amount of stanzas. Augmenting this formal structure were predetermined rhyme schemes (such as abab cdcd efef gg in Shakespearean sonnets). Based on the above, we can describe traditional poetic etiquette as adhering to the suggested formal patterns predetermined by the tradition of British poetry. Just in reaching the above conclusion, a problem arises that all poets, not just Whitman, face when trying to conform to this style. This problem is that all of these rules are cumbersome. It is difficult for a poet to convey the theme of a poem when he or she is concerned with whether or not each word fits into a designated formal pattern. Yet, some would argue that this is what makes poetry such an elegant art form. Surely, Whitman recognized the genius found in Shakespeares sonnets and other constitutive examples of traditional British poetry. However, whether or not Whitman recognized the genius of great traditional British poets, is inconsequential. What did matter was whether or not Whitman felt that this style was appropriate for him. The answer is no. Whitman found problems not simply with the fact that clinging to the traditional style might be burdensome (surely this would not have been an insurmountable task for Whitman), but his main issue with traditional style concerned the ornamental effect of formal regularity:"In future Leaves of Grass. Be more severe with the final revisions of the poem, nothing will do, not one word or sentence that is not perfectly clear-- with positive purpose-- harmony with the name, nature, drift of the poem. Also, no ornaments, especially no ornamental adjectives, unless they have come molten hot, and imperiously prove themselves. No ornamental similes at allnot one; perfect transparent clearness, sanity, and health are wantedthat is the divine styleO of it can be attained." In the above quote we see the essence of Whitmans ideology towards the divine style and to what standards his poetry...
