Dimeter
Trimeter
Tetrameter
Pentameter
Hexameter
Any number above six (hexameter) is heard as a combination of smaller parts; for example, what we might call heptameter (seven feet in a line) is indistinguishable (aurally) from successive lines of tetrameter and trimeter (4-3).
To scan a line is to determine its metrical pattern. Perhaps the best way to begin scanning a line is to mark the natural stresses on the polysyllabic words. Take Shelley’s line:
And walked with inward glory crowned.
Then mark the polysyllabic nouns, verbs, adjectives, and adverbs that are normally stressed:
Then fill in the rest:
Then divide the line into feet:
Then note the sequence:
The line consists of four iambs; therefore, we identify the line as iambic tetrameter.
Rhythm refers particularly to the way a line is voiced, i.e., how one speaks the line. Often, when a reader reads a line of verse, choices of stress and unstress may need to be made. For example, the first line of Keats’ “Ode on Melancholy” presents the reader with a problem:
No, no, go not to Lethe, neither twist
If we determine the regular pattern of beats (the meter) of this line, we will most likely identify the line as iambic pentameter. If we read the line this way, the statement takes on a musing, somewhat disinterested tone. However, because the first five words are monosyllabic, we may choose to read the line differently. In fact, we may be tempted, especially when reading aloud, to stress the first two syllables equally, making the opening an emphatic, directive statement. Note that monosyllabic words allow the meaning of the line to vary according to which words we choose to stress when reading (i.e., the choice of rhythm we make).
The first line of Milton’s Paradise Lost presents a different type of problem.
Of Man’s First Disobedience, and the Fruit
Again, this line is predominantly iambic, but a problem occurs with the word “Disobedience.” If we read strictly by the meter, then we must fuse the last two syllables of the word. However, if we read the word normally, we have a breakage in the line’s metrical structure. In this way, the poet forges a tension between meter and rhythm: does the word remain contained by the structure, or do we choose to stretch the word out of the normal foot, thereby disobeying the structure in which it was made? Such tension adds meaning to the poem by using meter and rhythm to dramatize certain conflicts. In this example, Milton forges such a tension to present immediately the essential conflicts that lead to the fall of Adam and Eve.
The explication should follow the same format as the preparation: begin with the large issues and basic design of the poem and work through each line to the more specific details and patterns.
The first paragraph should present the large issues; it should inform the reader which conflicts are dramatized and should describe the dramatic situation of the speaker. The explication does not require a formal introductory paragraph; the writer should simply start explicating immediately. According to UNC ‘s Professor William Harmon, the foolproof way to begin any explication is with the following sentence:
“This poem dramatizes the conflict between …”
Such a beginning ensures that you will introduce the major conflict or theme in the poem and organize your explication accordingly.
Here is an example. A student’s explication of Wordsworth’s “Composed upon Westminster Bridge” might begin in the following way:
This poem dramatizes the conflict between appearance and reality, particularly as this conflict relates to what the speaker seems to say and what he really says. From Westminster Bridge, the speaker looks at London at sunrise, and he explains that all people should be struck by such a beautiful scene. The speaker notes that the city is silent, and he points to several specific objects, naming them only in general terms: “Ships, towers, domes, theatres, and temples” (6). After describing the “glittering” aspect of these objects, he asserts that these city places are just as beautiful in the morning as country places like “valley, rock, or hill” (8,10). Finally, after describing his deep feeling of calmness, the speaker notes how the “houses seem asleep” and that “all that mighty heart is lying still” (13, 14). In this way, the speaker seems to say simply that London looks beautiful in the morning.
The next paragraphs should expand the discussion of the conflict by focusing on details of form, rhetoric, syntax, and vocabulary. In these paragraphs, the writer should explain the poem line by line in terms of these details, and they should incorporate important elements of rhyme, rhythm, and meter during this discussion.
