Anisosyllabic poetry is a metrical system in which the lines vary in syllable length, creating a rhythm that is uneven, flexible, and organic. Unlike traditional metrical forms such as iambic or trochaic meter, which adhere to predictable syllable patterns, anisosyllabic poetry embraces variability as a defining feature. By allowing lines to expand or contract in syllable count, the poet gains freedom to mimic natural speech, emotional fluctuations, or the rhythms of the environment. In many cases, anisosyllabic poetry overlaps with free verse, yet it differs in its conscious attention to the effect of line length on tone, pace, and reader experience.

A clear illustration of this form is Sarah B. Royal’s poem Whispers in the Breeze:

(5) The breeze whispers soft,
(8) through leaves and branches high.
(5) It’s dancing in light.
(9) Shadows stretch long, as daylight winds sigh.
(6) The stars peek through the clouds.
(7) Night covers the breeze below.
(3) Dreams take flight.

In this example, each line has a differing number of syllables—5, 8, 5, 9, 6, 7, 3—which produces a gentle, undulating rhythm that mirrors the poem’s subject: the movement of wind through trees and across the night sky. The variability of syllable count allows the imagery to breathe, giving some lines a lingering, reflective quality, while others are short and fleeting, conveying sudden impressions or emotional moments. The result is a musicality that feels organic rather than rigid, enhancing the sensory experience for the reader.

Anisosyllabic poetry also encourages expressive flexibility. Because the poet is not constrained by a uniform meter, line lengths can respond intuitively to the emotional or narrative demands of the poem. In Whispers in the Breeze, the shorter first and last lines create a framing effect, like gentle exhalations of air, while the longer lines in the middle capture the expansive and unpredictable movement of nature. This structure fosters a dynamic interplay between form and content, emphasizing the natural ebb and flow of wind, light, and shadow.

Historically, anisosyllabic poetry can be seen as part of a broader trend toward free verse, which emerged as poets sought to break away from the strictures of classical meter. By combining the liberating qualities of free verse with intentional attention to line variation, poets like Sarah B. Royal are able to blend traditional attention to sound and rhythm with contemporary expressive freedom. The form demonstrates that poetry does not require uniformity to be musical or impactful; sometimes, the beauty lies in the irregularity.

In conclusion, anisosyllabic poetry exemplifies the creative potential of uneven rhythm. By varying syllable counts from line to line, poets can capture natural movement, emotional nuance, and musicality in a way that rigid meter cannot. Whispers in the Breeze shows how even a short, seven-line poem can achieve organic cadence, vivid imagery, and a sense of natural flow, allowing the reader to experience the poem as both sound and sensation. Through anisosyllabic poetry, Sarah B. Royal highlights how flexibility in structure can elevate content, proving that rhythm and resonance are not confined to regular patterns—they can emerge beautifully from the irregular, the varied, and the unexpected.