by Lisa M. Hase

Created on: July 28, 2008

The lyric poem possesses certain distinct characteristics that separate it from other literary forms of expression. The essence of its brevity, while not its sole feature of distinction, reflects the brevity of time in which the universal human experience it conveys is felt, further distinguishing it from such forms as the epic or the novel, both of which are longer and deal with lengthier passages of time. Whereas these longer forms are concerned with complex interactions among humans and the far reaching, often serious, consequences of such interactions, the lyric's comparative simplicity is content to focus on the feelings of a single being in single moment, effectively isolating said experience from that of all other experiences that may be in some way connected to it. Essentially there is, and can be, no protagonist in true lyric poetry as may exist in more expansive storytelling methods because the purpose of the lyric accentuates the individual's specific perception of his or her emotional response rather than the changes such experience has on the individual. Rather than being an insignificant cog in the machine of reality, the individual's role as receptacle and channel for simple, universal emotions, triggered by events outside the scope of the lyric's focus, is of primary importance in the lyric poem.

The power of the lyric seems to prevail on many levels, not the least of which is its form that, unlike the epic poetry of Homer, allows for and encourages flexibility and exploration. Further, the nature of the lyric poem extends past verbal articulation of understandable emotions and is able, through its inherent nature (involving the addition of rhythm, intonation and meter), its soul, to move the listener from image to imagination, without the dramatic, inviting him or her to participate in the experience along the way. Perhaps the true power of the lyric poem lies not in what it contains but in the conspicuous absences of certain poetic elements. Lyrics involve extreme refinement, and are thereby products of an ultimate purging. In lyric poetry, possibilities and probabilities have long been purged before its composition takes place. Arguably, even necessity has been purged from its context, leaving only residual lamentations or expressions of joy for conveyance. This view point suggests to me (an I will try diligently to structure this next thought carefully) that the lyric's perspective is from that of the ending, represents the fruition of the

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