essay and poetry difference

Prose vs. Poetry: Their Differences and Overlaps

Sean Glatch  |  October 18, 2022  |  One Comment

The difference between prose and poetry seems easy to explain: one has blocks of text and fully-fleshed characters, the other has line breaks and pretty words. That’s it, right?

Despite their visual quirks, prose and poetry share many similarities: prose can be musical, poetry can have plots and characters, and both are millennia-old traditions. As such, it would be wrong to prescribe a rigid decision tree for writing prose vs. poetry—many writers have both in their toolkits, relying on each form to communicate different truths.

“Poetry creates the myth, the prose writer draws its portrait.” —Jean-Paul Sartre

So what is the difference between poetry and prose? And which should you write for which occasions? Again, we won’t give hard-and-fast rules, but we can explore their differences in depth and discuss their possibilities.

First, we’ll discuss the features of prose and poetry independently, then we’ll loop back to examine both their differences and their areas of overlap.

Prose vs. Poetry: Defining Prose

Prose is the more common writing form that everyone is comfortable reading and writing. This article relies on prose—as do most ( but not all! ) novels, and just about all news stories, instruction manuals, scientific papers, and so on.

Prose Versus Verse: Line Breaks

The most straightforward rule of thumb for knowing that you’re reading prose (as opposed to its counterpart, verse ) is that there are no defined line breaks: words go all the way to the edge of the page without “turning back” early.

A rule of thumb for prose (as opposed to its counterpart, verse ) is that there are no defined line breaks.

Again, that’s how this blog article works, along with most other writing, from tweets to short stories to scientific papers.

So why would you stop writing prose, and move over to the with-line-breaks type of writing known as verse? The line breaks aren’t arbitrary, but reflect an underlying difference in how prose and verse tend to be structured. To quote the always-helpful Wikipedia:

“Where the common unit of verse is based on meter or rhyme, the common unit of prose is purely grammatical, such as a sentence or paragraph.”

So is verse (writing with line breaks) always poetry? While two are often used synonymously, defining poetry requires more than just scanning for line breaks: as we’ll discuss below, poetry is also about the rich and musical use of language.

Prose is not the counterpart of poetry, but the counterpart of verse.

So prose is not the counterpart of poetry, but rather the counterpart of verse. So verse is not what strictly defines poetry. In fact, not all poetry is in verse—specifically, prose poetry isn’t. In other words, prose and poetry do overlap, whereas prose and verse don’t.

Most poetry is in verse, but some poetry is in prose.

We go into more detail on line breaks, stanzas, and the use of page space in the sections below.

Prose is More Functional than Poetry

A helpful pattern in understanding prose vs. poetry is as follows: prose tends to work in clearer meanings, and to be less musical (that is, working with the inherent rhythms and sonic properties of language) and less densely packed with meanings, literary devices , and associations, than poetry.

As such, prose writing tends to be linear: while a prosaic sentence can twist and turn, it tends to share clear information, generally in a logical order.

Prose tends to work in clearer meanings, and to be less musical and dense, than poetry.

Again, exceptions exist, notably prose poetry : prose writing—writing with no line endings or defined rhythmic meter—that is highly musical and dense, and that is generally more impressionistic and multifaceted than most prose in the meanings it conveys.

And then there’s prose writing that is enigmatic and dreamlike rather than clear and orderly, such as the stream-of-consciousness prose writing in James Joyce’s Ulysses .

These exceptions prove the rule, though: most other prose, from this blog article your friend’s next Facebook post to Mary Shelley’s Frankenstein , tends to follow the delineation described here.

We’ll allow Hemingway a last word with a slightly macho, not-applicable-to-every-prose-work, but still helpful description of prose: “Prose is architecture, not interior decoration.”

Sound good? To get a stronger feel for prose and further acquaint yourself with prose writing, take a look at the readings below.

How to Read Prose

This article gives close reading strategies for prose writing.

How to Read Prose: Close Reading Strategies for Prose Writers

Further Readings in Fiction and Nonfiction

The articles below outline helpful practices for numerous kinds of prose writing, from flash fiction to the novel, focusing especially on the common ingredients of storytelling.

• Crafting a Story Outline
• Freytag’s Pyramid
• Literary Devices in Prose
• Writing Flash Fiction
• Writing the Short Story
• Writing the Novella
• Writing the Novel

Prose vs. Poetry: Defining Poetry

Poetry is the oldest literary form, predating the written word (and therefore, prose) by several millennia. Up until the printing press revolutionized the distribution of literature, poetry was the main form for storytellers, who used meter and rhythm to perform oral retellings of their work.

So, what is poetry? As we’ve seen in our introduction to prose above, most—but not all—poetry is written in verse: writing with line breaks, organized around rhythm or meter rather than grammar. Still, we’ve also seen that verse is not what defines poetry, nor is all poetry based in verse.

So it’s not simply another word for verse. Is there an agreed-upon artistic definition of poetry as a literary form? (Spoiler: No.)

Artistic Definitions of Poetry Vary

Artistic definitions of poetry change from poetic movement to poetic movement—and from poet to poet.

For example, William Wordsworth said that poetry is “the spontaneous overflow of powerful feelings… recollected in tranquility.” This sentiment—largely reflective of the Romantic era—certainly rings true for some poetry. However, New Formalist poets work with poetry to distill and reflect emotion through form and meter: in other words, structure over emotion.

The point is, there’s no singular way to define or understand the artistic aims of poetry. Rather, all poets must define these aims for themselves and write accordingly.

Poets must define the artistic aims of poetry for themselves and write accordingly.

Learning about poetry requires familiarizing yourself with what other poets have already done. This list of poetry movements can jumpstart your understanding of poetry’s complex and various histories.

Poetry Uses Language Richly

Good poetry, from any tradition, sings and resonates beyond the merely “prosaic.”

Whatever literary tradition you ascribe to, poetry has a clear job to be rich, musical, evocative. Good poetry, from any tradition, sings and resonates in a way that goes beyond the merely “prosaic,” as in the following poem excerpt by Derek Walcott:

You will love again the stranger who was your self. Give wine. Give bread. Give back your heart to itself, to the stranger who has loved you

all your life, whom you ignored for another, who knows you by heart.

So poetry, in any tradition, is the “cheesecake of language”: packed to the brim with sonic and expressive power. In poetry, it’s not enough to make a rational point straightforwardly, like the prosaic sentence you’re reading is doing.

Samuel Taylor Coleridge said this beautifully, and we can give him the last word in defining poetry.

“Poetry: the best words in the best order.” —Samuel Taylor Coleridge

Cool, right? If you’d like to learn more, check out our guides for reading and understanding poetry.

How to Read Poetry

This article gives close reading strategies for poetry writing.

How to Read Poetry Like a Poet

Further Readings in Poetry

The articles below outline helpful practices poetry writing, including deep dives on common literary devices in poetry and established poetry forms.

• Poetry Forms
• Writing and Publishing a Poetry Book

Poetry vs. Prose: A Clear Example of Each

Let’s cap the definitions of poetry and prose above by simply giving a clear example of each.

Here is some beautiful fiction writing that is definitely prose:

They were nearly born on a bus, Estha and Rahel. The car in which Baba, their father, was taking Ammu, their mother, to hospital in Shillong to have them, broke down on the winding tea-estate road in Assam. They abandoned the car and flagged down a crowded State Transport bus. With the queer compassion of the very poor for the comparatively well off, or perhaps only because they saw how hugely pregnant Ammu was, seated passengers made room for the couple, and for the rest of the journey Estha and Rahel’s father had to hold their mother’s stomach (with them in it) to prevent it from wobbling. That was before they were divorced and Ammu came back to live in Kerala.

—Arundhati Roy, The God of Small Things

And here is some writing that is definitely poetry:

We are such stuff As dreams are made on; and our little life Is rounded with a sleep.

—Shakespeare, The Tempest

5 Similar Features of Prose and Poetry

Having defined prose and poetry above, the reality is that they can be more similar than you might imagine. We’ll discuss their differences in a moment, but first, it’s important to understand the shared potential that each form holds:

• Musicality and rhythm
• Use of colloquial speech
• Use of literary devices
• Ability to tell stories
• Show, don’t tell

1. Musicality and Rhythm

It’s a common misconception that only poetry can be musical. While rhythm and meter are important aspects of a poem’s construction, musicality begins with language, not with structure.

An immediate example of “musical prose” is The Great Gatsby by F. Scott Fitzgerald. Susan Bell, writer of The Artful Edit , argues that Gatsby finds its success precisely because of the story’s musical, elegant storytelling—certainly, the book has a charged poeticism that feels just as decadent and tasteful as the high society of the Roaring Twenties. Below is some undeniably musical prose:

2. Use of Literary Devices

Things are like other things, which is the essence of literary devices. While some devices are unique to each form—poems have enjambment, prose can begin in media res —a successful piece of writing requires literary devices .

3. Use of Colloquial Speech

Yes, some writing uses lofty and erudite language. However, contemporary prose and poetry writers, from all eras, recognize the importance of speaking to their audience.

Colloquial speech is one way of speaking to your audience. A colloquialism is a turn of phrase with a specific social and temporal context. For example, “groovy” belongs to the American 1970s, Victorian Brits called a brave person “bricky,” and Gen Z’ers “stan” on Twitter.

In literature, Jay Gatsby’s “old sport” is just as colloquial as the poem “A Study of Reading Habits ,” which uses phrases like “right hook” and “load of crap.”

4. Storytelling

Another common misconception is that poetry doesn’t tell stories. While fiction and nonfiction are the genres of prose, poetry also possesses a powerful narrative voice.

Singular poems can tell grand stories, especially poetry in antiquity. The Epic of Gilgamesh , The Odyssey , and Beowulf are all stories in verse, as are novel-poems like Autobiography of Red .