The student’s explication continues with a topic sentence that directs the discussion of the first five lines:
However, the poem begins with several oddities that suggest the speaker is saying more than what he seems to say initially. For example, the poem is an Italian sonnet and follows the abbaabbacdcdcd rhyme scheme. The fact that the poet chooses to write a sonnet about London in an Italian form suggests that what he says may not be actually praising the city. Also, the rhetoric of the first two lines seems awkward compared to a normal speaking voice: “Earth has not anything to show more fair. / Dull would he be of soul who could pass by” (1-2). The odd syntax continues when the poet personifies the city: “This City now doth, like a garment, wear / The beauty of the morning” (4-5). Here, the city wears the morning’s beauty, so it is not the city but the morning that is beautiful …
The explication has no formal concluding paragraph; do not simply restate the main points of the introduction! The end of the explication should focus on sound effects or visual patterns as the final element of asserting an explanation. Or, as does the undergraduate here, the writer may choose simply to stop writing when they reach the end of the poem:
The poem ends with a vague statement: “And all that mighty heart is lying still!” In this line, the city’s heart could be dead, or it could be simply deceiving the one observing the scene. In this way, the poet reinforces the conflict between the appearance of the city in the morning and what such a scene and his words actually reveal.
Refer to the speaking voice in the poem as the “speaker” or “the poet.” For example, do not write, “In this poem, Wordsworth says that London is beautiful in the morning.” However, you can write,
“In this poem, Wordsworth presents a speaker who…”
We cannot absolutely identify Wordsworth with the speaker of the poem, so it is more accurate to talk about “the speaker” or “the poet” in an explication.
Use the present tense when writing the explication. The poem, as a work of literature, continues to exist!
To avoid unnecessary uses of the verb “to be” in your compositions, the following list suggests some verbs you can use when writing the explication:
dramatizes presents illustrates characterizes underlines | asserts posits enacts connects portrays | contrasts juxtaposes suggests implies shows | addresses emphasizes stresses accentuates enables |
The Fountain
Fountain, fountain, what do you say Singing at night alone? “It is enough to rise and fall Here in my basin of stone.” But are you content as you seem to be So near the freedom and rush of the sea? “I have listened all night to its laboring sound, It heaves and sags, as the moon runs round; Ocean and fountain, shadow and tree, Nothing escapes, nothing is free.”
—Sara Teasdale (American, 1884-1933)
As a direct address to an inanimate object “The Fountain” presents three main conflicts concerning the appearance to the observer and the reality in the poem. First, since the speaker addresses an object usually considered voiceless, the reader may abandon his/her normal perception of the fountain and enter the poet’s imaginative address. Secondly, the speaker not only addresses the fountain but asserts that it speaks and sings, personifying the object with vocal abilities. These acts imply that, not only can the fountain speak in a musical form, but the fountain also has the ability to present some particular meaning (“what do you say” (1)). Finally, the poet gives the fountain a voice to say that its perpetual motion (rising and falling) is “enough” to maintain its sense of existence. This final personification fully dramatizes the conflict between the fountain’s appearance and the poem’s statement of reality by giving the object intelligence and voice.
The first strophe, four lines of alternating 4- and 3-foot lines, takes the form of a ballad stanza. In this way, the poem begins by suggesting that it will be story that will perhaps teach a certain lesson. The opening trochees and repetition stress the address to the fountain, and the iamb which ends line 1 and the trochee that begins line 2 stress the actions of the fountain itself. The response of the fountain illustrates its own rise and fall in the iambic line 3, and the rhyme of “alone” and “stone” emphasizes that the fountain is really a physical object, even though it can speak in this poem.
The second strophe expands the conflicts as the speaker questions the fountain. The first couplet connects the rhyming words “be” and “sea” these connections stress the question, “Is the fountain content when it exists so close to a large, open body of water like the ocean?” The fountain responds to the tempting “rush of the sea” with much wisdom (6). The fountain’s reply posits the sea as “laboring” versus the speaker’s assertion of its freedom; the sea becomes characterized by heavily accented “heaves and sags” and not open rushing (7, 8). In this way, the fountain suggests that the sea’s waters may be described in images of labor, work, and fatigue; governed by the moon, these waters are not free at all. The “as” of line 8 becomes a key word, illustrating that the sea’s waters are not free but commanded by the moon, which is itself governed by gravity in its orbit around Earth. Since the moon, an object far away in the heavens, controls the ocean, the sea cannot be free as the speaker asserts.
