Pantoum & Syntax
The pantun is frequently used among common folk to express themes of love and lyricism, but in recent decades it has evolved into a discussion of politics and personal issues. This form, which was adopted by the French and incorporated into the Anglo-America, originated from Malay culture prior to this colonization in the 1800s. Containing 8 to 12 syllables in each line, the pantun is a quatrain with an abab rhyme scheme. The pembayang, a prefatory couplet, typically describes imagery from everyday Malay life. Meanwhile, the closing couplet, maksud, “clarifies meaning” (Gotera 254).
In the contemporary Angelo-American verse there are slight variations. To start, the spelling changed from pantun to pantoum, mimicking French grammar. Also, when rhyming the scheme can vary from abab, bcbc, or cdcd. In this version, the second line and fourth line of the first stanza later return as the first and third of the next, circling back to similar ideology throughout the poem. Additionally, “The final stanza resurrects the first and third lines of the first stanza (the only lines not yet repeated) in reverse order” (Gotera 255). This helps the ideas in the poem link better, as the author’s ideas fully circle from beginning to end. Although there is no requirement for the number of stanzas, at least two quatrains are usually needed to clearly and accurately follow this format.
Peter Meinke’s “Atomic Pantoum” is an excellent demonstration of this circular notion of a pantoum. This poem, more modern in nature, addresses the fears of the Cold War by commenting on the technology at the time and the deadly potential of it combined with humanity’s desire for power. As stated earlier, this poem clearly follows the pantoum’s rule for repetition; the second and fourth lines are always repeated as the first and third in the following stanza. This notion greatly aids Meinke by establishing and reciting his fears about nuclear weaponry and the damages it may do to humanity and our planet. I also believe that this repetition makes the pantoums easier to interpret, compared to some of the other poetry forms, because the author’s ideas are constantly being restated- leaving little room for confusion.
Gotera, Vince. The Pantoum’s Postcolonial Pedigree.” An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art. Eds. Anne Finch and Kathrine Varnes. Ann Arbor: U. of Michigan Press, 2002.