Additionally, contemporary poetry collections often tell stories, just with less linearity. Louise Gluck’s collection Wild Iris is told from the perspective of a flower, and as the seasons change, the flower observes the infinite singularity of mankind, God, and the Universe.

5. Show, Don’t Tell Writing

It’s important for storytellers to demonstrate their ideas without spoon feeding the reader. In other words, writers should Show instead of Tell.

Don’t tell me the moon is shining; show me the glint of light on broken glass. —Anton Chekhov

We consider “Show, Don’t Tell” a golden rule of writing. Brush up on it here !

10 Differences Between Prose and Poetry

We’ve discussed their similarities, but the difference between poetry and prose is usually fairly clear in practice. The following ten items distinguish the two. To help demonstrate our point, we represent each form with a well known piece of literature. Poetry examples were pulled from Dylan Thomas’ “ Do Not Go Gentle Into That Good Night ,” and prose examples come from “ The Cask of Amontillado ” by Edgar Allan Poe.

1. Prose vs. Poetry: Use of Page Space

In prose, a line of text begins and ends at the margins of the page. In poetry, the author uses shorter lines, broken before the page margins to introduce multiple meanings. Line breaks are an enduring feature of what differentiates prose and poetry, adding extra emphasis to certain words and sounds.

You’ll notice in prose that a partial line occurs only before a new paragraph.

In poetry, the line breaks mean something more intentional. The ending words can help uphold meter and rhyme schemes, and it also emphasizes important words: “night” and “light” are repeatedly pit against each other in Thomas’ villanelle .

2. Prose vs. Poetry: Paragraphs vs. Stanzas

Prose passages divide single ideas into sentences, and those sentences go on to form paragraphs. A new paragraph signifies the introduction of new ideas or the continuation of relevant information.

The equivalent of a paragraph in poetry is the stanza. Stanzas are groupings of lines which act as units of meaning, with different stanzas containing different ideas and images.

3. Prose vs. Poetry: Single vs. Multiple Meanings

In prose, the meaning of each word is usually straightforward, with double meanings (like puns and irony) clearly expressed. Most prose relies on clear meanings to deliver clear, linear messages.

By contrast, the language of poetry contains multitudes. One word can hold many different meanings, and ideas can be broken into both sentences and lines.

Take the line “old age should burn and rave at close of day.” The word rave can mean multiple things: it can mean to rant and rave as old people (stereotypically) do, or it can mean to rage and fight against. The pun here is intended to energize the reader,

4. Prose vs. Poetry: Noun-Verb Placements

In Standard English , which is the common (but not default) language of prose, nouns and verbs are found close to each other. This is a facet of “clear communication”—it’s important to know who is doing what as efficiently as possible.

We have bolded the noun-verb pairs in an excerpt from both the poem and prose piece.

Notice how the noun-verb pairs can stray from each other much more easily in poetry. Dylan Thomas inserts a noun-verb pair between a noun-verb pair in each stanza—which is much harder to use effectively in prose.

Notice that, in prose, a noun can have multiple verbs attached to it, but the first verb is almost always next to the noun.

5. Prose vs. Poetry: Rhyme (Sometimes)

There are two types of rhyme: internal and external rhyme. External rhyme occurs at the ends of lines, such as the many “-ight” words in Thomas’ poem.

Internal rhyme refers to words that rhyme with each other inside the same beat. These rhymes are not always intentional or charged with meaning, but they occur, such as in this sentence from Poe’s story:

“We had passed through walls of piled bones , with casks and puncheons intermingling, into the inmost recesses of the catacombs.”

Bones and catacombs aptly rhyme with each other. Note, rhyme is not a necessary feature of any prose and many poems. Though some poetry forms do require rhyme schemes, contemporary poets tend to eschew rhyming.

6. Prose vs. Poetry: Meter (Sometimes)

Like rhyme, meter is an (often) optional component of poetry writing. Meter refers to the stress patterns of syllables and the number of syllables per line. Well-executed meter can give poetry a certain musical quality.

Thomas’ poem is written in iambic pentameter, a requirement of the traditional villanelle form. This means there are 10 syllables in each line, following an unstressed-stressed pattern. To understand syllable stress, read Thomas’ poem out loud, and note how every second syllable is emphasized harder than the first.

Prose does not rely on meter to tell a story.

Prose does not have any metrical requirements, and thank goodness for that. Meter can be extraordinarily tough to impose on a poem, but it also affects how the reader interprets the piece. However, prose does not rely on meter to tell a story, as these poetry devices often instill multiple meanings in a piece.

7. Prose vs. Poetry: Pragmatic vs. Imaginative Focus

On a macro-level, the vision of poets and prose writers tends to differ. Prose has a pragmatic focus, meaning that each word should clearly advance a specific idea or narrative. The focus of prose is storytelling, so the author has a duty to use words diligently.

While poetry can tell stories, a poem rarely focuses on plot points, settings, and characters.

While poetry can tell stories, a poem rarely focuses on plot points, settings, and characters. Rather, poetry has an imaginative focus. Words are allowed to break their conventional bounds in the goal of expressing emotions, and ideas can stack upon each other like grains of sand in a sand castle.

So, what’s pragmatic about Poe, and what’s imaginative about Thomas? Every word in Poe’s piece describes details and events that push the reader towards the climax. At no point does the reader jump out of the narrative to speculate or stargaze.

In Thomas’ poem, the words don’t point the reader towards a specific event, but they do encourage the reader to think deeply about abstract ideas. Old or young, the reader will contend with ideas of life, death, justice, goodness, and the judgment against our souls. In 19 lines of mostly concrete images, the poet asks us to read imaginatively—and in the process, to learn what we believe.

8. Prose vs. Poetry: Paraphrasability

A piece of prose can be summarized. If you ask “what is ‘The Cask of Amontillado’ about?”, it is possible to paraphrase the story and get the gist of its deeper meaning. In short, Poe’s story observes a man desperate for revenge, only to find that revenge often hurts both the punisher and the punished.

Poetry is generally harder to summarize than prose, because it tends to include greater multiplicities of meaning.

Poetry is generally harder to summarize than prose, because it tends to include greater multiplicities of meaning. No one can tell you what a certain poem means. They can tell you what it isn’t —for example, “Do Not Go Gentle” is not about heartbreak, war, or the summertime—but deciding what a poem means requires a reader’s own attention.

For example, one could summarize Thomas’ poem as “an ode to Thomas’ dying father, with a vengeful bent against mankind’s eventual death.” But, does saying that invoke Thomas’ juxtaposition of light and dark? His use of rhyme to draw a conceit? His need to believe in the transience of the soul? By the time you’ve summarized the poem, you’ve written something as long as the poem itself. Poetry cannot be paraphrased.

9. Prose vs. Poetry: Point of View

Prose and poetry treat “point of view” in very different ways. A point of view (POV) refers to who is telling the story. The storyteller doesn’t always have a name or a face, but they do inevitably change how a story is read.

In prose, there are 4 main POVs:

• First Person (I): The story is told in the first person, from a character who is either the protagonist or adjacent to the protagonist. The Cask of Amontillado uses the first person POV.
• Second Person (You): The story is told in the second person. Often, the writer will substitute “the protagonist” for “you,” making the story’s actions feel more intimate and personal. Second Person storytelling is rare, but not unheard of.
• Third Person Limited (He/She/They): The story is told in the third person, and it focuses on the perspective of the protagonist. We have access to most of their thoughts and feelings, but our access to other people is limited by the protagonist’s perspective.
• Third Person Omniscient (He/She/They): The story is told in the third person, and the narrator has access to everyone’s thoughts, feelings, and actions. We can jump from person to person with ease, interweaving webs of complex narratives together.

Some stories will also take a Third Person Mixed approach, meaning the meat of the story is told from the protagonist’s perspective, but the reader occasionally jumps to someone else’s POV or to a historical time period.

While poetry can use the same pronouns (I/You/He/She/They), it uses POV differently. A poem is always told from the perspective of “the speaker.” The speaker can be the poet themselves—Dylan Thomas is certainly the voice behind his poem, and he is certainly talking to his father. However, the correct approach is to always call the poem’s POV “the speaker,” as a poem can inhibit many different voices at once. Finally, poetry is much easier to apply to yourself when the speaker isn’t anyone in particular.

10. Prose vs. Poetry: Concision

Prose and poetry writers should both write concisely. Concise writing eschews redundancies and makes every word count. However, concision means something different for the two forms.

In prose, concision generally means that not a word is wasted in conveying information. Concise prose expresses its meaning clearly.

Concise prose expresses its meaning clearly.

Of course, good prose can still be long-winded, as long as this heightens the effect of the work. Take this sentence from Poe’s story:

“It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good-will. I continued, as was my wont, to smile in his face, and he did not perceive that my smile now was at the thought of his immolation.”

These sentences are 19 and 27 words long, respectively. They can also be summarized as follows: “Fortunato thought my smile bore good-will, not the desire to immolate him.”

What does Poe’s long-windedness afford him? Despite being easily paraphrased, every word does count in these two sentences, because they are a part of the narrator’s characterization. He is a long-winded schemer, and that affects how the story must be told, since Poe has chosen the first person to make us intimate with the narrator’s internal conflict.

Poetry is a different situation. Because poetry has line breaks, stanzas, and (sometimes) rhyme and meter, its concision takes a different form. In a poem, it’s great if every word contains heavy meaning; it’s even greater when words contain multiplicities and challenge the reader’s ideas. Economy in poetry is maximizing its impact, musicality, and richness—not necessarily its clear, single meaning.

Economy in poetry is maximizing its impact, musicality, and richness—not necessarily its clear, single meaning.

If you stretched a poem into prose, it would read like a terrible short story, because the concision afforded to poetry is different than that of prose. Concise prose focuses more on clarity of meaning, and poetry more on maximizing the richness and impact of every syllable.