The poet reveals the fountain’s intelligence in rhyming couplets which present closed-in, epigrammatic statements. These couplets draw attention to the contained nature of the all objects in the poem, and they draw attention to the final line’s lesson. This last line works on several levels to address the poem’s conflicts. First, the line refers to the fountain itself; in this final rhymed couplet is the illustration of the water’s perpetual motion in the fountain, its continually recycled movement rising and falling. Second, the line refers to the ocean; in this respect the water cannot escape its boundary or control its own motions. The ocean itself is trapped between landmasses and is controlled by a distant object’s gravitational pull. Finally, the line addresses the speaker, leaving him/her with an overriding sense of fate and fallacy. The fallacy here is that the fountain presents this wisdom of reality to defy the speaker’s original idea that the fountain and the ocean appear to be trapped and free. Also, the direct statement of the last line certainly addresses the human speaker as well as the human reader. This statement implies that we are all trapped or controlled by some remote object or entity. At the same time, the assertion that “Nothing escapes” reflects the limitations of life in the world and the death that no person can escape. Our own thoughts are restricted by our mortality as well as by our limits of relying on appearances. By personifying a voiceless object, the poem presents a different perception of reality, placing the reader in the same position of the speaker and inviting the reader to question the conflict between appearance and reality, between what we see and what we can know.
The writer observes and presents many of the most salient points of the short poem, but they could indeed organize the explication more coherently. To improve this explication, the writer could focus more on the speaker’s state of mind. In this way, the writer could explore the implications of the dramatic situation even further: why does the speaker ask a question of a mute object? With this line of thought, the writer could also examine more closely the speaker’s movement from perplexity (I am trapped but the waters are free) to a kind of resolution (the fountain and the sea are as trapped as I am). Finally, the writer could include a more detailed consideration of rhythm, meter, and rhyme.
You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill
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By seth ducharme ’92, get to know the poem, describe the poem.
Before you begin to organize your essay, read the poem aloud several times, noting its structure, meter, recurring images or themes, rhyme scheme-anything and everything which creates an effect.
Again, before you begin to organize your essay, make sure you understand the language of the poem. Poetry, particularly from other time periods, often contains confusing syntax or vocabulary. Put into your own words those lines or phrases which are especially difficult. Resist the temptation to brush over the lines or phrases which seem unintelligible; these can be the most crucial parts of the poem. The Oxford English Dictionary is a good resource for defining difficult vocabulary.
Analyze the poem.
Since your analysis should make up the bulk of your essay, approach it with care. Knowing that you will not be able to address every aspect of the poem, select the elements which work together to create special effects. Look beyond the surface meaning of the words and start to think about how the techniques used in the poem add depth to its meaning. How do the elements work together? Do they complement each other, do they create tension, or both? Think in terms of cause and effect and look for relationships within the poem itself. For example, if you see a pattern of imagery which suggests something about the speaker, look at other areas of the poem for more evidence along the same lines. In poetry, form and content are inseparable, so you must not overlook the relationship between what the speaker says and how he or she says it.
Using your analysis of how the poem works as your evidence, interpret the poem--answer the question, “So what is this poem all about?” In the interpretation, you bring together your analysis of the elements in the poem and show what they mean to the poem as a whole. You may suggest an interpretation of the speaker's state of mind, the poem’s subject, or the nature of the experience which the poem creates. For example, does Poe’s “The Raven” describe a dream? A drug-induced hallucination? A recollection? Why do you think so? What evidence, from your analysis, supports your idea? The main argument of your paper should begin to take form as you struggle with this process. You have great freedom in interpreting a poem, provided that your assertions are solidly linked to your evidence. Interpretation that does not align with your analysis will be invalid. In the words of M. H. Abrams, editor of the Norton Anthology of Poetry , “There is no one, right interpretation of a poem—but there is one which is more right than any of the others.” The multi-faceted nature of poetry demands that you know where you are going before you begin to construct your written argument, which is why the description and paraphrase stages are so important. Your selective analysis emerges from them in the form of an argument that is limited to a manageable set of ideas. After you have thought through these stages and taken good notes, you should be ready to begin writing your essay.
