31 pages • 1 hour read
Ave Maria
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Literary Devices
Form and Meter
“Ave Maria” is written in free verse, which is a poem without a traditional meter or structure. Free verse is often used to create an intimate or conversational quality in a poem. However, it relies heavily on enjambment (see below) and dropped lines to create its artistic shape. “Dropped lines” refers to non-traditional line breaks where certain lines are indented to create a new structure. In “Ave Maria,” most second lines are indented one step past where the previous line left off, with exceptions where the same thought or idea continues through two or more left-justified lines.
In addition, the poem uses very little punctuation and few capital letters. Capitals are limited to proper nouns and acronyms (TV) while punctuation is limited to only one exclamation mark at the opening of the poem and one comma. There are no periods; independent clauses run into each other without a break. This style gives the poem a stream-of-consciousness effect. It contains 36 lines in one continuous stanza.
Enjambment
Enjambment refers to breaking a line of poetry in the middle of a clause or thought without any punctuation. This can be used to manipulate rhythm and give layers of meanings to the poem. “Ave Maria” uses enjambment extensively after the second line, which is the poem’s only traditional full stop. The following line, “get them out of the house so they won’t know what you’re up to” (Line 3), is actually a complete sentence, but the next line begins with a lowercase letter as if it was a continuation of the same sentence. This is the moment that introduces the poem’s signature style, which it maintains throughout the rest of the text.
The lines “but what about the soul / that grows in darkness” (Lines 5-6) is a classic example of effective enjambment; line 5 can be read as a standalone thought, but the following line leads the thought in a new direction and reveals new information about the poet’s intent.
Another good example of enjambment happens in the lines “they’ll be in some glamorous country / they first saw on a Saturday afternoon or playing hookey” (Lines 10-11); the first line reads as an independent sentence and sets up the idea while the following line gives that idea new depth. As the poem progresses, the dropped lines become shorter until the penultimate line, “seeing” (Line 35), which is both an enjambed line and a continuation of an enjambed line. This literary device creates an erratic voice that fits the energy of the poem.
Repetition & Anaphora
Anaphora is the repetition of words at the beginning of phrases and used for a particular effect in a poem. O’Hara uses repetition throughout the poem to draw attention to certain moments and enhance the dramatic effect. The first example is seen in “when you grow old as grow old you must” (Line 7); here the speaker establishes the stakes for the mothers—protecting themselves when they reach old age by doing the right thing now. This can technically be considered anaphora since the words begin the grammatical phrases, even if the phrases are run together. This first example of repetition directly underlines the central theme of the poem. Immediately following, the speaker says “they won’t hate you / they won’t criticize you they won’t know” (Lines 8-9). The three repeated phrases contrast the “stakes” by establishing the prize. The mindful anaphora of these words shows the reader that they are at a pivotal point in the poem’s thematic arc and shows the subject of the poem—the mothers—how important it is that they listen to its message.
Another notable example of repetition comes in the lines “they’ll be in some glamorous country / they first saw on a Saturday afternoon or playing hookey” (Lines 10-11) and “they may even be grateful to you / for their first sexual experience” (Lines 12-13); both these moments deal with firsts. Both experiences allow the cinema-goers to embrace a microcosmic snapshot of life and what it is to live. According to the speaker, these are the moments that will keep the children’s relationship with the mothers intact. By using repetition, the poem urges the listener to pay attention to an important lesson.
Another use of repetition happens with the distinctive word “gratuitous” (Lines 17,18), linking two contrasting pleasures together. The poem’s major turn happens here, and the use of the relatively complex word against the simple, colloquial language again tells the reader this moment is conveying a powerful underlying truth.
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