Poetry vs. Prose Venn Diagram

Prose vs. Poetry: A Final Note On Literary Binaries

Any article like this risks making literature seem binary, as though prose and poetry were totally discrete entities; so in closing, it’s good to note again that writers, especially contemporary writers, often work at the intersection of prose and poetry, resulting in genres like the prose poem , the lyrical essay or the poetry novel . (And we haven’t even touched on scriptwriting, which is a different form of communication altogether.)

There is much to explore outside of poetry and prose; this article simply covers the basics. As you advance on your writing journey, don’t be afraid to experiment with words outside of the traditional “prose vs. poetry” binary. You might be shocked by what you can accomplish!

Explore both Prose and Poetry at Writers.com

Whether you’re experimenting with poetry, fiction, or creative nonfiction, Writers.com has the classes to help you succeed. Take a look at our upcoming courses —and gain valuable insights from our instructors and writing community .

Sean Glatch

Great summary. I write poetry, prose poems, flash fiction and short stories so I’m using the grab bag of everything you said here! Never taught about line breaks, though. I see some poets going willy nilly all over the page. Maybe there just aren’t any rules where this is concerned…

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The Difference between an Essay and a Poem

Unlike a poem, it's highly unlikely anyone will ever want to set one of your essays to music. While some poems may set out to accomplish the same goals as an essay, such as presenting an argument or telling a story, the structure, common techniques, and basic rules required for an essay are quite different than a poem.

No matter what type of essay you're asked to write, such as argumentative, expository, descriptive, or narrative, there are usually structuring requirements that must be applied. An introductory paragraph that presents your ideas, a body that lays out each of those ideas clearly, and a summary paragraph that presents some type of conclusion are the common requirements for most traditional essays.

Poems, on the other hand, can vary widely in structure. Haikus, sonnets, limericks, and ballads are all forms of poetry and each is defined by its unique and specific structure. Poems can rhyme or not rhyme, be freeform or limited to a certain number of syllables, and they can fill a book or be written in 14 lines of iambic pentameter.

Techniques for writing a good essay include presenting ordered points that relate back to a single thesis statement, writing interesting and relevant topic sentences to present ideas for each paragraph, and presenting excellent supportive references from outside sources.

Poems, on the other hand, use alliteration, creative similes and metaphors, onomatopoeia, assonance, and rhyming lines. However, many poems include none of these. Unlike essays, there are no universal techniques used in good poetry. Creativity wins the day over following hard and fast rules.

Grammar, Spelling, and Punctuation

Anyone who has ever submitted an essay assignment knows that grammar, spelling, and punctuation are key in a good essay. Every sentence should end with the proper punctuation mark, creative spelling is frowned upon, and an essay writer should proofread to ensure subject/verb agreement, sentence structure, and use of proper English.

In poetry, rules like these are often tossed out the window. Entire poems can be written with nary a punctuation mark in sight, and the creative use of language is encouraged.

In short, poems allow for a lot more creative freedom and can include a wide range of possible structures and techniques. An essay makes logical points that should be clear to anyone who reads it. Even the best poems, however, sometimes make sense to no one other than their authors.

An Introduction to the Lyric Essay

Rebecca Hussey

Rebecca holds a PhD in English and is a professor at Norwalk Community College in Connecticut. She teaches courses in composition, literature, and the arts. When she’s not reading or grading papers, she’s hanging out with her husband and son and/or riding her bike and/or buying books. She can't get enough of reading and writing about books, so she writes the bookish newsletter "Reading Indie," focusing on small press books and translations. Newsletter: Reading Indie Twitter: @ofbooksandbikes

View All posts by Rebecca Hussey

Essays come in a bewildering variety of shapes and forms: they can be the five paragraph essays you wrote in school — maybe for or against gun control or on symbolism in The Great Gatsby . Essays can be personal narratives or argumentative pieces that appear on blogs or as newspaper editorials. They can be funny takes on modern life or works of literary criticism. They can even be book-length instead of short. Essays can be so many things!

Perhaps you’ve heard the term “lyric essay” and are wondering what that means. I’m here to help.

What is the Lyric Essay?

A quick definition of the term “lyric essay” is that it’s a hybrid genre that combines essay and poetry. Lyric essays are prose, but written in a manner that might remind you of reading a poem.

Before we go any further, let me step back with some more definitions. If you want to know the difference between poetry and prose, it’s simply that in poetry the line breaks matter, and in prose they don’t. That’s it! So the lyric essay is prose, meaning where the line breaks fall doesn’t matter, but it has other similarities to what you find in poems.

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Lyric essays have what we call “poetic” prose. This kind of prose draws attention to its own use of language. Lyric essays set out to create certain effects with words, often, although not necessarily, aiming to create beauty. They are often condensed in the way poetry is, communicating depth and complexity in few words. Chances are, you will take your time reading them, to fully absorb what they are trying to say. They may be more suggestive than argumentative and communicate multiple meanings, maybe even contradictory ones.

Lyric essays often have lots of white space on their pages, as poems do. Sometimes they use the space of the page in creative ways, arranging chunks of text differently than regular paragraphs, or using only part of the page, for example. They sometimes include photos, drawings, documents, or other images to add to (or have some other relationship to) the meaning of the words.

Lyric essays can be about any subject. Often, they are memoiristic, but they don’t have to be. They can be philosophical or about nature or history or culture, or any combination of these things. What distinguishes them from other essays, which can also be about any subject, is their heightened attention to language. Also, they tend to deemphasize argument and carefully-researched explanations of the kind you find in expository essays . Lyric essays can argue and use research, but they are more likely to explore and suggest than explain and defend.

Now, you may be familiar with the term “ prose poem .” Even if you’re not, the term “prose poem” might sound exactly like what I’m describing here: a mix of poetry and prose. Prose poems are poetic pieces of writing without line breaks. So what is the difference between the lyric essay and the prose poem?

Honestly, I’m not sure. You could call some pieces of writing either term and both would be accurate. My sense, though, is that if you put prose and poetry on a continuum, with prose on one end and poetry on the other, and with prose poetry and the lyric essay somewhere in the middle, the prose poem would be closer to the poetry side and the lyric essay closer to the prose side.

Some pieces of writing just defy categorization, however. In the end, I think it’s best to call a work what the author wants it to be called, if it’s possible to determine what that is. If not, take your best guess.

Four Examples of the Lyric Essay

Below are some examples of my favorite lyric essays. The best way to learn about a genre is to read in it, after all, so consider giving one of these books a try!

Don’t Let Me Be Lonely: An American Lyric by Claudia Rankine

Claudia Rankine’s book Citizen counts as a lyric essay, but I want to highlight her lesser-known 2004 work. In Don’t Let Me Be Lonely , Rankine explores isolation, depression, death, and violence from the perspective of post-9/11 America. It combines words and images, particularly television images, to ponder our relationship to media and culture. Rankine writes in short sections, surrounded by lots of white space, that are personal, meditative, beautiful, and achingly sad.

Calamities by Renee Gladman

Calamities is a collection of lyric essays exploring language, imagination, and the writing life. All of the pieces, up until the last 14, open with “I began the day…” and then describe what she is thinking and experiencing as a writer, teacher, thinker, and person in the world. Many of the essays are straightforward, while some become dreamlike and poetic. The last 14 essays are the “calamities” of the title. Together, the essays capture the artistic mind at work, processing experience and slowly turning it into writing.

The Self Unstable by Elisa Gabbert

The Self Unstable is a collection of short essays — or are they prose poems? — each about the length of a paragraph, one per page. Gabbert’s sentences read like aphorisms. They are short and declarative, and part of the fun of the book is thinking about how the ideas fit together. The essays are divided into sections with titles such as “The Self is Unstable: Humans & Other Animals” and “Enjoyment of Adversity: Love & Sex.” The book is sharp, surprising, and delightful.

Bluets by Maggie Nelson

Bluets is made up of short essayistic, poetic paragraphs, organized in a numbered list. Maggie Nelson’s subjects are many and include the color blue, in which she finds so much interest and meaning it will take your breath away. It’s also about suffering: she writes about a friend who became a quadriplegic after an accident, and she tells about her heartbreak after a difficult break-up. Bluets is meditative and philosophical, vulnerable and personal. It’s gorgeous, a book lovers of The Argonauts shouldn’t miss.

It’s probably no surprise that all of these books are published by small presses. Lyric essays are weird and genre-defying enough that the big publishers generally avoid them. This is just one more reason, among many, to read small presses!

If you’re looking for more essay recommendations, check out our list of 100 must-read essay collections and these 25 great essays you can read online for free .

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Writing about poetry can be one of the most demanding tasks that many students face in a literature class. Poetry, by its very nature, makes demands on a writer who attempts to analyze it that other forms of literature do not. So how can you write a clear, confident, well-supported essay about poetry? This handout offers answers to some common questions about writing about poetry.

What's the Point?

In order to write effectively about poetry, one needs a clear idea of what the point of writing about poetry is. When you are assigned an analytical essay about a poem in an English class, the goal of the assignment is usually to argue a specific thesis about the poem, using your analysis of specific elements in the poem and how those elements relate to each other to support your thesis.

So why would your teacher give you such an assignment? What are the benefits of learning to write analytic essays about poetry? Several important reasons suggest themselves:

• To help you learn to make a text-based argument. That is, to help you to defend ideas based on a text that is available to you and other readers. This sharpens your reasoning skills by forcing you to formulate an interpretation of something someone else has written and to support that interpretation by providing logically valid reasons why someone else who has read the poem should agree with your argument. This isn't a skill that is just important in academics, by the way. Lawyers, politicians, and journalists often find that they need to make use of similar skills.
• To help you to understand what you are reading more fully. Nothing causes a person to make an extra effort to understand difficult material like the task of writing about it. Also, writing has a way of helping you to see things that you may have otherwise missed simply by causing you to think about how to frame your own analysis.
• To help you enjoy poetry more! This may sound unlikely, but one of the real pleasures of poetry is the opportunity to wrestle with the text and co-create meaning with the author. When you put together a well-constructed analysis of the poem, you are not only showing that you understand what is there, you are also contributing to an ongoing conversation about the poem. If your reading is convincing enough, everyone who has read your essay will get a little more out of the poem because of your analysis.

