Can anybody help me with this poem ?

Question:here is the link.
http://www.theatlantic.com/unbound/poetr...

My comp II class has to write a paper on it. What is the type of meter used? Tetrasyllables ? Verse form ?

Please help me!!!!

Best Answer - Chosen by Asker: here is the link.
http://www.theatlantic.com/unbound/poetr...

My comp II class has to write a paper on it. What is the type of meter used? Tetrasyllables ? Verse form ?

Please help me!!!!

Farm boys wild to couple
With anything with soft-wooded trees
With mounds of earth. . . .

Dickey uses pauses to accentuate the illicit nature of the material and ramp up the suspense of its delivery. The pause between “anything” and “with,” equivalent to a rest in music, emphasizes the speaker’s false hesitation. This rumorist does not stop at the polite, generic “anything” but—after a long breath—unveils the juicier details, “soft-wooded trees” and “mounds of earth.”

His pauses multiply in the second stanza, drawing out the narrative like switchbacks on a trail:

There’s this thing that’s only half
Sheep like a woolly baby
Pickled in alcohol because
Those things can’t live his eyes
Are open but you can’t stand to look

Each image is more horrifying than the last—the hairy baby pickled in liquor, his eyes gaping—yet just when the suspense peaks, the stanza breaks and the lines abruptly tighten. It’s as if the rumorist has drawn back, hitched his pants, and shrugged at the reader’s keen interest. He declares how different things are these days:

But this is now almost all
Gone. The boys have taken
Their own true wives in the city,
The sheep are safe in the west hill
Pasture. . . .

Carried back in his mind to the rural hills, the speaker hesitates again. He confesses quietly that “we who were born there” still are not sure about the reality of the sheep child. Such a monstrous thing could exist, because it exists in the minds of men. (“Are we / because we remember, remembered / in the terrible dust of museums?” he asks.)

From this moment on, rather than assume the tone of those who “know better,” Dickey lets the sheep child (and the countryside) speak for itself. As he grafts this second, surprising voice onto the first, the poem becomes an odd kind of eclogue—a dialogue between two rustics that Elizabethan poets used to express political dissent. The rumorist orates from one side of the proverbial fence, the sheep child from the other.

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