The Age of Hunters

1. ˘ / ˘ / ˘ / ˘ / ˘ /

In ev’ry man, a hunter lies asleep

→ smooth rising rhythm; “hunter” can slightly stretch (HUN-ter) to land the stress cleanly.

2. ˘ / ˘ / ˘ / ˘ / ˘ /

Quiet, half-waking, patient in the dark,

→ the three adjectives create a soft triplet pulse linger a half beat on “patient”.

3. ˘ / ˘ / ˘ / ˘ / ˘ /

Waiting the hour when mercy turns its face.

→ the last foot “turns its face” falls perfectly iambic; pause slightly after “hour”.

4. ˘ / ˘ / ˘ / ˘ / ˘ /

There was a man before me in the cell,

→ classic steady measure; stress “man” and “me”.

5. ˘ / ˘ / ˘ / ˘ / ˘ /

His beard was white, like winter over fields,

→ “winter over fields” creates lovely open vowels—elongate the “i” in “white”.

6. ˘ / ˘ / ˘ / ˘ / ˘ /

His robe as stainless as the soul he lost.

→ strong closure on “lost”; that terminal stress gives a sonorous drop.

7. ˘ / ˘ / ˘ / ˘ / ˘ /

They called him Hunter Saint—the holy one

→ variation: “Hunter Saint” makes a natural spondee (/ /) — acceptable for emphasis.

8. ˘ / ˘ / ˘ / ˘ / ˘ /

Of those who chase and never end the chase.

→ echo of “chase” strengthens rhythm; crisp closure.

9. ˘ / ˘ / ˘ / ˘ / ˘ /

I laughed: you cannot be of them, I said,

→ “laughed” and “them” stressed; compact and natural.

10. ˘ / ˘ / ˘ / ˘ / ˘ /

You look too calm for cruelty, too kind

→ feminine ending if read softly on “kind” (adds tenderness).

11. ˘ / ˘ / ˘ / ˘ / ˘ /

For blood. He smiled—a light that dimmed the walls

→ the dash acts as a caesura (pause); breathe after “smiled”.

12. ˘ / ˘ / ˘ / ˘ / ˘ /

And murmured, Son, this is the hunters’ age.

→ natural cadence; “hunters’” compress slightly to one beat (HUN-ters).

13. ˘ / ˘ / ˘ / ˘ / ˘ /

You cannot flee the hunt; it is the world.

→ final foot “is the world” gives a heavy, closing stress.

14. ˘ / ˘ / ˘ / ˘ / ˘ /

The mighty stalk the meek and call it peace;

→ “mighty” forms a trochaic start — acceptable inversion (stress front-loaded).

15. ˘ / ˘ / ˘ / ˘ / ˘ /

The rulers feed on men and name it law.

→ perfectly metrical, clipped and declarative.

16. ˘ / ˘ / ˘ / ˘ / ˘ /

The rich drain dry the poor and call it growth.

→ internal alliteration (“drain dry”) gives natural weight.

17. ˘ / ˘ / ˘ / ˘ / ˘ /

The priest devours the faith that keeps him fed;

→ soft elision on “devours” as (de-VOURS) fits meter.

18. ˘ / ˘ / ˘ / ˘ / ˘ /

The merchant nets the trusting with a smile.

→ “trusting with” runs smooth as natural speech.

19. ˘ / ˘ / ˘ / ˘ / ˘ /

Each hand you clasp conceals a loaded snare.

→ solid pentameter close; stress “clasp” and “snare”.

20. ˘ / ˘ / ˘ / ˘ / ˘ /

Look closer—every palm conceals a gun:

→ dash = half pause; “every” compress to two syllables (EV-ry).

21. ˘ / ˘ / ˘ / ˘ / ˘ /

A word, a screen, a document, a smile.

→ list gives staccato rhythm; maintain equal weight.

22. ˘ / ˘ / ˘ / ˘ / ˘ /

Each finger moves, and somewhere, someone falls.

→ alliterative sibilants soften the violence — excellent sonic contrast.

23. ˘ / ˘ / ˘ / ˘ / ˘ /

The kill is clean; the trigger leaves no mark.

→ firm final stress “mark” gives satisfying closure.

24. ˘ / ˘ / ˘ / ˘ / ˘ /

His face dissolved into the candle’s haze;

→ enjambment leads well into next thought.

25. ˘ / ˘ / ˘ / ˘ / ˘ /

The silence ripened slowly into thought,

→ “ripened slowly” a beautiful dactylic inversion (adds texture).

26. ˘ / ˘ / ˘ / ˘ / ˘ /

And I saw where the hunt begins not out,

→ mid-line caesura gives suspense.

27. ˘ / ˘ / ˘ / ˘ / ˘ /

But in the heart, beneath the tailored suit,

→ consistent; pause after “heart”.

28. ˘ / ˘ / ˘ / ˘ / ˘ /

Behind the eyes that seem so gently lit.

→ melodic fall on “lit”; closes the stanza gently.

29. ˘ / ˘ / ˘ / ˘ / ˘ /

And in that sleepless British night I heard,

→ smooth and steady; “British” compress to one beat (BRI-tish).

30. ˘ / ˘ / ˘ / ˘ / ˘ /

As prison clocks drew breath to whisper twelve,

→ lovely auditory imagery; stretch “whisper”.

31. ˘ / ˘ / ˘ / ˘ / ˘ /

A thousand rifles cocked not made of steel,

→ dash = pause; strong rising cadence.

32. ˘ / ˘ / ˘ / ˘ / ˘ /

But of the souls of men who dream they sleep.

→ perfect falling cadence; ends in quiet dread.