What Should I Know about Writing about Poetry?

Most importantly, you should realize that a paper that you write about a poem or poems is an argument. Make sure that you have something specific that you want to say about the poem that you are discussing. This specific argument that you want to make about the poem will be your thesis. You will support this thesis by drawing examples and evidence from the poem itself. In order to make a credible argument about the poem, you will want to analyze how the poem works—what genre the poem fits into, what its themes are, and what poetic techniques and figures of speech are used.

What Can I Write About?

Theme: One place to start when writing about poetry is to look at any significant themes that emerge in the poetry. Does the poetry deal with themes related to love, death, war, or peace? What other themes show up in the poem? Are there particular historical events that are mentioned in the poem? What are the most important concepts that are addressed in the poem?

Genre: What kind of poem are you looking at? Is it an epic (a long poem on a heroic subject)? Is it a sonnet (a brief poem, usually consisting of fourteen lines)? Is it an ode? A satire? An elegy? A lyric? Does it fit into a specific literary movement such as Modernism, Romanticism, Neoclassicism, or Renaissance poetry? This is another place where you may need to do some research in an introductory poetry text or encyclopedia to find out what distinguishes specific genres and movements.

Versification: Look closely at the poem's rhyme and meter. Is there an identifiable rhyme scheme? Is there a set number of syllables in each line? The most common meter for poetry in English is iambic pentameter, which has five feet of two syllables each (thus the name "pentameter") in each of which the strongly stressed syllable follows the unstressed syllable. You can learn more about rhyme and meter by consulting our handout on sound and meter in poetry or the introduction to a standard textbook for poetry such as the Norton Anthology of Poetry . Also relevant to this category of concerns are techniques such as caesura (a pause in the middle of a line) and enjambment (continuing a grammatical sentence or clause from one line to the next). Is there anything that you can tell about the poem from the choices that the author has made in this area? For more information about important literary terms, see our handout on the subject.

Figures of speech: Are there literary devices being used that affect how you read the poem? Here are some examples of commonly discussed figures of speech:

• metaphor: comparison between two unlike things
• simile: comparison between two unlike things using "like" or "as"
• metonymy: one thing stands for something else that is closely related to it (For example, using the phrase "the crown" to refer to the king would be an example of metonymy.)
• synecdoche: a part stands in for a whole (For example, in the phrase "all hands on deck," "hands" stands in for the people in the ship's crew.)
• personification: a non-human thing is endowed with human characteristics
• litotes: a double negative is used for poetic effect (example: not unlike, not displeased)
• irony: a difference between the surface meaning of the words and the implications that may be drawn from them

Cultural Context: How does the poem you are looking at relate to the historical context in which it was written? For example, what's the cultural significance of Walt Whitman's famous elegy for Lincoln "When Lilacs Last in the Dooryard Bloomed" in light of post-Civil War cultural trends in the U.S.A? How does John Donne's devotional poetry relate to the contentious religious climate in seventeenth-century England? These questions may take you out of the literature section of your library altogether and involve finding out about philosophy, history, religion, economics, music, or the visual arts.

What Style Should I Use?

It is useful to follow some standard conventions when writing about poetry. First, when you analyze a poem, it is best to use present tense rather than past tense for your verbs. Second, you will want to make use of numerous quotations from the poem and explain their meaning and their significance to your argument. After all, if you do not quote the poem itself when you are making an argument about it, you damage your credibility. If your teacher asks for outside criticism of the poem as well, you should also cite points made by other critics that are relevant to your argument. A third point to remember is that there are various citation formats for citing both the material you get from the poems themselves and the information you get from other critical sources. The most common citation format for writing about poetry is the Modern Language Association (MLA) format .

What’s the Difference Between Poetry and Prose?

19 Feb, 2024 | Blog Articles , English Language Articles , Get the Edge , Humanities Articles , Writing Articles

What are the key elements of poetry?

1. figurative language.

Figurative language quite simply means language that is not literal. This type of language is descriptive, and poets often use it to link a concrete object with an abstract idea. This non-literal description is used to invoke the reader’s emotions. 

A metaphor, for example, is a figurative technique; “the world is your oyster,” and “I could eat a horse,” are common metaphors. 

A simile is another example of figurative language. This is where the poet compares one thing with another to strengthen a description: for example in the final line of Sylvia Plath’s Mirror : 

“In me she has drowned a young girl, and in me an old woman / Rises toward her day after day, like a terrible fish.” 

Personification, the attribution of human characteristics to something non-human (e.g. “the wind howled”), and symbolism, the use of symbols to represent ideas or qualities, are also figurative techniques. 

These all serve to draw mental associations between the concrete and the abstract, and enhance the imagery of the poem. 

2. Rhythm and Metre

Poetry also often employs rhythmic patterns and metre. Rhythm refers to the rhythmic structure of a line, composed of two or more syllables, while metre is used to describe the pattern of emphasis, or lack of emphasis, on each syllable. Poets choose different rhythms and metres to impact the musical quality of the poem. 

For example, iambic pentameter is a type of metric line used in traditional English poetry and verse drama – most famously in the works of Shakespeare. 

Rhythm is measured in small groups of syllables called “feet”. “Iambic” refers to the type of foot used: an “iamb” is an unstressed syllable followed by a stressed syllable (e.g. the word “a-bove”). This creates the pattern: 

de/DUM de/DUM de/DUM de/DUM de/DUM 

“Pentameter” indicates that each line has five “feet” (think pent- as in “pentagon”, a shape with five sides). 

Consider Act 3, Scene 1 of Shakespeare’s A Midsummer’s Night Dream : 

“And I do love thee. Therefore go with me. I’ll give thee fairies to attend on thee, And they shall fetch thee jewels from the deep And sing while thou on pressed flowers dost sleep.” 

3. Line Breaks and Stanzas

Structure in poetry concerns how the poem’s different elements are organised. This includes: 

• Stanzas – a group of lines forming the basic recurring metrical unit in a poem; a.k.a a verse
• Line breaks
• Verse lengths 

Each impacts the way the reader experiences and interprets the poem.

For example, the Petrarchan sonnet organises itself into an octave, followed by a sestet. The first eight lines (often in ABBA ABBA rhyming scheme) raise a question that the next six lines, the sestet, answers. 

There’s typically a volta , or a turn, at the beginning of the sestet, indicating the change in the poem’s focus. Here, the way the poem’s stanzas are laid out can have a significant impact on the way the poem is read. 

These poems often concern love, and the volta in particular allows for narrative development in the poem. 

See Christina Rossetti’s After Death : 

“The curtains were half drawn, the floor was swept And strewn with rushes, rosemary and may Lay thick upon the bed on which I lay, Where through the lattice ivy-shadows crept. He leaned above me, thinking that I slept And could not hear him; but I heard him say, ‘Poor child, poor child’: and as he turned away Came a deep silence, and I knew he wept.   He did not touch the shroud, or raise the fold That hid my face, or take my hand in his, Or ruffle the smooth pillows for my head: He did not love me living; but once dead He pitied me; and very sweet it is To know he still is warm though I am cold.”

Line breaks also influence the way the poem is interpreted. In After Death, Rossetti employs enjambment (when a phrase flows seamlessly from one line to the next with no punctuation) to reflect the continuity of domestic life. 

4. Rhyme and Sound Patterns

Rhyme schemes, assonance, consonance and alliteration all draw attention to individual words within a poem. These words are drawn together through the repeated use of sound. 

For example, alliteration is the occurrence of the same letter or sound at the beginning of adjacent or closely connected words. In The Raven , Edgar Allan Poe uses plosive alliteration in the phrase “doubting, dreaming dreams”. 

Sibilance, the creation of a hissing sound by the repetition of the letter “s”, is also used:

“Eagerly I wished the morrow;—vainly I had sought to borrow From my books surcease of sorrow—sorrow for the lost Lenore”. 

Assonance, the rhyming of two or more stressed vowels in nearby words, creates a sense of rhythm, dictating which syllables should be stressed when the poem is read aloud. It’s also employed in The Raven : 

“Once upon a midnight dreary, while I pondered, weak and weary”.

A poem’s rhyme scheme, the pattern that outlines which sound each line should end with, lends poetry its tell-tale rhythmic structure. For example, the ABAB rhyme scheme rhymes the end of every other line. 

See the opening stanza of Robert Frost’s Neither Out Far Nor in Deep :

“The people along the sand All turn and look one way. They turn their back on the land. They look at the sea all day.”

Poets often put a rhyme scheme in place, only to break the pattern half-way through. This can work like a volta to indicate a shift in the narrative or to emphasise a particular thematic point. 

Imagery is the poet’s use of vivid description and language to enrich the reader’s understanding and appreciation of the piece. 

See the opening of T.S. Eliot’s Preludes :

“The winter evening settles down With smell of steaks in passageways. Six o’clock. The burnt-out ends of smoky days. And now a gusty shower wraps The grimy scraps Of withered leaves about your feet And newspapers from vacant lots;” 

The array of images conjured elevates the scene, as if we too are there in the street, with leaves at our feet and the smell of smoky steaks at our noses! 

6. Emotional Resonance

Poets also use literary techniques to express strong or intense emotions, which can deeply resonate with readers.

