Wave resemblance in Walt Whitmans If I Had the Choice         Although non daily roundically or carefully consis cristalt through and throughout, Walt Whitmans song If I Had the Choice is very consistent in its guarantee to resemble the characteristics, specifically the joggles, of the sea; whether read, heard, or seen, the mensurations adaptation to a waves nature is all the way evident. Whitmans exercise of repeated, but not uniform, pulsation in the meter exposes the up and down nature of waves, while the sudden, forceful change in rhythm helps depict the crashing of a wave. The metrical variation in the poem similarly attributes to the resemblance of a wave, for it goes hand in hand with the length of each marches, well-favored the poem the physical characteristics of a wave.
        While the at that place is no metrical consistency throughout the poem (probably d iodin because no two waves are identically alike), there is a detectable pattern and consistency in the rhythm of the poem. The consecutive use of iambs in the first five statements of the poem help to not only empha size the steady action of the sea, but more(prenominal) significantly to give the poem a sense of the up and down motion of the waves in the sea; the pattern of weak/stressed/unstressed/stressed syllables in every neckcloth is very similar to the up and down undulation of a wave. The shift from the iambic rhythm in lines one through five to a loud, sudden spondee in line sestet clearly depicts the image of a wave crashing. The spondaic rhythm (stress/stress) of the first two words in line six, These, these, is an unexpected, drastic change from the prior unstressed/stressed pattern. Similar to the crashing of a wave, this change was drastic, and quick; it does not last long, hence the origin for the poems quick rejoin to an iambic rhythm. The poems last three lines are once once again consistently iambic; they are back to the quiet, pacific motion of waves in the sea.
Just as the upper side of a wave affects the power of a wave, the meter of this poem affects its rhythm. Although there is no specific pattern for the itemise of feet per line in this poem, the meter is still greatly significant. When broken up iambically, the number of feet increase steadily from line one to four, until we reach line five, the bimestrial (10 feet) line. The length of line five is significantly important in portraying the nature of waves; it is representative of the amplitude of a wave before it is about to crash.
Line five is ten feet long because it is followed by line six, the line in which there was a sudden rhythmical change, which portrayed the crashing of the wave. Once it crashes, the waves return to their prior size, just as the following lines of the poem go back to having the same range of feet as they did before line five.
The alternating number of feet per line also allow the poems structure to resemble a wave; no two waves are similar in frequency (height) or amplitude (width), just as no two sentences of this poem are identical in length. As the lines approach the kernel of the poem, they get longer, and then begin decreasing in size after they reached the longest orient, line five. Since line five, the middle of the poem, is the longest line, when held sideways, this line is representative of the middle of a wave, its highest point right before it crashes.
By using rhythm and meter skillfully, this poem is successful in imitating the rhythm of the sea, and the meter of the waves in the sea. In doing this, Whitman makes a very distinctive point; rhythm and meter affect each other, just as the height of a wave affects its crash. This relationship is evident whether one reads, sees or hears this poem.
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