Review your notes. Look for patterns and themes. Formulate a thesis statement that will allow you to explain the relationships and the effects of elements in the poem. If you can, indicate in the thesis the areas or features of the poem important to your argument (a pattern of imagery, for instance, or a series of crucial lines). Remember, your thesis statement must argue a point; instead of simply saying that a poet uses certain poetic devices, you must give some indication in your thesis as to how those devices work and what they do to the poem’s meaning. You do not need to go into elaborate detail in your thesis, but do show the relationship between the poem and your argument.
Your first paragraph should make your reader comfortable with the poem by identifying the poet, offering a brief, general description of the poem and, most importantly, leading into the thesis and development of the argument by narrowing and limiting the subject. It may be helpful to imagine the introduction as a funnel, initially appealing to your reader from a wide perspective and then swiftly directing him or her into the body of your essay. Avoid sweeping, abstract statements or statements which you cannot concretely link to your thesis. The more quickly you get away from the general and focus on the specific, the sooner you will engage your reader.
The approach you undertake in your thesis determines the organization of the rest of the essay. Some arguments lend themselves to a linear presentation. For example, if you choose to trace the development of the speaker according to the recurrence of an image throughout the poem, you might want to go through the poem chronologically to show how that image changes in significance from line to line or stanza to stanza. You need not limit yourself to such a presentation, however. Many poems are difficult to explain chronologically; some poems are better suited to a non-linear argument which reflects cycles or other patterns in the poem. If you organize your argument according to the patterns you choose to address, your argument might move through the poem several times, according to the instances of the images and their contextual significance. For example, one word may have a formal relationship to numerous other words in the poem. The word “snow” has a relationship to the word “flow” in that they rhyme, and to the word “ice” in that they are both associated with winter. To discuss the significance of these relationships, you may find yourself jumping around the poem. That’s fine, as long as you make your argument clear and keep your thesis in sight.
Each paragraph should consist of a point which is credible, relevant to your thesis, and analytical. Remember that you are arguing for a certain position and need to convince your reader of that position. At the beginning of each paragraph, tell your reader the focus of your argument in that paragraph by starting with a topic sentence. The rest of the paragraph should address the assertion with convincing evidence. The effectiveness of your argument depends heavily on how well you incorporate evidence into your paragraphs.
You cannot create a compelling argument without evidence to back it up, but you must present that evidence in the context of your own argument. Merely including a line or a passage in your paper without linking it to your argument will not be convincing. Try incorporating your evidence into a “sandwich” of information which will allow your reader to receive the full impact of the lines. Before the quotation, describe the evidence in terms of the poem. Where is it located in the poem? Is it part of a pattern? Let your reader know what he or she should be looking for. After the quotation, if the passage is particularly difficult to understand, you should explain problematic syntax or vocabulary. Then, you must analyze the quote and show how that quote supports the claims you are making in your thesis. This is the most important part of your paper; it is where you make your interpretation clear to the reader and where you prove your thesis. Don't assume that the quotation will speak for itself—it is your job to explain it.
Be sure to cite your evidence properly. Citing from a poem is different from citing from a prose text. Because the line form of poetry is so important, you must indicate where lines end by separating them with a slash mark “/”. If you are quoting more than three lines, single space the passage, indent, and present the passage as it appears in the poem. Follow the quotation with the appropriate line numbers enclosed in parentheses (see English Department handout on use of quotations and citations, available from the Department office and the Writing Center).
Conclusions take many forms. In your conclusion you can emphasize crucial ideas, raise questions about the poem, or connect the poem to other literary works or experiences. This is where you can offer your interpretation of the poem, which by now should be convincing to your reader since you have presented your evidence in the body of the paper. You may raise new ideas in a conclusion, provided that they are solidly linked to the development of your argument. Remember, you have flexibility, but your conclusion should flow naturally from the body of your paper.
Poems are artistic expressions that demand that you appreciate them before you begin to reduce them to something explainable. Often, the most brilliant elements in a poem are very subtle and will be felt before they are understood. Remember, you are not just explaining what a poem does, you are explaining what it does to you. You are the medium in which the poem comes to life. Writing about poetry offers you a special opportunity to interact with a work of art.