In Daffodils, William Wordsworth uses simple language to evoke loneliness, wonder and felicity: 

“I wandered lonely as a cloud That floats on high o’er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze.” 

Similarly, Audre Lorde’s If They Come in the Morning expresses a sense of danger and doom, as well as solidarity:

““If they take you in the morning, they will be coming for us that night.”

She uses the personal pronouns “you” and “we” to connect to the reader, strengthening our connection to the poem and its sentiments.

7. Ambiguity

Poetry can initially be difficult to interpret and understand due to its ambiguity. Oftentimes students find it hard to connect to a poem, and in turn lose enthusiasm for poetry as a literary form. 

However, ambiguity is part of what makes poems so resonant, interesting and evocative! Readers can engage with the poem on multiple levels and connect to the words more personally – ambiguity allows room for interpretation. 

As William Empson wrote in his book Seven Types of Ambiguity : 

“The machinations of ambiguity are among the very roots of poetry.”

8. Lyrical Language

Lyric poems use a variety of techniques to produce a songlike quality. 

A sonnet is a popular form of lyric poetry, using its rhythm, structure and descriptions to enhance its beauty and likeness to a song. For example, Shakespeare’s Sonnet 18 is notably lyrical, a quality that enhances the romantic and sentimental nature of the poem. 

9. Distinct Forms

There are a variety of poetic forms, including sonnets, haikus, villanelles and odes. 

Haikus are a Japanese form of poetry characterised by their unique syllabic structure. Each haiku is composed of three lines, with five syllables in the first line, seven in the second, and five in the third. 

For example, here is one of the Japanese poet Bashō’s earliest haikus: 

“On a withered branch A crow has alighted; Nightfall in autumn.”

A villanelle is a French verse form consisting of five three-line stanzas and a final quatrain, with the first and third lines of the first stanza repeating alternately in the following stanzas.

What Is Prose?

Prose is a form of written language without the metrical structure and formal patterns that characterise poetry. 

What are the key elements that characterise prose? 

1. narrative and exposition.

Prose is commonly used to convey information, tell stories and provide explanations, making it a versatile form of written expression. All novels are examples of the prose form. 

Think of the Harry Potter series. Through prose, we’re told the story of a young boy who discovers he is a wizard, attends the Hogwarts School of Witchcraft and Wizardry, meets his friends, learns spells and battles Voldemort. 

As a versatile form, prose doesn’t just tell stories. It can convey other types of information through news articles, recipes or school essays.

2. Full Sentences and Paragraphs

Prose adheres to grammatical and syntactical rules, consisting of complete sentences and paragraphs. This is in direct contrast with poetry’s experimentation with rhythm, line breaks and metre. 

3. Lack of Rhyme and Metre

There’s generally a notable absence of specific rhythmic patterns and structured metre in prose. This allows for a more fluid and natural flow of language – just as I am writing now! 

For example, the prose form allows dialogue in novels to feel natural and real. This extract from Ernest Hemingway’s Hills like White Elephants is a great example, as the dialogue effectively bounces back and forth between characters.

‘“Well,” the man said, “if you don’t want to you don’t have to. I wouldn’t have you do it if you didn’t want to. But I know it’s perfectly simple.”   “And you really want to?”   “I think it’s the best thing to do. But I don’t want you to do it if you really don’t want to.”   “And if I do it you’ll be happy and things will be like they were and you’ll love me?”   “I love you now. You know I love you.”   “I know. But if I do it, then it will be nice again if I say things are like white elephants, and you’ll like it?”   “I’ll love it. I love it now but I just can’t think about it. You know how I get when I worry.”   “If I do it you won’t ever worry?”   “I won’t worry about that because it’s perfectly simple.”’

4. Concise and Detailed

Prose can be both concise and straightforward to deliver a message (for example a how-to guide), or descriptive and detailed to depict scenes and characters in literature. 

See the opening of Charlotte Brontë’s Jane Eyre : 

“There was no possibility of taking a walk that day. We had been wandering, indeed, in the leafless shrubbery an hour in the morning; but since dinner (Mrs. Reed, when there was no company, dined early) the cold winter wind had brought with it clouds so sombre, and a rain so penetrating, that further out-door exercise was now out of the question.”

5. Logical and Coherent

Prose is generally organised logically with a coherent development of ideas. This means it’s very suitable for persuasive writing, argument and clarity. 

See any of Barack Obama’s speeches – he’s a skilled and persuasive writer and speaker, able to use language to suit his purpose and audience. 

6. Linear Narrative

Prose often follows a linear narrative structure, progressing chronologically from beginning to middle to end, while making use of narrative techniques. 

For example, tragedies often adhere to Freytag’s Pyramid, which follows the structure: 

• Introduction, 
• Rise, or rising action 
• Return, or fall
• Catastrophe

This formula is based upon the classical Greek tragedies of Sophocles , Aeschylus and Euripedes .

7. Versatility

Prose adapts to a wide range of genres and styles from creative fiction to academic research papers to a newspaper column. It’s the primary, and most versatile, form of written communication.

Blurring Boundaries Between Poetry and Prose

Although there are many differences between poetry and prose, these distinctions can sometimes blur. 

There are hybrid forms of writing which incorporate elements of both styles. For example, the French poet Charles Baudelaire revolutionised poetry in his prose poems, combining elements of both styles. Rather than incorporating line breaks, rhyme schemes, control of metre or assonance, Baudelaire employed conventions of prose writing such as paragraphs and dialogue. 

This created a condensed version of prose that took advantage of poetic devices like symbolism and imagery. Take a look at Baudelaire’s Be Drunk : 

“And if sometimes, on the steps of a palace or the green grass of a ditch, in the mournful solitude of your room, you wake again, drunkenness already diminishing or gone, ask the wind, the wave, the star, the bird, the clock, everything that is flying, everything that is groaning, everything that is rolling, everything that is singing, everything that is speaking. . . ask what time it is and wind, wave, star, bird, clock will answer you: “It is time to be drunk! So as not to be the martyred slaves of time, be drunk, be continually drunk! On wine, on poetry or on virtue as you wish.”

Other writers who blur this boundary include Claudia Rankine, whose novel ​ Citizen showcases her prose-poetry hybrid. Her work has been called “lyric essays” by the New York Review of Books . 

Ocean Vuong’s acclaimed works, strikingly Time Is A Mother , also experiment with poetry and prose to explore grief, loss and memory.

There are many, many more canonical writers that blur this boundary, like Oscar Wilde, Virginia Woolf and Sylvia Plath – all well worth exploring in depth!

Language is clearly not concrete, nor unchanging. Poets and novelists alike are always experimenting with form, technique and style. 

Be inspired to engage and experiment with a range of literary works, from confessional poetry to postmodernist literature to Baudelaire’s subversive prose poetry! Our summer programmes are hosted in Oxford, home to countless great writers over the centuries, and allow you to explore both poetry and prose in a supportive environment.

By Keziah Mccann

Keziah is a second-year French and Italian student at Balliol College, University of Oxford. As well as learning languages and travelling, her interests include writing, journalism, film and cooking.

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Microsoft 365 Life Hacks > Writing > Prose vs. poetry: what’s the difference?

Prose vs. poetry: what’s the difference?

Both prose and poetry are forms of writing; however, many people don’t fully understand the differences between the two. Learn the difference between prose versus poetry to expand your knowledge of common writing styles.

Have you ever read a beautifully written, heartfelt passage, but weren’t sure if it was considered a poem or prose? People often use the terms ‘prose’ and ‘poetry’ interchangeably, even though they’re two different forms of writing.

What is prose?

Prose is writing that doesn’t follow any meters or rhyming schemes. In fact, everyday writing is considered prose! Books, short stories, essays, and any sort of writing that doesn’t follow a specific structure is considered prose.

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Types of prose

There are a few different types of prose: Fictional prose, nonfictional prose, heroic prose, and prose poetry.

Fictional prose

Prose fiction is when an author tells a story that isn’t based on true events. The Great Gatsby by F. Scott Fitzgerald is a great example of fictional prose.

Nonfictional prose

Non-fictional prose is when an author writes about real events. For example, newspapers or memoirs are examples of non-fiction prose. When Breath Becomes Air by Paul Kalanithi is a memoir that is considered non-fiction prose.

Heroic prose

Heroic prose is a story that is passed down orally, but it can also be written down. This form of prose isn’t as common as fictional prose, nonfictional prose, or prose poetry. Heroic prose includes parables, myths, and fables. The Odyssey by Homer is an example of heroic prose.

Prose poetry

Prose poetry is a form of writing that uses literary devices such as imagery, symbols, or alliteration. Prose poetry can be both fiction and non-fiction, and it is characterized by its poetic qualities expressed in prose form, but not necessarily by the absence of line breaks or rhyming scheme .

Here’s a sample of prose poetry from Amy Lowell’s Bath:

“The day is fresh-washed and fair, and there is a smell of tulips and narcissus in the air. The sunshine pours in at the bath-room window and bores through the water in the bath-tub in lathes and planes of greenish-white. It cleaves the water into flaws like a jewel, and cracks it to bright light.” You may have notice that Lowell does incorporate a rhyme in her poem—both white and light rhyme—but the poem itself doesn’t follow a specific rhyming scheme.

What is poetry?

There are many different forms of poetry out there, but in general, poetry focuses on rhythm. Poems also incorporate structure, patterns, and rhyming schemes. Some popular forms of poetry include:

• Lyric poetry

Here is an example from a famous poem titled I’m nobody! Who are you? by Emily Dickinson:

“How dreary to be somebody! How public like a frog To tell one’s name the livelong day To an admiring bog!”

The fundamental differences between poetry and prose

Prose is a straightforward form of writing that follows natural flow of language and doesn’t use line breaks. Poetry, on the other hand, often uses structure such as rhyme, rhythm, and intentional line breaks. While not all poems have to rhyme , it’s a signature of the form and many do.

