The Problematic of the Lyrical Enunciating Subject: Approaches and Insights

The Problematic of the Lyrical Enunciating Subject: Approaches and Insights

The study of the lyrical enunciating subject has gained significant interest in recent years, particularly influenced by the field of pragmatics. Around the 1960s, the focus shifted from the statement itself to the participants involved in its emission: the enunciator and the addressee. This shift in perspective led to the understanding of the poem as a special statement or a "type of speech act" that involves an emitter and a recipient. In this communication, the identification of the poetic speaker becomes crucial, placing emphasis on the act of speech as one of its fundamental features.

Another aspect that contributes to the understanding of the lyrical enunciating subject is the distinction between "verso blanco" (blank verse) and "verso libre" (free verse). Blank verse is characterized by a harmonious phonetic structure with the other verses in the poem, known as "metric rhythm." On the other hand, free verse is not subject to similar phonetic structures as the other verses in the poem. While poems are not structures of mathematical precision, there are general norms that can guide us in distinguishing between blank verse and free verse.

To qualify as blank verse, a poem must fulfill two conditions. First, it should not have a structure of rhymes. Poems with rhyme patterns or verses that exhibit total phonetic repetition from the last stressed syllable (consonant rhyme) or only vowel repetition (assonance rhyme) are considered poems with rhyme. However, blank verse may contain unstructured assonances, where neighboring verses have assonant endings separated by a few verses. There is a division of opinions on whether these scattered assonances, without a fixed structure, impoverish the verse. Some poets try to avoid them, while others do not mind their presence.

Second, blank verse should have a harmonic structure among all the verses in the poem, known as "metric rhythm." This harmonic structure depends on two factors: the meter of the verses, which refers to their length in phonetic syllables (which may not always coincide with orthographic syllables), and the accentual alternations of their syllables, which determine the rhythm. The meter of the verses does not have to be the same in all the verses of the poem, but it should be of even or odd lengths, considering that in compound verses, the hemistiches that form them are what matter, not the total meter of the verse.

Let's explore some examples to illustrate these concepts. The opening of Garcilaso's "Epístola a Boscán" consists of blank hendecasyllabic verses without any assonances between them, all following a binary structure. This is an example of a poem with isometric blank verses of binary rhythm. Another example is Antonio Colinas's poem, which starts with compound verses of fourteen syllables (seven in each hemistich) without any nearby assonances. In this case, we have a blank polymetric poem with metric rhythm.

Now, let's turn our attention to free verse, which refers to the mixing of non-harmonic meters and/or rhythmic structures in verses with more than eight syllables. An example of free verse is found in the first stanzas of Federico García Lorca's "La aurora" from his book "Poeta en Nueva York." These stanzas do not adhere to a specific rhyme scheme or assonance pattern, and the rhythm varies within each verse. However, the rest of the poem maintains a metric structure, consisting of blank alexandrine verses with two hemistiches of seven syllables each and no assonance between the verse endings.

A study conducted by Juan Frau analyzed 1,515 recent poems from 1975 to 2001 by renowned authors, revealing that although the majority of the poems lacked rhyme, 86% maintained an explicit or underlying rhythmic structure. This finding suggests that even in free verse, there is a consideration for rhythm and structure.

In conclusion, the study of the lyrical enunciating subject and the distinction between blank verse and free verse offer valuable insights into the analysis of poems. While there are guidelines and norms to differentiate between these forms, it is important to note that poetry is a dynamic and ever-evolving art form that allows for creative exploration. To enhance your own poetic compositions, here are three actionable pieces of advice:

1. Experiment with different verse structures: Don't limit yourself to a single form or pattern. Explore the possibilities of blank verse and free verse, and consider how different structures can enhance the meaning and impact of your poems.

2. Pay attention to rhythm and musicality: Even in free verse, rhythm plays a significant role. Pay attention to the flow and cadence of your lines, and experiment with the placement of stressed and unstressed syllables to create a musical quality in your poems.

3. Embrace the uniqueness of your voice: The enunciating subject in poetry is deeply connected to the poet's individual voice and perspective. Embrace your unique experiences, emotions, and insights, and let them shine through in your writing. Don't be afraid to take risks and explore new ways of expressing yourself.

By understanding the nuances of the lyrical enunciating subject and the different forms of verse, poets can expand their creative horizons and create works that resonate with readers on a deeper level. Remember, poetry is a journey of self-expression, and each poem is an opportunity to explore the infinite possibilities of language and emotion.