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Even if you do not plan on learning how to write a poem analysis essay, building a routine of analysis into your reading can deepen your appreciation.
Emily Butler is a librarian and writer. You can discover more of their literary opinions on their YouTube channel, youtube.com/emilybutler, and follow them on Twitter @EmilyFButler1.
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If you’re a student or new reviewer first approaching the task, you may be wondering how to write a poem analysis. Fortunately, there are concrete steps you can take to analyze a poem or collection of poetry. Even if you do not plan on learning how to write a poem analysis essay, building a routine of analysis into your poetry reading can deepen your appreciation for the genre.
Poems have many layers of meaning. A particularly beautiful and well-crafted poem only becomes more enjoyable the more you increase your understanding of the decisions the poet made to craft it. The following steps outline the kinds of questions to ask yourself while writing a poem analysis.
Poetry has a long oral history. Poets often utilize sound techniques which are easier to detect when reading the poem aloud. Read it once without an analytical focus. Simply notice how you respond to the poem. Begin by asking yourself broad, simple questions such as: How did this make me feel? What do I think the poet is trying to say?
Jot some notes down about your initial impression. Analyzing a poem is a recursive process. You will read the poem several times, and these first impressions can provide interesting clues for what to focus on in your analysis.
There are several different types of poems, but all poems fall into three overarching categories: free verse, formal verse, and prose poems. Formal poetry itself comes in many more specific forms. Check out A Beginner’s Guide to Different Types of Poems.
There are certain analytical questions you can ask yourself depending on the type of the poem you’re reading. If this is a prose poem, ask yourself, what exactly makes this piece of writing a poem, as opposed to a short piece of prose? Recognizing a specific poetic form allows you to contextualize the poem in history. For example, if you’re reading a sonnet, consider how the poem you’re analyzing fits with or fights against the conventions of sonnets.
There is no one correct way to mark up a poem. You can underline lines which stand out to you. You can take notes in the margins identifying poetic techniques as you see them. You can scan the poem, a method of marking stressed and unstressed syllables. You can circle words which seem important or stand out as surprising.
If you are reviewing an entire poetry collection, it’s a good idea to take notes in the margins about particular motifs or themes. That way, when you are finished with your first read, you can look for ideas which appeared in multiple poems.
Read the poem several times, considering a single poetic technique at a time. For example, free verse and formal poems use line breaks. Read through the poem once, focusing on how the poet has broken lines, and the impact of those decisions. If the poem contains stanzas, do the same for stanzas. You can repeat this process with any poetic technique: similes, metaphors, imagery, assonance, consonance, alliteration. How do these poetic techniques support, enhance, or problematize the overall message of the poem? Your observations will prove crucial when you are ready to sit down and write a poem analysis.
In poetry, the term “volta,” sometimes called a “turn,” is a shift in the tone, meaning, or style of a poem. This is a common enough poetic technique that it warrants its own step in the analytic process. Nearly every sonnet contains a turn in the final two lines of the poem, but countless other types of poems contain some sort of shift.
Voltas are so common that if the poem you’re reading does not contain a volta, that is a decision worth incorporating into a poem analysis. You can always ask yourself whether or not a poem contains a turn, and how this impacts the poem overall. Focus on the final lines of a poem, since that is where the volta typically appears.
If you are reviewing an entire poetry collection you can use the above steps for each poem. Then consider the way that the poet has chosen to order the poems within the collection. Revisit the first and last poems, asking yourself how they might function as a kind of introduction and conclusion to the collection.
As with any other essay in the realm of literature, in order to write a poem analysis essay, you should formulate an argument and back it up with evidence. Different readers can have opposing ideas about how a poem or collection of poetry operates, and that’s okay, as long as both readers have evidence to support their claims. How do you back up your claims with evidence? Refer to your notes, especially your observations of poetic techniques. Whenever necessary, quote exact lines or stanzas and use them to support your argument.
