18 pages • 36-minute read
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The poem’s heavy allusion to Shakespeare places it within the sonnet tradition. However, Davis’s poem upends so many traditional aspects of the Shakespearean sonnet that it almost becomes its own thing. Davis’s departure from the traditional form underscores her role as a contemporary American writer who has a history of writing in free verse. These associations with free verse are important because they permeate the poem in so many ways: The use of normal speech patterns, as opposed to mostly strict iambic pentameter, the lack of a rhyme scheme, and the heavy use of internal rhyme, assonance, and consonance, align this poem just as much with free verse as with formal poetry.
Over the last two centuries, there has been a massive shift in poetry from a focus on strict meter and form to free verse. Davis’s poem is a hybrid of both. While that isn’t necessarily unique, what is unique is the hybrid form being applied to a poem that is so inspired by Shakespeare’s sonnets. Davis wants this poem to be read in conjunction with those sonnets, so that her purposeful alterations to the established form are meaningful. They suggest that this poem exists within a tradition, while also changing the tradition to make it her own.
Another meaningful change to the sonnet form in this poem is the feminist context in which Davis places it. While Davis is not the first woman to utilize the form, she does join a tradition of women who have upended what has traditionally been thought of as a masculine style. In popular culture, the sonnet is almost always associated with Shakespeare, or even Petrarch. And in the literary tradition, the sonnet has a long history of being used by men to write about women. The simple act of writing a love sonnet as a woman places a poet in a relatively new tradition of rejecting traditional poetic norms.
While Davis’s use of the sonnet format places her within this new tradition, her undermining of the sonnet format both in form and content suggests a kind of feminist claim over the style. She redefines the style because she doesn’t follow the traditional structure that was created and has been reinforced by a patriarchal structure (Craddock, Jade. “Women Poets, Feminism and the Sonnet in the Twentieth and Twenty-First Centuries: An American Narrative.” 2013. The University of Birmingham, PhD dissertation, p. 244.). It is not just that a woman pens the poem and changes the format of the sonnet structure; it is also that the poem’s subject is a man, and it is the reasonable voice of a woman who strikes down his emotional toxicity. There is a subversion of traditional gender qualities. Traditionally, patriarchal systems define women as hysterical and emotional, while defining men as reasoned and rational. This poem completely flips those constructions around.



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