Despite the fact that poetry with meter and rhyme has been out of fashion for decades, there is still the sense among speakers of American English that certain meters are appropriate for certain topics or effects, even if the speaker does not know what a meter is. There is an innate sense of connection between meter and style level because there is an innate sense of rhythm or pace and style level. This sense of poetry derives from the spoken language, and in the spoken language there are always distinct style levels, even if the speaker does not know what a style level is. Here is a sample gamut:
Just because style levels are severely restricted in “free” verse, are dismissed by dictionaries, and ignored by schools, that does not mean that they do not exist. In fact, they are alive and thriving. However, the taboo status of style levels prevents their being taught and creates difficulties for people learning the language.
As an example of the surviving sense of appropriate meter in American English, the following poem is deliberately constructed to demonstrate the unsuitability of alternating iambic tetrameter and trimeter for swashbuckling:
These words are very regular;
They step across the page;
These lines go for the jugular
To make the reader rage.
A bomb no reader could resist
Of frenzy, blood, and lust
Would never plod along, so this
Explosion is a bust.