Figures of life

A Cliff Dwelling

There sandy seems the golden sky
And golden seems the sandy plain.
No habitation meets the eye
Unless in the horizon rim,
Some halfway up the limestone wall,
That spot of black is not a stain
Or shadow, but a cavern hole,
Where someone used to climb and crawl
To rest from his besetting fears.
I see the callus on his soul
The disappearing last of him
And of his race starvation slim,
Oh years ago - ten thousand years.

Robert Frost

Someone today used the phrase poetic license in reference to wanting to take some liberties with modernizing a well-known ancient story.  That got me to thinking about what all is meant by poetic license in a literary analysis.  The Frost poem Cliff Dwelling illustrates beautifully what is meant.

Usual sentence order is out of kilter.  The first two lines are good examples.  "There, the golden sky seems sandy and the sandy plain seems golden," become stacked stanzas so the reversal of terms is much easier to see as it is written:

There sandy seems the golden sky

And golden seems the sandy plain.

The reversal of terms is both on a single line and across two lines, so it is unmistakable and it serves as a visual where earth meets horizon.  It also is said twice to signify the two times a day when earth and horizon meet - morning and night.  Sandy and golden are synonymous terms since they refer to the same basic color so that even though earth and sky are different in nature, their sameness of color makes them seem as one.  There is a play on words then if the sameness of color blends earth and sky.  They become seamless, which is a thought triggered by the double use of the word "seem" which appears in the two lines one above the other.

In the fourth line from the end, "I see the callus on his soul," the poet is seeing something that no one else sees.  One cannot see into another's soul.  That means the poet has power that others don't and can make remarks full of insight.  For example, callus is a physical hardening of the skin, but callus has been turned into a metaphor for the meaning of hardening.  A hardened soul brings to mind how stoic a person's face may look when considering he is part of a vanishing race.  So the metaphor is then turned into metonymy, that is, something representing another thing it is related to or a part of, the soul representing the person housing the soul.  Frost also achieves contrasting ideas with this metonymy.  He uses soul for flesh and blood.  Flesh and blood are usually separate and distinguishable parts of a human.  But, by metonymy they are the same.  Soul is also ghost-like, something invisible, so the next line referring to a race's extinction, "disappearing last of him," allows the reader to see the invisible past in the cliff dwelling, helping her or him to understand a whole lot more than the physical cliff before her or his eyes.

Much more could be said about the poem, but the 4 lines used are an illustration of how much more a poem contains than normal prose.  So, poetic license doesn't mean merely to take liberties with the grammar, it means to hide images in figures, use words that create images and have multiple meanings at the same time, and rhyme in order to make the ideas memorable.  Poetry is rich because it is so compact, succinct because grammar has another dimension to its semantics, beautiful because its contours are presented in melody, rhyme, and syllabic control.  Poetic license and poetic punch are synonymous phrases.  

So, when my life rhythms come out as prose, I retreat into the inner sanctum of my mind and draw from the rich store of scenes that semantically, figuratively, and melodically have enriched my existence and meaning here on the Earth.  For a period of time, I get lost in the poetic license of life as it should be.