Of the many incredible puritan writers of the late 1600s, Anne Bradstreet is found to be quite an enigma. In "Anne Bradstreet: Poet in search of Form," by Rosemary M. Laughlin and found at www.jstor.org, Laughlin investigates the many voices of Anne Bradstreet. While uncovering many styles, themes, and imagery, many of Bradstreet's carefully chosen words reveal her true passion, her family. "The common denominator of her later poetry is evident to the most casual reader; it is the subject matter, the identification of herself and her family" (Laughlin 2). Rosemary M. Laughlin speaks of Bradstreet as a "personal poet" who is also not afraid to reveal her real individuality. Bradstreet's uniqueness includes her choice and invention of some forms of verification, her principles of poetic organization, imagery, and consistent themes; all of which play an equally important role in her work.
Anne Bradstreet is well known for creating and experimenting with her forms of verification. To create a visualization of Bradstreet's unique versification, Laughlin comments on one of the stanzas in "The Prologue." Instead of using rhymed couplets in the first four lines (of the eight 6-line stanzas) Bradstreet uses iambic pentameter where the first four lines rhyme alternately and end with only one rhymed couplet.
And oh ye high flown quills that soar the skies,
And ever with your prey still catch your praise,
If e'er you deign these lowly lines your eyes,
Give thyme or parsley wreath, I ask no bays;
This mean and unrefined ore of mine,
Will make your glist'ring gold but more to shine
Laughlin calls this "the Bradstreet version of Spenserian stanza" (4). Laughlin also comments on another poem, unintended for publication, which has questionable rhythm. Bradstreet forms interesting experimentation with iambic tetrameter and iambic trimeter. The difference is, of course, being that iambic pentameter is that of which a line has five bea...