If you’re interested in learning more about poetry, see how you can write a narrative poem or use punctuation in poetry .

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• Key Differences

Know the Differences & Comparisons

Difference Between Prose and Poetry

The basic difference between prose and poetry is that we have sentences and paragraphs, whereas lines and stanzas can be found in a poetry. Further, there is regular writing in prose, but there is a unique style of writing a poetry.

We can find prose in newspaper articles, blogs, short stories, etc., however, poetry is used to share something special, aesthetically. To know more on this topic, you can read the other differences below:

Content: Prose Vs Poetry

Comparison chart, how to remember the difference, definition of prose.

The prose is an ordinary writing style in literature, which encompasses characters, plot, mood, theme, the point of view, setting, etc. making it a distinctive form of language. It is written using grammatical sentences, which forms a paragraph. It may also include dialogues, and is sometimes, supported by images but does not have a metrical structure.

Prose can be fictional or non-fictional, heroic, alliterative, village, polyphonic, prose poetry etc.

Biography, autobiography, memoir, essay, short stories, fairy tales, article, novel, blog and so forth use prose for creative writing.

Definition of Poetry

Poetry is something that arouses a complete imaginative feeling, by choosing appropriate language and selective words and arranging them in a manner that creates a proper pattern, rhyme (two or more words having identical ending sounds) and rhythm (cadence of the poem).

Poetry uses an artistic way to communicate something special, i.e. a musical intonation of stressed (long sounding) and unstressed (short sounding) syllables to express or describe emotions, moments, ideas, experiences, feelings and thoughts of the poet to the audience. The structural components of poetry include lines, couplet, strophe, stanza, etc.

It is in the form of verses, which constitutes stanzas, that follows a meter. The number of verses in a stanza depends upon the type of the poem.

Key Differences Between Prose and Poetry

The difference between prose and poetry can be drawn clearly on the following grounds:

• Prose refers to a form of literature, having ordinary language and sentence structure. Poetry is that form of literature, which is aesthetic by nature, i.e. it has a sound, cadence, rhyme, metre, etc., that adds to its meaning.
• The language of prose is quite direct or straightforward. On the other hand, in poetry, we use an expressive or creative language, which includes comparisons, rhyme and rhythm that give it a unique cadence and feel.
• While the prose is pragmatic, i.e. realistic, poetry is figurative.
• Prose contains paragraphs, which includes a number of sentences, that has an implied message or idea. As against, poetry is written in verses, which are covered in stanzas. These verses leave a lot of unsaid things, and its interpretation depends upon the imagination of the reader.
• The prose is utilitarian, which conveys a hidden moral, lesson or idea. Conversely, poetry aims to delight or amuse the reader.
• The most important thing in prose is the message or information. In contrast, the poet shares his/her experience or feelings with the reader, which plays a crucial role in poetry.
• In prose, there are no line breaks, whereas when it comes to poetry, there are a number of line breaks, which is just to follow the beat or to stress on an idea.
• When it comes to paraphrasing or summarizing, both prose and poetry can be paraphrased, but the paraphrase of the poem is not the poem, because the essence of the poem lies in the style of writing, i.e. the way in which the poet has expressed his/her experience in verses and stanzas. So, this writing pattern and cadence is the beauty of poetry, which cannot be summarized.

The best trick to remember the difference between these two is to understand their writing style, i.e. while prose is written ordinarily, poetry has aesthetic features, and so it has a distinctive writing pattern.

Further, the prose is that form of language which expansively conveys a message or meaning by way of a narrative structure. On the contrary, poetry is such a form of literature, with a unique writing format, i.e. it has a pattern, rhyme and rhythm.

In addition to this, prose appears like big blocks of words, whereas the size of poetry may vary as per the line length and the poet’s intention.

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Home › Study Tips › Creative Writing Resources For Secondary School Students

What Is The Difference Between Prose and Poetry?

• Published August 31, 2022

Table of Contents

Poetry is an art form that has been around for centuries. It is a way to express oneself through the use of words and can be written in many different styles. There are many different types of poetry, such as sonnets, haikus, and ballads.

Poetry can be written about any topic, and it is often used to express emotions. But what is the difference between poetry and prose?

In this article, we outline the differences between the two popular forms of story-telling.

Are you interested in studying English Literature at the university level? Our pre-university courses are designed to ensure you’re prepared for the university style of teaching. Build subject knowledge, work alongside like-minded peers and live in one of the world’s most prestigious universities.

Poetry VS Prose

Prose is a form of writing that is based on spoken language. It is characterised by its natural flow and rhythm, as well as its use of regular grammar and punctuation. Prose is often used for novels, short stories, and essays.

Poetry, on the other hand, is a form of writing that is based on musicality and rhythm. It is often characterized by its use of figurative languages, such as metaphors and similes. Poetry is often used for poems and some of its devices are also used in songwriting.

The major difference between the two is that poetry is a form of writing that uses rhythm and rhyme to create a musical or chant-like effect, whereas prose, is a form of writing that is more straightforward and doesn’t rely on rhyme or meter.

Poetry often uses figurative language to create images or expressive ideas, while prose is more literal. Prose is usually used for novels, essays, and nonfiction writing, while poetry is more often associated with literature, lyrics, and storytelling.

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Lyric Essay: Between Poetry and Prose

The Lyric Essay is the antithesis of a literary canon. But is it all that important to follow the canon? We are often told to conform to the boundaries of genre, conventions and tropes when dealing with literature. It seems to be the only surety of producing quality content. However we, at Daastan , discount the rigidity of genre and bring to you the lyric essay.

What is the Lyric Essay?

As indicated in its’ name, the lyric essay is a hybrid form. Some call it the product of modernism , others call it a mutated form of literature. It is safe to say, it is a source of contention within the literary world. The disagreements usually arise because of a lack of a clear definition .

While there is a loose understanding of what it could entail, there is no concrete canon. It is a genre-bending genre in itself, with fluid boundaries between the interplay of objectivity and subjectivity . Some state that the focus lies more on the language instead of a factual story, but that may be contested as well. For some, the language becomes a part of the story instead of just the medium of communicating it.

Who Is It For?

What is clear is that it’s definitely not for those who find comfort in the known. Its’ law lies in its lawlessness. Perhaps it is for you, if you are comfortable in confronting your personhood in the rawest of written form. A leading figure on the lyric essay, John D’Agata tries to explain the liminal space that the lyric essay enjoys, “ I love the in-between, which is where I think the most truthful struggles with reality exist “.

To think this form is only for the modernist writers is a misconception. The discomfort in occupying spaces of creativity and non-fiction has plagued writers for as far as history goes. In addressing his anxieties, D’Agata recalls how his instructor directed him towards “ texts from antiquity, the middle ages, and contemporary Europe that all toyed formally with lines between poetry and essays “.

To Explore or Not to Explore?

What is clear is that it’s not a form for everyone. However, everyone should try to delve into it before passing judgement on it. It could very well surprise you. The great thing about the lyric essay is that it is available for readers in various forms .

Don’t Let Me Be Lonely – Claudia Rankine

For those who prefer prose, there are book length lyric essays that have an intricate story at the middle of it. “ Don’t Let Me Be Lonely ” by Claudia Rankine is one of them. Moreover, She is an author known for her comfortability with the form. She is also a strong advocate for introducing lyricism to the real.

Set in contemporary America, it is an intersection of poetry, visuals and prose . Perhaps the clever and poignant confrontations it has with American culture and the consequent loneliness, might not have been allowed for in any other form.

“You explain to the ambulance attendant that you had a momentary lapse of happily. The noun, happiness, is a static state of some Platonic ideal you know better than to pursue. Your modifying process had happily or unhappily experienced a momentary pause”

Bluets by Maggie Nelson

Moving on, if it is a more fragmented piece that you want, Bluets by Maggie Nelson is the perfect starter. With a string of coherence, it resembles a fragmented anthology. Fixated on the colour blue, it transforms into a tale of personal suffering, love and philosophical explorations that stay with the reader long after they are done.

“I want you to know, if you ever read this, there was a time I would rather have had you by my side than any one of these words; I would rather have had you by my side than all the blue in the world.”

Quick Reads

Further, if you are looking for a quick read, there are many lyric essay articles available online as well. “ What Happens There ” by John D’Agata is one of them. It is a wonderful marriage of fact and poetic license as he explores the suicide epidemic is Las Vegas through an isolated incident.

“I sat that night with the manual on my lap for six hours, sometimes opened up to the chapter do’s and don’ts—“Don’t ever dare a caller to ‘go ahead and do it’”—and sometimes to the chapter on suicide facts and fables—“Suicide is believed to be contagious among teens”—and sometimes to the chapter on useful information—“If somebody’s calling you, they probably want your help”—but I could never figure out which information I should use, how much talking I should do, how much listening, be how friendly, exactly how much to feel.”

We hope this inspires you to take certain liberties with your writing- and to expand your reading list as well! It is always a good idea to rethink the genre-specific boundaries that have been set for us.

Keep a look out for more discussions of literary tropes and genres! There is so much out there for us to talk about.

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Poetry & Poets

Explore the beauty of poetry – discover the poet within

How To Write A Poetry Comparison Essay

An essay comparing two poems needs to be written with an understanding of how themes, structure, forms, language, and style distinguish the two poems. It is also important to consider how the themes, structure, forms, language, and style interact with each other to create meaning and richness. Even if the poems are similar in some ways, the differences must be discussed to identify the unique qualities of the individual poems. This essay will examine the similarities and differences between two poems, “The Road Not Taken” by Robert Frost and “Stopping by Woods on a Snowy Evening” by Robert Frost.

