Poetic license is not a new concept. The idea of poetic license can be traced back to the Greco-Roman classical era and is derived from the Latin words, 'poeta' ('maker') and 'licentia' ('to be permitted,' 'liberty'). The concept was encouraged by a Greek philosopher by the name of Aristotle (maybe you've heard of this dude?). In one of the first-ever treatise to describe poetry and literary theory, the philosopher referred to something called "poetic effect"-- which, today, we would call poetic license. "For poetic effect, a convincing impossibility is preferable to that which is unconvincing but possible," he wrote, encouraging authors to defend any uncommon or "impossible" language with the use of said phrase. The idea is that a poet or author can choose to ignore a set of grammar rules in order to focus on another aspect of his work, i.e., a rhyme structure or rhythm. As a fan of hip-hop, you probably experience this daily, although you probably haven't given it much thought. That's a good sign.
Hip-hop is about creative expression for whoever holds the mic. The person holding the mic, that’s the MC. In hip-hop specifically, an MC refers to an artist who both creates and performs original material he wrote-- rappers are poets, simply put, who have the added benefit of being able to perform their poetry with production behind it. To keep the listener entertained (as is the job of the 'master of ceremonies') an MC can bend linguistics in new ways and come up with creative methods of letting words roll off his tongue (his flow). He can create scenarios in our mind’s eye with his words. These scenarios, such as the one Nas so phenomenally created on Stillmatic's "Rewind," do not rely on the beat but the lyrics-- the beat only enhances our experience.
We often get captivated when a newcomer to the rap game does something no one ever thought of before, whether it is spitting a story in reverse or using a never-before-heard flow. These days, flow is of the utmost importance, and we’re seeing new ones implemented all the time-- there’s the off-pitch melody used by ILoveMakonnen, an up-and-down flow Kevin Gates often employs, or the staccato harmony dubbed as Migos’ flow. Artists that come into the game offering up something creative, something different (i.e., not common-place), something that their own poetic license allows them to do, are quickly separated from the pack. The praise might not be instantaneous; many people were stand-offish, incredulous even, when they first listened to the barely-comprehensible raps of Young Thug. However, that’s how Thug chose to fit his words into his rhyme structure, and poetic license gives him the prerogative to ignore the "norm" in hip-hop. All rappers have this prerogative, but they don’t all use it.
That’s not to say, for example, that Migos or Young Thug take full advantage of other poetic license usages. Meaning, we don’t usually listen to Migos to hear complicated rhyme schemes and elaborate metaphors. Plenty of new MCs in the game are re-inventing flows, but they might be less focused on their rhyme scheme. They might embody one aspect of poetic license while other aspects are neglected.
While rap music began with predominantly simplistic rhyme scheme couplets, it has progressed into something as creative and as diverse as the many rappers that we have today. Although the rhyme schemes were basic, the music as a whole was not-- N.W.A. always managed to tell a story even if they used simpler rhyme schemes and flows, often with two end rhymes in a couplet. For example, MC Ren raps on "Straight Outta Compton":
"But I don’t give a fuck I’mma make my snaps
If not from the records, from jacking or craps
Just like burglary, the definition is jacking
And when illegally armed it’s called packing."
There is nothing overtly difficult or unique here about rhyming 'jacking' with 'packing,' but Ren still relays his lifestyle with accuracy.
Rap’s progression was imminent, just as it is in any other field. New inventions are made, evolution happens, and what was once tradition or standard soon becomes, to borrow a term directly from hip-hop, "old school." For the constant re-invention and evolution of the genre, we need inventive MCs to be at the helm, MCs who do not limit themselves to any sort of "standard." Kanye West is the master of invention, and reinvention. His sound has been remodeled (and progressed) from album to album, constantly keeping himself ahead of the curve. In terms of lyrics, Kanye isn’t known for overtly poetic bars, but that’s not necessarily what poetic license is about. Kanye isn’t afraid to stray from the set of rules that make up the English language in order to complete a rhyme scheme. When Yeezy wants to rhyme 'collagen' with 'apologizing' he just makes a new form of the word, re: "Can’t Tell Me Nothing."
"Don’t ever fix your lips like collagen
and say something when you gon’ end up apologing,"
This make the listener laugh, because it’s so obviously not a word, but, at the same time, Kanye clearly gets his point across-- it’s not like we’re left scratching our heads wondering what he’s trying to say, or why he didn’t say "apologizing." Our brain adjusts and comprehends, and we enjoy the bar that much more because it’s unusual. Great writers won’t let you dwell on a mispronunciation or a deviation from the rules. They get away with it.
