Vivid Imagery Makes Poetry More Pleasurable, According to Psychologists

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Contrary to what English teachers led us to believe, most readers don’t judge poetry based on factors like alliteration and rhyme. In fact, a new study published in the journal Psychology of Aesthetics, Creativity, and the Arts suggests that vivid imagery (i.e. sense-evoking description) is what makes a poem compelling, according to Smithsonian.

To determine why some poetic works are aesthetically pleasing while others are less so, researchers from New York University and the Max Planck Institute for Empirical Aesthetics in Frankfurt, Germany, had more than 400 online volunteers read and rate 111 haikus and 16 sonnets. Participants answered questions about each one, including how vivid its imagery was, whether it was relaxing or stimulating, how aesthetically pleasing they found it, and whether its content was positive or negative.

Not surprisingly, taste varied among subjects. But researchers did find, overall, that poems containing colorful imagery were typically perceived as more pleasurable. (For example, one favorite work among subjects described flowers as blooming and spreading like fire.) Emotional valence—a poem's emotional impact—also played a smaller role, with readers ranking positive poems as more appealing than negative ones. Poems that received low rankings were typically negative, and lacked vivid imagery.

Researchers think that vivid poems might also be more interesting ones, which could explain their popularity in this particular study. In the future, they hope to use similar methodology to investigate factors that might influence our enjoyment of music, literature, and movies.

[h/t Smithsonian]

The One Harry Potter Character JK Rowling Regrets Killing Off

Angela Weiss, AFP/Getty Images
Angela Weiss, AFP/Getty Images

Spoiler alert for anyone who hasn't read or watched the Harry Potter series: Many beloved characters die. From Dobby to Snape to Dumbledore (and the list goes on), Potterheads have reason to shed a tear during nearly every book and/or film. It was surely upsetting for JK Rowling to write these deaths, but she has spoken out about the one character she actually regrets killing off.

According to IGN, Rowling once wrote on Pottermore about how she regretted killing Florean Fortescue. If you don't remember him, you're probably not alone; he's the owner of an ice cream parlor in Diagon Alley, and a minor character. So why, out of the multiple heartbreaking deaths she concocted, does the acclaimed author feel so strongly about killing off Florean?

"I originally planned Florean to be the conduit for clues that I needed to give Harry during his quest for the Hallows, which is why I established an acquaintance fairly early on," Rowling explained. "The problem was that when I came to write the key parts of Deathly Hallows, I decided that Phineas Nigellus Black was a much more satisfactory means of conveying clues. I seemed to have him kidnapped and killed for no good reason. He is not the first wizard whom Voldemort murdered because he knew too much (or too little), but he is the only one I feel guilty about, because it was all my fault."

So basically, Florean was created as a plot device that ultimately was not needed in the end. As he faces death "for no good reason" according to Rowling, it seems his character's demise was just the result of a little narrative reorganization. As Rowling of all people should know, there could have been worse ways to go.

A 17th-Century Noblewoman's Rare Poems About War-Torn England Can Be Read Online

Hajotthu, Wikimedia Commons // Public domain
Hajotthu, Wikimedia Commons // Public domain

Hester Pulter wasn't famous for anything in particular, but the 17th-century aristocrat's poems have historical value for other reasons. Pulter wrote about science, religion, politics, the English Civil War (fought from 1642 to 1651), and even the execution of Charles I, which wouldn't be all that unusual, except for the fact that she was a woman. And a woman of high social standing at that.

Although her poems can now be read online for free via The Pulter Project, the noblewoman probably never meant for them to be published back in the 1600s, according to Samantha Snively, a Ph.D candidate in Early Modern Literature at the University of California, Davis.

"In order to avoid slander, the few women who did publish usually wrote about topics more aligned with proper womanly values: household guides, devotional books and diaries, or memoirs of their husbands," Snively wrote for The Conversation. "An aristocratic woman like Hester would have been expected to behave modestly, keep quiet, and focus on her household rather than write about political conflicts and scientific experimentation."

According to Smithsonian magazine, Pulter's poems went largely unread for centuries until 1996, when a graduate student at the University of Leeds pulled them from the shelves of the university's Brotherton Library while undertaking a project to digitize 17th-century poetry manuscripts. The online portal includes both digital versions of Pulter's original manuscripts as well as transcriptions of her writings.

Pulter, who was likely born in or around Dublin in June 1605, wrote most of her poems in the 1640s and 1650s at the height of the English Civil War. As such, her poems reflect her "deeply felt responses to the carnage and chaos of the mid-seventeenth century, as to the afflictions and losses in her own life," The Pulter Project notes.

Despite being the daughter of a chief justice on the king's bench in Ireland, Pulter was critical of different political factions, including the Parliamentarians and the ruling class, while also revering monarchs like Charles I.

Snively noted that Pulter's body of work contains "early feminist ideas and addresses, in complex ways, how society constricts women's behavior, devalues their work, and diminishes their intellectual value."

Pulter—the daughter of James Ley, who became the first Earl of Marlborough—gave birth to 15 children and rarely left her home. In one poem, she laments, "Why must I thus forever be confined / Against the noble freedom of my mind?"

[h/t Smithsonian]

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