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Lyric poetry, taking its name from song lyrics and music, is a type of poetry that expresses personal feelings. Lyric poems are subjective and composed of the speaker’s opinions. After the 16th century, lyric poems most often appeared as sonnets.
“Love Song for Alex, 1979” is a prime example of lyric poetry, as its purpose is to express Walker’s feelings for her husband.
A sonnet is a shorter lyric poem with 14 lines. Sonnets are usually written in iambic pentameter (a form that has 10 alternating unstressed and stressed syllables per line) and have a set rhyme scheme. A sonnet also contains a volta, or a change in the poem’s subject or meaning.
While “Love Song for Alex, 1979” has 14 lines like a traditional sonnet, it sometimes has more than 10 syllables per line. There is, however, a significant change, or volta, in the sonnet after Line 10.
A volta is a change in thought in a sonnet, sometimes called a turn. In more traditional sonnets the volta occurs at the same point in the poem every time. For example, in an Italian sonnet the volta appears around the ninth line. In a Petrarchan sonnet the volta is usually in the third quatrain. Shakespeare’s sonnets often turned in a couplet.
The volta in “Love Song for Alex, 1979” seems to take place in Line 10, where the poem ceases to rhyme, Walker refers to “they” and “us” instead of “my” and “him,” and word choices become less about their specific relationship and more about enduring landmarks, like oceans and planets.
Alliteration is the repetition of sounds at the beginning of stressed syllables. Writers uses alliteration to create rhythm, emphasize a certain phrase, and set a tone.
Walker uses alliteration frequently in “Love Song for Alex, 1979,” perhaps most notably in the first line with the use of the letter “M”: “My monkey-wrench man, my sweet patootie” (Line 1). This repetition gives the impression of murmuring, almost as though Walker is affectionately and gently murmuring Alex’s nicknames.
Assonance is when a writer repeats the same vowel sound in one or more words. This device helps a writer create emphasis, rhythm, and tone, much like alliteration, but it doesn’t necessitate that the syllables are stressed, as alliteration does.
Walker uses assonance in Line 6 when describing her physical relationship with Alex. First, she repeats the short “I” sound in “lips” and “kiss,” which indicates a softer, romantic intimacy, then she repeats the long “I” sound in “wine” and “fire,” which recalls a more passionate, physical intimacy.
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By Margaret Walker