The two poems are similar in theme in that they both explore the concept of making decisions and taking different paths or routes. The speaker of both poems is at a crossroads in life and has to make a decision which will form his personal history and future. In “The Road Not Taken”, the speaker is presented with two roads and he is uncertain which one to take. In “Stopping by Woods on a Snowy Evening”, the speaker is presented with the same dilemma, but instead of a physical road, he is face with an opportunity to stay and enjoy the beauty of nature versus leaving and returning to reality. Both speakers make a conscious effort to make a personal decision and break free from indecision.

When discussing the structure and form of the poems, it must be noted that both poems have a simple, regular meter. The meter of “The Road Not Taken” is iambic tetrameter and the meter of “Stopping by Woods” is iambic trimeter. The rhyme scheme of both poems is also similar and is made up of couplets. Both poems also use enjambment throughout, which creates a sense of incompleteness and gives the poems an unfinished feel. This technique is used to signify the struggle of the speaker with making decisions and his anguish in not knowing what to choose.

The language used in both poems is also similar in that both authors use words of caution and alertness to emphasize the importance of making the right decision. In “The Road Not Taken”, the word “doubt” is used to highlight the consequence of indecision and in “Stopping by Woods”, words such as “promise” and “duty” are used to emphasize the difficulty of the decision-making process. Both poems also contain extended metaphors to illustrate the concept of making a choice. In “The Road Not Taken”, the road is a metaphor for life’s journey and the journey of the individual, whereas in “Stopping by Woods”, the woods represent a momentary escape from reality.

Style of the Poems

The style of both poems differs significantly. “The Road Not Taken” is written in the traditional and formal style of a typical Romantic poem. It uses many of the conventions of the Romantic period, such as references to nature, melancholy, and the use of sonnets and iambic pentameter. On the other hand, “Stopping by Woods” is written in a more modern and conversational style. It is less complex than other Romantic works and its language is very direct and simple. The lack of complexity in the poem, as well as the combination of simple language and the casual tone of voice, create a relaxed, open atmosphere. This is in stark contrast to the complexity and formality of “The Road Not Taken”.

Analysis of the Poems

The main theme of both poems is decision-making; however, each poem takes a slightly different approach to the subject matter. “The Road Not Taken” is more reflective and emphasizes the importance of making the “right” decision. The poem suggests that it is better to make the more difficult decision, rather than the simpler, easier choice. “Stopping by Woods” on the other hand, is more balanced and suggests that it is possible to find a balance between making the easier choice and taking the path less traveled. The poem suggests that it is possible to make an informed decision while still allowing oneself to be open to new experiences and opportunities.

Context of the Poems

The contexts in which both poems were written must also be taken into consideration. “The Road Not Taken” was written post-World War I, during a period of social change, transition, and uncertainty. The poem explores the idea of taking the path less traveled and suggests that being able to fully comprehend the consequences of one’s choices is impossible. “Stopping by Woods” was written during the Great Depression and its overarching theme is that of a sense of calm and peace in the midst of a chaotic world. The poem emphasizes that it is possible to accept the realities of life while realizing it is possible to find moments of respite and reprieve.

In conclusion, when comparing two poems it is important to take into account the similarities and differences in their themes, structure, forms, language, and style. Both “The Road Not Taken” and “Stopping by Woods on a Snowy Evening” explore the concept of making decisions and taking different paths or routes. However, each poem takes a slightly different approach to the subject. “The Road Not Taken” is more reflective and emphasizes the importance of making the “right” decision whereas “Stopping by Woods” is more balanced and suggests that it is possible to find a balance between making a simpler choice and taking the path less traveled. It is also important to consider the context in which each poem was written as this can give insights into the message the author was trying to convey.

Theme & Symbols

The poem’s theme and symbols are two areas of the poem that need to be analyzed. When it comes to “The Road Not Taken” the theme of choosing can be seen all throughout. The speaker is presented with two roads and he is pressured to make a decision that will affect his future. The poem also uses symbols such as the two roads and the two paths to represent the decisions that the speaker faces and the options that he can choose from. The two roads, can both represent the same decision, but could also represent the consequences of the choices he has made. The poem also uses imagery, such as the yellow woods, to give a vivid idea of the path that has been taken.

In “Stopping by Woods on a Snowy Evening”, the theme explored is that of mortality and change. The speaker of the poem is searching for solace and peace, but also for something that can weather the storms of life. The symbols in the poem represent the transience of things in life, such as the snow and the frozen lake, which are both in a constant state of change. The poem also uses images such as the farmer’s house in the village, to represent hope and the promise of a better future, away from the secluded and still woods.

Examining the Messages

The messages in the two poems are closely related, but also have some differences. In “The Road Not Taken”, the message is that of taking responsibility for one’s choices and realizing that life is a series of decisions. The poem suggests that not taking a path and remaining in limbo, is not beneficial to the individual in the end. In “Stopping by Woods”, the message is that of taking a pause, or a momentary break, to appreciate and enjoy the wonders of nature. The poem suggests that it is indeed possible to find a balance between making choices, taking risks, and being open to new experiences.

Message of the Poems to the Reader

The message of both poems is one of self-reflection and the need to take responsibility for one’s own choices and actions. “The Road Not Taken” emphasizes the importance of taking difficult and challenging paths, rather than the easier choice. The poem also reinforces the idea that life is a series of choices, and that’s why it is necessary to have the courage to make a choice and own the consequences of one’s decision. On the other hand, “Stopping by Woods” is about seeking solace, and realizing that it is okay to take a break and to appreciate the beauty of nature and its solitude. The poem also suggests that it is possible to make an informed decision while still allowing one to be open to new experiences.

Writing a Poetry Comparison Essay

When writing a poetry comparison essay, it is important to consider the structure and form, language, and style of each poem. It is also essential to understand the context in which each poem was written and the messages being conveyed. Every poem has its own unique set of qualities, which needs to be discussed in order to create a thorough, meaningful analysis.

When writing a comparison essay, it is important to remember the key aspects that need to be discussed. The structure, form, and language of both poems must be examined and compared. Examining the themes, symbols, and messages of each poem is also essential. Finally, when comparing two poems, the context and style of each poem should also be taken into account.

Minnie Walters

Minnie Walters is a passionate writer and lover of poetry. She has a deep knowledge and appreciation for the work of famous poets such as William Wordsworth, Emily Dickinson, Robert Frost, and many more. She hopes you will also fall in love with poetry!

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Student Opinion

Can Poetry Make a Difference in Our Lives and in the World?

April is National Poetry Month. What role does poetry play in your life?

By Natalie Proulx

How important is poetry in your life? Do you read or write it? Do you ever turn to poems when you are feeling lost or overwhelmed? When you need comfort or direction?

Do you think poetry has the power to make a difference — in our individual lives and in the world?

In the guest essay “ How to Breathe With the Trees, ” Margaret Renkl writes about Ada Limón, who is serving her second term as poet laureate of the United States. Ms. Renkl says that in a new poetry anthology, Ms. Limón makes a case for poetry being able to heal us and the earth itself:

April is National Poetry Month, and it strikes me that no one is better positioned than Ms. Limón to convince Americans to leave off their quarrels and worries, at least for a time, and surrender to the language of poetry. That’s as much because of her public presence as because of her public role as the country’s poet in chief. When Ada Limón tells you that poetry will make you feel better, you believe her. In her nearly weekly travels as poet laureate, Ms. Limón has had a lot of practice delivering this message. “Every time I’m around a group of people, the word that keeps coming up is ‘overwhelmed,’” she said. “It’s so meaningful to lean on poetry right now because it does make you slow down. It does make you breathe.” A poem is built of rests. Each line break, each stanza break and each caesura represents a pause, and in that pause there is room to take a breath. To ponder. To sit, for once in our lives, with mystery. If we can’t find a way to slow down on our own, to take a breath, poems can teach us how. But Ms. Limón isn’t merely an ambassador for how poetry can heal us . She also makes a subtle but powerful case for how poetry can heal the earth itself. At this time of crisis, when worry governs our days, she wants us to look up from our screens and consider our own connection to the earth. To remember how to breathe by spending some time with the trees that breathe with us.

Students, read the entire essay and then tell us:

Does poetry play a role in your life? If so, when do you turn to it most, whether that means reading it, writing it or both? Why? What effect does it have on you?

What do you think about Ms. Limón’s idea that poetry can heal us and the earth? To what extent can poetry make a difference in our lives? What about in our relationship to the earth? Or to the world at large?

Do you think poetry gets the respect and attention it deserves? Why do you think some people might be turned off or intimidated by poetry? How important do you think it is for young people to read and learn about this art form?

Tell us about one of your favorite poems. What thoughts, memories or feelings does it evoke? What does it mean to you?

If you’re not a reader or writer of poetry, is there another form of art or creative expression that you turn to when you’re feeling overwhelmed or lost? If so, what is it and how does it help you? Have you seen it make a difference in the world?

Bonus: Try your hand at the prompt Ms. Limón gave to writers in “You Are Here,” her new anthology of nature poems: Write a poem that “speaks back to the natural world, whatever that means to you.” If you would like, share your poem in the comments.

Students 13 and older in the United States and Britain, and 16 and older elsewhere, are invited to comment. All comments are moderated by the Learning Network staff, but please keep in mind that once your comment is accepted, it will be made public and may appear in print.

Find more Student Opinion questions here. Teachers, check out this guide to learn how you can incorporate these prompts into your classroom.

Natalie Proulx joined The Learning Network as a staff editor in 2017 after working as an English language arts teacher and curriculum writer. More about Natalie Proulx

Poetry vs. Poem: What Is the Difference?

Here’s the difference between poetry and poem:

Poetry is the use of metaphor, symbols, and ambiguity to create a literary piece, while the poem itself is the result.

Blacksmiths make tools. Forging is the art of making tools.

Poets make poems. Poetry is the art of making poems.

