poetics Today, a daunting task by any measure; Fry approaches his topic with an attention to the details that often overwhelm would-be poets, for example the unusual jargon and technical vocabulary that accompanies a serious discussion of poetry. Anticipating a reluctance to dive right in, Fry offers three golden rules: take your time ("you can never read a poem too slowly, but you can certainly read one too fast!"); avoid over-thinking what you are reading ("poems are not crossword puzzles"); and invest in a notebook to carry everywhere, the only equipment necessary. Thus prepared, the journey begins, Fry the experienced guide.
The chapter on metre is expansive, a thorough dissection of rhythm, pentameter, beats per line, each section followed by a helpful poetry exercise to bring each example home. The question, to rhyme or not to rhyme, includes the inherent problems and advantages to the rhyme-inclined. More advanced is the how and why of form, the stanza and its variations, the ballad, heroic verse, ode, comic verse, haiku and the Mercedes of serious poetry, the sonnet. By far my favorite chapter addresses "The Doctrine of Poetic Diction". What is acceptable language? What are the obvious pitfalls? Most helpful, what are the particular vices a poet should avoid? We are reminded that laziness in a writer, poetry or otherwise, produces a plethora of subsets: sentimentality, vanity, self-indulgence, technical ineptitude and a lack of originality. It is imperative (if one is to have an audience) to consider the reaction of the reader, keep a running journal of thoughts, inspirations and phrases, read the poetry of others, allow mistakes and practice reading poems aloud.
Given the guidelines provided in this book for poetry writers, Fry also makes a case for passion, encouraging the occasional foray outside the lines when a bit of wildness may animate the poem. His own appreciation of poetry at all times evident, Fry goes to the heart of the matter, embracing form and dimension, but ever aware of the power of emotion. An excellent and fascinating guide to "unlocking the poet within". Luan Gaines/2007.
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Stephen Fry Does Not Disappoint! Feb 11, 2007 (3 of 3 found this helpful)
Funny and informative, "The Ode Less Travelled" is a useful book for novice poets and experiened writers alike.
As a dabbler, I love what he had to say about rhyme (it's not necessary or even desirable, but if you must rhyme, then you must--I'm paraphrasing here).
Worth a careful read.