The Poetics of Rap

The Occasion

Having experienced the manifold effects, in the fundamentalist blogosphere, of John Piper’s decision to have a rapper, Curtis Allen, perform at Bethlehem Baptist Church, I was eminently motivated to do some thinking on the nature of rap as a musical/poetic entity. Simply because, if there was one thing that bound together the various responses into a somewhat unified whole, it was the opinion that rap is inherently immoral, and therefore, illegitimate as a mode in which to frame gospel truth. Some of the responses were more than dogmatic – they were vicious and harsh to an extreme. And yet, in the ensuing debate, I found that it was actually the Christian rappers, rather than their opponents, who evinced the more gracious and Christ-like response. So the question that confronted me was this: Are the Christian rappers well-intentioned but misguided artists, or are they in fact to be commended both for their commitment to Christ-honoring truth and for their artistic excellence? The question propelled me into a serious reflection on the nature and history of poetry, and the place of rap in that essential/historical framework.

Disclaimer

I must confess at the outset that I have neither the background nor the qualifications to discuss the nature of rap in any authoritative way. However, I think that I do have the necessary learning to speak on poetry per se, and it is my theory that rap fits broadly into the category of poetics. If, in my lack of experience, I misjudge its fundamental nature, I cast my unintentional errors on the mercy of those rappers whom I have found more than willing to show leniency to their brothers, in the forgiving spirit of Christ.

The Nature of Poetry

I feel fully comfortable in expressing my opinion that the one non-negotiable in poetic expression in any language is the use of rhythm in speech, to a greater degree than would be evident in prosaic speech. This tendency is patently clear in classical poetry of the Greek and Latin languages (as their hexameters and other poetic forms will admit); and equally so in English poetry, which is classified into iambs, trochees, dactyls, anapests, and other similar rhythmic forms. It is somewhat less evident, but equally certain, in poetry such as that of the Hebrew language, which depends more on a grammatical, syntactical rhythm of antithetic, synthetic, or synonymous parallelism. Apart from this sina que non, poetry employs a variety of other devices for its full effect, including, but not limited to, rhyme, assonance, consonance, and non-literal but suggestive modes of conveying a thought.

The Typical Cycle of Outstanding Poetry

It is a verifiable historical reality that the form in which poetic expression finds its accepted occurrence in a given language is due, largely, to the innovative techniques of one, or perhaps a few, exceptional persons who are both well-versed in that particular language, and gifted in the art of memorable and striking expression. The way in which these persons frame their penetrating thoughts is then employed regularly by persons of a poetic bent who come behind them, until the expression has reached a monotonous plane of stagnation. At this point, those who are truly gifted poetically, finding the modes which preceded them so overused and stultified, are forced to re-think the basic poetic structure of the language, in order to find a fresh format which is capable of bringing their poetic aspirations to fruition in a non-predictable way. This newly-fabricated poetic mode is typically disdained, at first, as altogether inferior to the glorious forms in which the vibrant expressions of the first great poets were framed – but when a sufficient body of excellent poetry has been produced in that new form, it eventually becomes the new standard. A few off-the-cuff examples would be the epic writings of Homer, which were reduplicated by such outstanding poets as Virgil, and finally fell out of favor in light of the newer, more lyrical poetry which had arisen. Or the old English and Scottish ballads, which gave rise to the altogether unoriginal “art ballads” of the Romantic and Victorian eras, and then utterly dissolved in the face of new, more regular and melodic song-forms such as those admirably exemplified by Thomas Moore. And the examples could go on.

The Rise of Rap

Rap arose in a day in which the common English poetry had gorged itself on cheap and banal imitations of a lyrical poetry that had once been great. The breathtaking cadences of Tennyson, the rich, sensuous imagery of Keats, and the other-worldly soarings of Shelley had degenerated to the typical bulletin-back quality doggerel of the twentieth-century. Anyone who has read a poem that has been counted worthy to grace the back of a fundamentalist bulletin knows whereof I speak. It was unavoidable that, to do justice to the prosaically-exceeding sentiments of a truly Christian poet (or any poet, for that matter), a different poetic chemistry had to be formulated than that which had been so much abused. It would naturally have risen from the grassroots, as the traditional English lyricism itself had done, and it would naturally have been at first despised, before its true worth was commonly recognized (as has ever been the case). It became my opinion, as the Curtis Allen incident jump-started my thought processes, that rap was that new, grassroots poetic form.

The Nature of Rap

It is altogether indisputable that rap possesses to an extraordinary degree that rhythmic quality which distinguishes poetry from prosaic speech. That is, in fact, the point upon which these anti-rap theorists pounce: “It is not even musical, for it evidences little or no melody or harmony, but is exclusively marked by rhythm!” By this same argument, one may well suppose, their back-of-the-bulletin doggerel, as well as other non-melodic (in the technical sense) poetry, would have to be condemned. In addition to the dominant rhythmic aspect, rap is characterized by a non-standardized but everywhere evident employment of internal rhyme, assonance, and consonance. It resembles the old, grassroots Anglo-Saxon poetry in this regard: its lines are not syllabically regular, but are instead rhythmically exact. Whereas the later English poetry marked rhythm by means of a virtually regular alternation of long and short syllables, the older poetry, as well as rap, marks rhythm by a dominant, pounding rhythm of long syllables, which is very flexible with regard to the short syllables interspersed. As early as Coleridge, a Lakeside Poet of considerable stature and reputation, attempts had been made to return to the syllabically irregular, metrically dominant expression of the Anglo-Saxon poets (his narrative “Christabel” is an attempt to do this very thing); but all such attempts had proven unsuccessful. At the advent of rap, this change would prove finally permanent.

