It would be spoke to.
Question it, Horatio.
It is split into two lines because different people, Bernardo then Marcellus, are speaking. What if we could find other reasons to separate lines of verse? What if we want to enjamb for all the reasons free versers do?
For example, what if we want to create temporary ambiguity? Consider the last sentence from the first stanza of DPK's "Joie de Mourir:
Beyond this arid pit is life,
lived incognito. Dreams resist
our beckoning. Just coax the one
that's closest: I can see my wife,
a rose corsage adorns her wrist;
her iris catches the voyeur sun.
Note what happens when you break the lines thus:
I can see my wife, a rose
corsage adorns her wrist; her iris
catches the voyeur sun.
Now we see the speaker compare his wife to a rose and that "iris" is a pun, referring to the flower and the part of an eye around the pupil.
What if we want pauses within lines to give weight to what has just been said or is about to be? Here we see an elegy for Chilean President Salvador Allende where the writer pauses to think up a euphemism that won't bring down the wrath of those listening:
September came like winter's
ailing child but
left us
viewing Valparaiso's pride. Your face was
always saddest when you smiled. You smiled as every
doctored moment lied. You lie with
orphans' parents, long
reviled.
Were there no consequences, the speaker might want to say:
September came like
ailing child but
left us
viewing Valparaiso's pride. Your face was
always saddest when you smiled. You smiled as every
doctored moment lied. You lie with
orphans' parents, long
reviled
What if you know an editor who is phobic about metered work? Because these poems must operate as both types of verse, free and metered, they may be the perfect disguise for a naughty prank. Of course, all of this is lost without these linebreaks.
September came like winter's ailing child
but left us viewing Valparaiso's pride.
You face was always saddest when you smiled.
You smiled as every doctored moment lied.
You lie with orphans' parents, long reviled.
Suppose we want our performers to speak naturally, not necessarily or exclusively in ten-syllable bursts? Check out the iambic pentameter presentation of A. Michael Juster's "Plea":
This is the time for mercy, time for letting
rage recede.
Ten syllables might constitute a regular breath pause but who stops after "letting" here? Here is how this sentence appeared in the poem when it was published in the November 1988 edition of "South Carolina Review":
This is the time
for mercy,
time for letting
rage recede.
This is the definition of a curgina: meter with free verse linebreaks. Thus, while "line" and "stich" (i.e. the stretch of beats or syllables--ten in the case of pentameter--that make up the meter) mean much the same thing in other poems, they have little or no relation in curginas. For example, the first stich in "Plea" is stretched out to form three lines.
What if we want to highlight some internal rhyming? Recently, Catherine Chandler's "Wherein the Snow is Hid" appeared in "Autumn Sky Poetry Daily". Every stanza followed this pattern:
My roof is tempest-proof, my kitchen bright;
still, a bleak expanse
blinds my bedroom’s line of sight
as if to tease,
in squalls of gusting, icy sibilance,
We see iambic pentameter, trimeter, tetrameter, dimeter and pentameter, with rhymes on lines 1 and 3, 2 and 5. Thus, it is heterometer. Indeed, we could leave things there. However, if one wanted to reduce the number of meters to two and make the rhymes less conspicuous--which is the modern trend--one could combine the final four lines into two heptameters.
My roof is tempest-proof, my kitchen bright;
still, a bleak expanse blinds my bedroom’s line of sight
as if to tease, in squalls of gusting, icy sibilance,
In this "decurginated" version we see pentameter, heptameter, heptameter.
The curginic approach works seamlessly with others, old (e.g. sonnet, acrostic) and new (e.g. DATIA, cliché collage, etc.).
While the term is barely a decade old, the concept of the curgina² likely wasn't new in 1923 when W.C. Williams published "The Red Wheelbarrow". Watch for it in the 5th edition of the "Princeton Encyclopedia of Poetry and Poetics".
Footnotes:
¹ - Notice that all of the words that end stichs (e.g. "bright", "sight" and "sibilance") also end lines (e.g. L1, L3 and L5) in the curginated version. Put another way, no line in the curgina contains text from more than one full line in the decurginated version. When speaking of entire poems this is called a "terminal" curgina. All other examples we've seen are "enjambed" curginas.
² - Do not confuse the curgina with the corata, which is metered poetry rendered as prose, in paragraphs, or in unlineated text, like Beowulf.
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