If you want to learn all about the differences between poetry and poem, then you’re at the right place.

Let’s get started!

What Is the Difference Between Poetry and Poem?

People have been using words to entertain themselves since the beginning of language itself.

There was a time when being able to recite long poems from memory, often for hours at a time, was considered an incredible skill. 

So much so that aristocrats in multiple cultures have memorized lines from their favorite poems for the sole purpose of impressing each other.

Poems started out as a mostly oral tradition since literacy wasn’t exactly common in earlier eras.

This is one reason that we still use so many sound-based techniques in poetry today.

But what exactly differentiates poetry from a poem?

The short answer is that poetry is a process, while poems are the result of that process.

The long answer gets a little more involved.

What Is Poetry?

Poetry, as mentioned above, is the process by which a poem is created. We often use the terms interchangeably, but the term “poetry” encompasses many more elements than the finished product does.

Every single moment of the creative process leading up to a poem is a part of poetry.

From the initial planning stages to the rough drafts to the editing process, all of it is a critical piece in creating a poem.

Poetry can be either a loose art form or a precise science, veering more in one direction or another depending on the poet’s style.

A single poem may take forty rough drafts and several months of careful line-by-line editing or the writer might hammer out twenty poems in one sitting on the first try.

One of the most noteworthy aspects of poetry as an art form is its usage of phonetic, mnemonic, and imagery-based techniques to enhance the poem’s quality.

While no two poems are alike, some key features that carry across many poems include:

• Rhyme and meter.
• Repetition of sounds, words, and phrases.
• Comparisons, especially in unlikely pairings.
• Exaggeration.

Naturally, these can all be subdivided into their own techniques, but we’ll just quickly gloss over them for now.

Rhyme schemes and meters (the patterns by which syllables are stressed and unstressed in poetry) are hallmarks of the form and are especially prominent in formal poetry.

Their key purpose is to give the poem a discernible rhythm that keeps the reader moving forward at a controlled pace.

Repetition is used both for decoration, as is the case when repeating the same vowel or consonant sound several times in a line, and for technical purposes. 

One purpose for repeating words or phrases is to give the reader some breathing room in an especially dense poem since they won’t need to devote as much brainpower to the repeated sections.

This is also a good way to make parts of the poem easy to remember.

An unexpected repetition can lead to a resonating emotional impact.

Imagery is the foundation on which everything else in a poem is built.

While it is possible to write a poem using only abstract concepts and exposition, it’s usually ill-advised. 

Poetry, more than any other form, thrives on imagination.

Creating concrete settings and props with your words grounds the reader in the poem’s world, allowing them to process everything in a natural way that lets them come to their own conclusions.

Comparisons, especially in the case of metaphors, have various uses in a poem, and their importance is second only to imagery.

In fact, many skilled writers use metaphors to insert an image into a thought that wouldn’t normally have one.

It’s hard to imagine what an overfilled brain looks like, but when you compare it to a jar of marbles that’s already spilling over, the reader can envision it much more clearly.

Since poetry is commonly used to portray a feeling, it should come as no surprise that many poets choose to over-exaggerate the feelings being portrayed.

A poem about grieving may be needlessly melodramatic and bone-crushingly dark, all just to create a mood.

These are some of the most common elements found in poetry, but this is by no means an exhaustive list.

Deciding what elements you will or will not employ is part of the process of poetry.

What Is a Poem?

The goal of poetry is to convey something.

This conveyance is expressed in the end result of the process, the poem.

This is not usually a concrete narrative, as would be the case with most prose works because the brevity and trappings of common poetic forms don’t lend themselves especially well to chronological storytelling.

Some examples of goals a poem might have include:

• Describing a vague feeling, like love or loss.
• Narrating a single moment in time.
• Attempting to unpack a philosophical question.
• Paying homage to a person, place, or thing.
• Bringing attention to a moral dilemma.
• Entertaining the reader/listener.

While these goals might seem fairly dissonant at first glance, the main thing they have in common is that they can potentially be achieved in a small number of words through the use of poetic language.

That’s not to say that no poems are long or narrative.

Some poetic forms are completely dedicated to telling a story, often pulling from folktales, biblical settings, or well-known legends in order to make establishing the setting and characters significantly easier.

The most extreme example of a narrative poem is easily the epic.

Epic poems mostly carried over from ancient cultures devote an extraordinary number of words to telling the entirety of an adventure from beginning to end.

They can be thought of as the point where poetry and drama meet to produce something that’s not exactly a play and only barely still a poem. 

The longest epic poems were even episodic in nature so that listeners who wandered in halfway through could still enjoy the episode they first hear.

Other forms of poems include sonnets, odes, ballads, haikus, limericks, epithets, and many, many more.

Putting it simply: There’s a specific poetic form devoted to almost any feeling or structure you can think of.

Of course, not a single one of these forms would have ever existed if writers didn’t enjoy the process. There’s no skipping straight to the part where a fresh poem is suddenly on your paper. 

Loving poems only implies that you like reading and talking about finished poems.

If you’re going to say you love  poetry , you should buckle down, do your research, and get obsessed. All great art is born from obsession.

Poetry Is an Act of Hope

Through verse, we can perhaps come closest to capturing events that exist beyond our capacity to describe.

This is an edition of the Books Briefing, our editors’ weekly guide to the best in books. Sign up for it here.

Poetry is the art form that most expands my sense of what language can do. Today, so much daily English feels flat or distracted—politicians speak in clichés; friends are distracted in conversation by the tempting dinging of smartphones; TV dialogue and the sentences in books are frequently inelegant. This isn’t a disaster: Clichés endure because they convey ideas efficiently; not all small talk can be scintillating; a bad sentence here or there in a novel won’t necessarily condemn the whole work.

First, here are four new stories from The Atlantic ’s Books section:

• When your every decision feels torturous
• “Noon”: a poem by Li-Young Lee
• A prominent free-speech group is fighting for its life.
• The complicated ethics of rare-book collecting

Poetry is different, however. We expect more from it. Not a single word should be misused, not a single syllable misplaced—and, as a result, studying language within the poetic form can be particularly rewarding. In March and April of this year, two of America’s great poetry critics, Helen Vendler and Marjorie Perloff, died. In reading Adam Kirsch’s tribute to both, I was struck by how different their respective approaches to language were. Vendler was a “traditionalist,” per Kirsch; she liked poets who “communicated intimate thoughts and emotions in beautiful, complex language.” She was a famous close reader, carefully picking over poems to draw out every sense of meaning. For Vendler, Kirsch writes, poetry made language “more meaningful.”

Perloff wasn’t as interested in communicating meaning. Her favorite avant-garde poets used words in surprising and odd ways. As Kirsch writes, “At a time when television and advertising were making words smooth and empty, she argued that poets had a moral duty to resist by using language disruptively, forcing readers to sit up and pay attention.”

I’d reckon that neither Perloff nor Vendler relished lines that were smooth and empty, even though their preferred artists and attitudes toward reading might have differed. Ben Lerner has said that poetry represents a desire to “do something with words that we can’t actually do.” In that sense, poems are a declaration of hope in language: Even if we can’t pull off something magnificent, we can at least try.

Through poetry, we can perhaps come closest to capturing the events that feel so extreme as to exist beyond our capacity to describe them. In the February 8 issue of The New York Review of Books , Ann Lauterbach published a poem called “ War Zone ,” dedicated to Paul Auster, another literary great who died recently. The poem depicts not scenes of violence and gore but the hollow wordlessness many of us feel in the face of war or suffering—then it uses images of silence, blankness, and absence to fight against that unspeakability. The last line, which I won’t spoil here, points to this paradox: Words may not be able to capture everything—especially the worst things—but they can, and must, try.

When Poetry Could Define a Life

By Adam Kirsch

The close passing of the poetry critics Marjorie Perloff and Helen Vendler is a moment to recognize the end of an era.

Read the full article.

What to Read

The Taste of Country Cooking , by Edna Lewis

Lewis’s exemplary Southern cookbook is interspersed with essays on growing up in a farming community in Virginia; many of the recipes in the book unspool from these memories. Lewis, who worked as a chef in New York City as well as in North and South Carolina, writes with great sensual and emotional detail about growing up close to the land. Of springtime, she writes, “The quiet beauty in rebirth there was so enchanting it caused us to stand still in silence and absorb all we heard and saw. The palest liverwort, the elegant pink lady’s-slipper displayed against the velvety green path of moss leading endlessly through the woods.” Her book was ahead of its time in so many ways: It is a farm-to-table manifesto, a food memoir published decades before Ruth Reichl popularized the form, and an early, refined version of the cookbook-with-essays we’re now seeing from contemporary authors such as Eric Kim and Reem Assil. The recipes—ham biscuits, new cabbage with scallions, potted stuffed squab—are as alluring as the prose.  — Marian Bull

From our list: eight cookbooks worth reading cover to cover

Out Next Week

📚 First Love , by Lilly Dancyger

📚 América del Norte , by Nicolás Medina Mora

📚 The Lady Waiting , by Magdalena Zyzak

Your Weekend Read

The Diminishing Returns of Having Good Taste

By W. David Marx

There are obvious, concrete advantages to a world with information equality, such as expanding global access to health and educational materials—with a stable internet connection, anyone can learn basic computer programming from online tutorials and lectures on YouTube. Finding the optimal place to eat at any moment is certainly easier than it used to be. And, in the case of Google, to “organize the world’s information and make it universally accessible and useful” even serves as the company’s mission. The most commonly cited disadvantage to this extraordinary societal change, and for good reason, is that disinformation and misinformation can use the same easy pathways to spread unchecked. But after three decades of living with the internet, it’s clear that there are other, more subtle losses that come with instant access to knowledge, and we’ve yet to wrestle—interpersonally and culturally—with the implications.

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