But more than just the metrical dominance and syllabic irregularity, rap has proved remarkably resourceful in re-vamping old poetic devices. As in the traditional Irish poetry, it has successfully employed internal rhyme and assonance to an astonishing degree, and has, in effect re-vitalized the spirit of English poetry (the best in any language), which had for some centuries been stifled by a predictable and copy-catting abundance of monotonous regularity. For one quick example, consider the following four lines, written by Shai Linne, a Christian hip-hopper, whose graciousness in the Bethlehem-sparked debate stood in stark contrast with the hordes of raving fundamentalists:

You could give me
The Lex, the Coupe, the Beamer, the Benz
The sex, the loot, the cream or the ends
But next to the truth of Jesus, friends – it’s worth nothing

Note, among other things, the remarkable, three-fold internal rhyme between lines two and three, one of which is a double rhyme (“Beamer”/”cream or”); and the assonance (Coupe/loot) in the midst of it all – which assonance, combined with the slightly different double rhyme, serves to preserve the rhyming effect from laborious over-use, and still allows for a fuller and more intricate rhyme pattern than traditional end rhyme. And besides this technical innovation, the obvious colloquial honesty combines with the forceful doctrinal truth to create an impression as striking as it is substantive. Rap, at its best, is a showcase of similar constructions, which join together to produce a gritty, unassuming, and powerful commentary on everyday myopic points of view. Which is, if not the sole end, at least one of the basic designs of any poetic expression.

Concluding Thoughts

It is unfortunate that the medium of rap has often been used to disseminate base and unworthy sentiments. It is equally tragic that its comparative novelty has caused the tradition-fond fundamentalists to write it off as inherently immoral with regard to its form, over and beyond its message. I have come to believe that rap is that sort of fresh new poetic expression which has historically given rise to the great poetry of the world. And it is encouraging to see that it is now being used to convey, in admirably-framed poetic device, the glorious gospel-truths of Christ our Savior. In example of which I adduce “The Solus Christus Project,” given to me free of charge by our dear brother and Christian rapper, Shai Linne. God grant that this, as all remaining traces of beauty in a sin-cursed world, may be used to magnify the only One worthy of all adulation, through all excellent means – Jesus Christ our only Lord and Savior, and his Father and ours, the everlasting God!

10 Responses to “The Poetics of Rap”

  1. pitchford says:
    November 15, 2006 at 10:02 am

    By the way, if you’re interested you can find Shai Linne’s album (and albums from other likeminded hip-hoppers) at http://www.lampmode.com. You really should check him out — in doctrine and substance he is absolutely phenomenal. A rich and deeply-penetrating exultation in the doctrines of grace from beginning to end. I couldn’t find the lyrics on lampmode, but I did at least find this listener’s guide, written by Shai, which explains some of the theological truths and lyrical craftsmanship behind his songs, showcasing a few significant lines, at least.

  2. Rong says:
    November 17, 2006 at 6:25 am

    I didn’t see any way to create a trackback to this post, but I wanted to let you know that I greatly appreciate what you had to say and the excellent way that you’ve presented your case. I believe you’ve done a great service in describing the history of poetry and explaining raps part in it.

    I was truly saddened to read the narrow minded comments from the fundamentalist side of our house, but I was blessed to read the gracious comments left by rappers. Can you say hypocrisy? Thanks again for a wonderful article.

    God Bless You, Rong

  3. pitchford says:
    November 17, 2006 at 8:24 am

    Rong,

    Thanks for the comments. I too appreciated the graciousness displayed by some, and I hope we can all learn from their example — it’s easy to respond in kind when being attacked (I know I am guilty of that far too often).

    In Christ, Nathan

  4. Bob Hayton says:
    November 18, 2006 at 5:37 am

    Great article, Nathan. I’m going to link to it.

    Don’t forget to also mention Curtis Allen’s stuff too. You can listen to some songs and see some video clips of him performing over at ihearvoice.com.

  5. Bob Hayton says:
    November 18, 2006 at 5:38 am

    By the way, Nathan. I too have been enjoying Shai’s CD. And those four lines you mention above really did stick out to me as far as poetical quality goes. (Not to mention the message of the lines.)

    I really like the “dark night of the soul” song and the one with Piper’s voice in it. As well as “Justified” and “Solus Christus”.

  6. pitchford says:
    November 18, 2006 at 9:23 am

    You mentioned all of my favorites too — we must have the same taste (gahhhh — just don’t tell anybody).

  7. Bob Hayton says:
    November 19, 2006 at 10:39 pm

    By the way, Nathan, did you follow the long debate over this issue on my blog? Just wondering. I felt like I did a good job defending my position, but would be interested in your take. Are there arguments I was “stretching” or others that I have missed?

  8. pitchford says:
    November 21, 2006 at 4:58 pm

    Bob,

    I followed most of that discussion, but dropped out just before the last couple of comments. I thought you did a good job defending your point of view. By the way, thanks for your comments on ReformationTheology — your comments there were very helpful, and, in my opinion, completely overthrew the objections of the chief dissenter.

    I’m glad this topic is being brought to the table, because it’s a shame to see division between such deeply Christ-loving, theologically-sound, reformed Christians as Shai Linne and a certain contingency of other, more worship-conservative, reformed guys. I’m hoping that everyone will get on the same page, or, if not that, at least be sympathetic to the opposing points of view because of the far greater gospel commonality.

  9. pusch4????? says:
    February 9, 2007 at 8:31 am

    Pitch. I just stumbled across this today. Thanks for the perspective and great read.

  10. pitchford says:
    February 12, 2007 at 2:00 am

    Hey, what’s up Busch?

    Drop me a line at pitchford@pactec.kz, and we’ll catch up.

    Actually, that account isn’t even working right now, but I’m hoping things will be fixed soon — but if I ignore you, that’s (probably) why.

    Pitch

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