Poetry and Prose
Is prose any different from poetry?
In general, if we are to judge on the basis of statistical evidence, the answer is a resounding yes. Let us not formulate definitions and kill the very spirit of art. Let us instead launch a discourse — an approach that is argumentative as well as unshackled.
Most often, poetry creates images — abstractions, surreal perspectives, emotional surges, etc. In this process of highlighting imagery, poetry has often slipped into a celebration of irrationality. We shall refrain from analyzing that as well. Prose, on the other hand, deals with narratives that are, more often than not, vastly sequential. In fact, I do not know of a single writing in prose where the instantaneous micro cosmos created is not sequential. The narration as a whole may be any projection whatsoever. Even the most brilliant among the proses are canvases with individual elements precisely placed to make a consistent whole. Some, like Dostoyevsky’s The Brothers Karamazov, are unmatched in their human appeal, while other popular writings like The Lord of the Rings — in spite of its meticulous creation — remain relatively insipid artistic ventures.
The difference lies not in their narration, not in their vocabulary, not in their stylizations, and not even in the creative capacity of their authors. The creative capacity, as we commonly understand it, is a mere tool. Greatness of a creation lies in the greatness of the reactions it evokes. The magnitude and intensity and honesty of the imminent thought forms constitute the greatness of an artistic creation.
It is either the paucity of our language or the complexity or subtlety of the thought form that gives birth to wordless cerebrations and abstract images that sometimes transcend visual boundaries. The creative impetus of prose lies in the indication of such images. Poetry, on the other hand, expresses such images independently and sometimes in stark singularity. In some sense, we may even consider the images of poetry to be externally imparted on the reader while prose, generally, results in a totally intrinsic maturing of the image.
The complexity of human nature is a stupendous and awe-inspiring image. It is a canvas so vast that the mere comprehension of its existence evokes reverence. It is this image that is created in the reader by The Brothers Karamazov. Claustrophobia and helplessness are images catalyzed by Kafka’s writings. Name any novel that has succeeded in creating a stimulus in you. It would have done so without ever directly presenting the stimulus itself to the reader.
There are, of course, very many prose creations that transgress these typical boundary in ways unique to them. It has been said about Abanindranath Tagore (uncle of Rabindranath Tagore) that he “paints with words”. Juan Ramon Jimenez‘s Platero Et Me (Platero and I) — though technically speaking prose — is intuitively closer to poetic imageries. Some of the short stories by Samuel Beckett are more poetry than prose — albeit remaining staunch reminders of the absurd school of thought.
The difference between prose and poetry is not the difference between a documentary film and an art film (please accept the usage of “art film” here . . . you know what I mean by that). It is not the difference between a persons portrait and his passport photograph. The difference is in the manner of presentation of imagery. Prose nurtures, manipulates and most importantly, catalyzes the images formed by the reader. Poetry is the interpretation (and hence appreciation) by the reader of an external image.
© Ritwik Banerjee
Poetry and Prose by
Ritwik Banerjee is licensed under a
Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License.
poetry literature art prose