Judge’s Breakdown of a Performance.

So I don’t do this often because I’d much rather have my audience have their freedom to interpret my work as they desire and in accordance with their own personal experiences, but here is an analysis of my last work, “Two to Tango.”  This is written with the knowledge and intended effect of the author (me) in mind, but more than anything I’d like for my readers to find a place for it within their own lives and in their own circumstances.

I was thinking about new material to post on this site, especially since summer is coming and I am going to have a lot of free time on my hands, when I suddenly thought about the importance of the rhyme in a poem.  There is the standard definition of the rhyme, which is, roughly, when the end words of a line sound the same; however, in poetry, the rhyme has another function.  The rhyme is the bond between the lines, the bond within the poem, and the bond between the thoughts that are expressed within the poem.  So, I thought, why not make it about a very real bond that I’ve had and, in light of recent events, make that bond more and more distant.  So, if we look at the poem, which can be found here (http://poetinaworldofprose.wordpress.com/2012/06/08/two-to-tango/), the first two lines end with rhyming words.  The bond is close between these lines.  The next stanza starts “After all, what did they know about the wonders of life?” and after one line it ends “How incomprehensible was the strife,” so “life” and “strife” are the two rhyming words.  Following this pattern, one may see that each stanza has an increase of one more line in between the rhyming lines; in the third stanza, the pattern is “ahead,” then two lines, then “bread,” and the rest follow suit until it reaches five rhyme-separating lines.

Moving on from the use of rhyme within the poem, the actual subject of the poem appears to be about tango, a form of ballroom dancing.  The dance itself is sweeping, with many movements and varying speeds at which certain maneuvers are executed.  For those unfamiliar with the dance and some of the terminology used in the poem, here are basic definitions for the various terms I chose.

Barrida — A sweep; a sweeping motion: One partner’s foot sweeps the other’s foot and places it without losing contact.

Caida — Fall: A step in which the man steps backward, sinks on his supporting leg, and crosses his working leg in front without weight while leading the lady to step forward in outside position, sink on her supporting leg and cross her working leg behind without weight

Cangrejo — The crab: A repetitive pattern of walking steps and or sacadas in which the man advances turned nearly sideways to his partner.

Canyengue — A very old style of tango from the 1900s to the 1940s. A very close embrace was used as well as some unique posture and footwork elements.

So those were the two more pressing points that I would like to address about the poem.  I hope that this may further the enjoyment and appreciation of all my readers, and I am thankful and grateful for your comments and questions.  However, poetry isn’t meant to be constricted to a certain person’s boundaries of thinking; it’s about the universal meaning of the poem.  If a poem does not attain the capacity of encompassing the general audience’s realm of experiences, then that poem is not as powerful.  The power of a poem is within its relatability; the more people who can understand a poem, the more that poem empowers mankind.  This poem embodies a regret for me personally, but it depicts the various things that I experienced, that I enjoyed, during a period of my life. The end is a fantasy, a dream, a wish of what could have been but wasn’t.  The dance isn’t about the end score; it’s about your partner and what you go through to reach that peak and experience the satisfaction of the weathered storms, finding that you have grown stronger and closer to one another.

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