Kanye West is great at intentionally mispronouncing words. His bars become more memorable because of it. Think back to Rick Ross’ "Sanctified." You probably recall Ye’s verse better than Rozay’s, and you probably recall two lines in particular.
"So you can go’ and make up lies, but I’m so sanctified
I don’t sweat it, wipe my forehead with a handekerchief."
Pronounced correctly, 'handkerchief' does not rhyme with 'sanctified.' However by dragging it out excessively to sound like 'handerkerchiiiaaaaff,' Kanye makes it work better with 'lies' and 'sanctified.' Once again, we’re still completely aware of the actual word, but this makes the entire verse more fun, not only when Kanye is rhyming it, but when fans are rhyming along with him.
Let’s contemplate perhaps the most famous MC in the world— Shakespeare. He may be the true G.O.A.T. He was infamous for his use of poetic license. One of the main reasons Shakespeare manipulated and invented words was to force a sentence to fit his rhyme scheme— not so unlike we saw Kanye West do with the word 'apologizing.' Another reason Shakespeare took it upon himself to add to the English language was simply because there was no word that existed prior which relayed his sentiment. Shakespeare invented over 1,700 words in the English language, which we still use today (among them: 'fashionable,' 'exposure,' 'blanket,' you get the idea). Just as famed poets once did, rappers often invent new slang that are popularized in the English language, and potentially even added to the dictionary. Think of YOLO (it’s an acronym, but these days it’s also a word in and of itself). There are plenty of other examples, including Lil Boosie appropriating the word 'ratchet' and giving it his own definition, which has since become the more common usage for the word, at least among the youth. The word 'ratchet' gets thrown around in our everyday language, whether or not someone really listens to rap music, or is even a fan of Boosie. The same can be said for the acronym/word 'thot,' which quickly catapulted into common usage. So, when there isn’t a word already in existence that properly gets across an idea, rappers often use their poetic license to come up with one, whether it’s forming an acronym or giving a word a completely new definition. Rappers love acronyms. Those who are so bold as to invent a new slang or acronym, instead of just following, are often the ones we remember more. Just like our man Shakespeare.
This is where we need to discuss a rapper like Eminem. Em, with his detailed, multi-syllabic verses and unique rhyme schemes, has cemented himself as one of the best to ever do it. Not to mention his word play, alliteration, metaphors, similes, inventive flows; basically Em has a great grasp of the English language and how to manipulate it, and shape it in any way he so desires. While some rappers choose to stay safely within the confines of the English language, Eminem pushes its boundaries. He’s definitely not alone in his use of poetic license; but he is the most visible example of a rapper fully embracing it. Not every rapper can make it onto the 'Greatest Of All Time' list, however what pattern emerges with the rappers that do make it? It seems they are rappers, like Eminem, who take advantage of their poetic license. They’re not shy in curtailing the English language to fit their needs, whether that means inventing new words to finish a line, using innovative flows, expanding their vocabulary, or becoming a great story-teller.
Like Kanye, we’ve seen Eminem time and time again invent or completely change a word’s pronunciation in order to fit his bar or rhyme scheme. On "Criminal," for example, Em raps,
"My words are like a dagger with a jagged edge
That'll stab you in the head, whether you're a fag or lez
Or the homosex, hermaph or a trans-a-vest
Pants or dress, hate fags? The answer's 'yes'"
'Homosex,' 'hermaph,' and 'trans-a-vest,' are not even complete words, but he’s abbreviated them and changed up the pronunciation for 'transvestite' in order to rhyme it with 'jagged edge.' Plus, (bonus points), Em often uses internal rhymes. These are rhymes created with a word in the middle of one line, and a word at the end of the same line, or on the next line. Here, we see it with 'jagged' and 'dagger' as well as 'dress' and 'yes.'
If you’re not lost yet, let’s look at another example on "Marshall Mathers,"
"Whatever happened to wiling out and being violent
Whatever happened to catching a good old-fashioned
Passionate ass-whooping and getting your shoes, coat and your hat tooken"
Here, 'tooken' isn’t actually a word, however Em has invented it as his very own past tense of the word 'take.' 'Wiling out' and 'being violent' serve as internal rhymes, as do 'old-fashioned' and 'passionate'; 'whooping' and his bent-word 'tooken.' Like Shakespeare, Eminem pushed past the traditional boundaries of the English language and the average two end-rhymes for a couplet, instead creating a complex scheme of his own, while also inventing a new word. That's just in four bars.
