Discussion Point: Head-hopping in poetry

[NeuroFizz]

I've been ruminating about this for some time now, so I might as well urp it up for discussion. I've read several pieces here that I would place in the category of poetic storytelling. Some have had multiple characters. Also, some of you have mentioned writing epic poems, which would also fit in this general category. Here's my question: how important is it in this type of poetry for the POV to remain tight. In other words, is it okay to head-hop between characters, or should the poet stay with a single POV character? I know it may depend upon the peculiarities of the piece, but a general feeling would be useful. I know the answer for prose. What say you about poetry? Is this even an important question to begin with?

[JAlpha]

I think it's a matter of what "works" or what "makes sense" in a particular poem.

Robert Graves once said a poem should make prose sense as well as poetic sense. That is also the standard I would use in assessing the structure of a poem with multiple points of view.

[William Haskins]

i think jalpha has eloquently made the best case possible.

[Norman D Gutter]

I prefer the omniscient view in prose, which allows much flexibility in getting inside the heads of the characters. I suppose I like the same thing in poetry.

NDG

[Godfather]

yeah, i think its what works for the poem. i think every poem is different in that sense.

i have a poem in the working (which i've kind of forgotten about) which switches between characters. three of em, one per stanza. it couldn't really work any other way.

but there's one i've written before called the ballad of billy moonbeam. that sticks with him, and i don't think it would work any other way.

all depends on the poem, i think.

[poetinahat]

Good topic, Neuro. I've added it to the Table of Contents under Discussions.

[NeuroFizz]

G'father has a good point. Perhaps the extra space between stanzas can act the same as an extra line break separating two scenes in prose, or the extra line break representing a change in POV character. To me, in both poems and prose, this takes it out of the "mostly-derogatory" situation of head-hopping and places it firmly in acceptable omniscient writing. Yet, in some poems, those major epics in particular, the stanzas are extremely long. I realize the answer is going to be "whatever works" but beyond that, is it wise, desirable, or just unimportant to think about changing POV characters within stanzas--this possibly being construed as head-hopping. My feeling is that is depends on the construction of the poem and what the writer wants to accomplish, but it also deserves a serious look and further consideration. Too much of this type of head-hopping can be distracting, while in other instances, it can be used as an effective emotional tool.

My challenge. Try it out and see how it settles with you, or dig out an old poem with POV changes and re-read it with this in mind, or find works of established poets that use this technique and see how they handled it. Any examples, further comments, or insights along these lines would be appreciated.

And, thank you all for the great responses.

[kdnxdr]

I vaguely remember an old, old Saturday Night Live episode where a guy who is sexually attracted to a girl meets her family. As the encounter progresses, not only are the characters dialoguing but what they are actually thinking is inserted inbetween their surface conversation.

It was probably funny then because it was a public admission that the truth is that in any dialogue there is always a running parallel dialogue. And, in actuality, there are dialogues of the observers, as well as the omnicient dialogue.

What's confusing about the whole mess is that as humans, it always stretches our faculties to go beyond our own POV. Who wants to do that?

Besides the more information one has, the more one might be informed and that tends to make thinking unclear for mortals. The less we know, the better.