Lil Wayne also does this from time to time. However, Weezy has a habit of saying "oops" immediately after he mispronounces or jumbles a word, which sort of takes away from the overall effect of it. A great writer does this without apology (no shade intended). Nonetheless let’s look at an example from "Jump In The Air & Stay There"
"I go nuts like a Danish then vay-nish into thin air
And stay there
This is deep Carter, betta bring ya swimwear, heh
But I'm shallow and when ya this high
Everybody else balow - oops, I meant below!"
Wayne creates a rhyme between 'danish' and the word 'vanish,' where there usually would be none, by mispronouncing it. This he leaves as is, but as soon as he pronounces 'below' as 'balow' (in order to force a rhyme with 'shallow') he tacks on 'oops..,' which brings a bit of irony to it, as in, yes, Weezy knows he said he the wrong word (fewf, we can all relax), but at the same time, he didn’t need to say 'oops' to begin with—we would have understood regardless.
There are many aspects of poetic license, perhaps endless depending on the poet’s desire, but we will look at just a few more examples in rap music. The first is onomatopoeia. Rappers are often guilty of using onomatopoeias, both with their ad-libs and directly in their lyrics. Sometimes, all we need is a specific sound to understand the general concept or word being relayed. Curren$y employed this well on "Choosin’." The rapper, who is known for his love of automobiles, made reference to a car by simply making the sound a car makes. No further explanation necessary.
"Pull up in that errrr and them bitches start choosin’
Choosin, choosin, choosin, choosin
Pull off in that skrrrr and them haters gon’ lose it
Lose it, lose it, lose it, lose it"
Spitta brings more life to his hook by using onomatopoeia instead of referencing the vehicle itself— the sound not only creates an image in our mind, it also effects his flow and thus becomes more fun for us as listeners to rap along with.
Finally, let’s wrap things up with an example from J. Cole’s new album 2014 Forest Hills Drive. The man is known as a lyrical MC for good reason. On "Tale of 2 Citiez" Cole forces his rhymes, rapping,
"Picked up the paper and they say my nigga Eddie caught a body, I’m convinced
Anybody is a killer, all you gotta do is push ‘em to the limps
Fuck being timid in the Civic politickin’ with the pushers and the pimps"
What should be the word 'limit' sounds like 'limps' coming out of Cole’s mouth, so that Cole can freely use the word 'pimps' in the following bar— 'limit' would obviously not have the same effect. Despite it sounding like 'limps,' the listener makes sense of the bar, thanks to the previous words and what follows. The overall storyline is propelled by disregarding the English language in this instance. There is no need for a further explanation, or an "oops I meant..."
It isn’t only veterans in the rap game that have a penchant for a poetic license. What makes Kendrick Lamar a modern rap phenom is the fact that he is such a chameleon, and manipulates his voice, words, and flow so often. In terms of pronunciation, for example, on "Money Trees" K. Dot pronounces "you bitch" as "ya bish," which popularized the incorrect pronunciation of the word "bitch." While he didn’t exactly invent a new word, he did pronounce it however he pleased, which is also his right as a poet. It’s interesting to note that in a recent interview, Kendrick Lamar spoke specifically about choosing to think of himself more as a writer proper, than a rapper— perhaps this is why his poetic license is so evident. In his self-written cover story for the January issue of XXL, Kendrick said, "When I turned 21, 22, somewhere around there, I got into a mode where it became more of a writer aspect for me rather than just being a rapper…I started developing and actually constructing my music from a writer’s point of view. good kid, m.A.A.d city was probably one of them albums that you could unfold out into a book and read it. And that’s how I treat everything. Everything is critical like that from here on out. It’s the art of writing."
The art of writing truly encapsulates what hip-hop music is all about. More aptly put, it’s the art of writing to beats. Someone might be able to write, but he might not be able to hold a melody, and another person might be able to flow, but he might not be able to write succinctly. It’s the intersection of all these things that creates a great MC. An MC’s poetic license is essential to this framework.
Can an MC achieve G.O.A.T. status without poetic license? Sound off in the comments.