Writing a book review of a poetry collection is considerably different from writing an essay about it. That is because book reviews serve a different purpose than essays do. Individual readers, book buyers, and librarians read reviews in order to decide whether or not to purchase a book.
Ask yourself: what kind of reader might enjoy this collection? It’s always a good idea to compare and contrast to other collections of poetry. You can recommend the poetry collection you’re reviewing to fans of another poet, for example.
Book reviews tend to be considerably shorter than essays, often as short as two or three hundred words. For that reason, it’s important to be concise. Unlike reviewing fiction or nonfiction, you do not exactly need to “summarize” a poetry collection. Most poetry collections cannot be summarized the way that a novel or nonfiction book can. Instead, list some of the central thematic concerns of the collection and describe the poetic style. Tell your readers what kind of poems they will find in this collection. Are these prose poems, free verse, formal verse, or a combination? Are they simple, accessible poems, or complex poems with unusual syntax? Does the collection contain a lot of references?
In a book review, you will want to quote a line or two which represents some aspect of the poetry collection as a whole. Since you do not have a lot of space, choose something representative of the poet’s style. This will give readers an idea of whether or not this collection appeals to them. For more information about writing book reviews, check out How To Write a Book Review: Six Steps to Take .
Whether you are writing an essay about a poet or simply quoting a poem or referring to its themes, you may find yourself needing to reference the poem's title. However, it can be hard to remember whether the title is italicized, underlined or put into quotation marks. Although the treatment varies depending on the length of the poem and the format you are using, you can follow some general rules for citing poem titles in your paper.
Write the title of the poem in title case. All of the words should be capitalized except articles ("a," "an" or "the"), short prepositions ("in," "on," "with," "at") or coordinating conjunctions ("but," "and," "nor," "or," "so").
Put quotation marks around the poem's title unless it is a novel-length epic poem, such as "Paradise Lost" or "The Divine Comedy." In that case, italicize or underline the title.
Cite the poem with a parenthetical citation if you are using MLA or APA format. For MLA format, write the poet's last name and the page number from which you drew the specific portion of the poem you are citing. If you are citing specific lines, include those after the page number: (Frost 16, lines 23-26). For APA format, write the author's name, the year of publication and the page number from which you drew the information preceded by "p.": (Frost, 1997, p. 16). Do not include a page number if you are citing a website unless you are citing a PDF or another website that includes page numbers.
Create a footnote if you are using Chicago format. Write the poet's last name, the title of the poem, the name of the poem's anthology or the website from which you drew the poem, and the anthology or website's editor. Include the publisher, year and location of publication if you are citing a print poem and the URL and date of retrieval if you are citing a website. Place the page number and any specific lines from which you drew the information at the end of this footnote.
If you are citing an epic or classic poem, cite the canto, act and scene or book instead of the page number:
Yeats, William Butler, "When You Are Old," in Selected Poems: Fourth Edition, ed. M. L. Rosenthal (New York: Scribner Paperback Poetry, 1996),14, line 5.
Dante, "The Divine Comedy: Purgatorio," trans. John D. Sinclair (London, Oxford University Press, 1961), Canto XXVII, lines 34-36.
Dickinson, Emily, "I Heard A Fly Buzz," Women's Studies Database Reading Room at the University of Maryland, n.d., http://www.mith2.umd.edu/WomensStudies/ReadingRoom/Poetry/Dickinson/i-heard-a-fly-buzz (accessed April 21, 2011).
Cite the poem in your bibliography according to the format you are using in the rest of the essay. For MLA format, include the author's last and first name, the title of the poem in quotation marks, the italicized title of the poem's anthology, the page number of the poem and the anthology's editor, date and place of publication and publisher. If the poem is a novel-length poem contained within a single volume, cite it as you would a novel.
If you found the poem online, cite it as you would any other website, including your date of access. Write "n.d." if no publication date is available.
Cite a short poem like this:
Yeats, William Butler. "When You Are Old." Selected Poems: Fourth Edition. Ed. M. L. Rosenthal. New York: Scribner Paperback Poetry, 1996.14.
Cite a long poem like this:
Virgil. The Aeneid. Trans. Robert Fitzgerald. New York: Vintage Classics. 1990.
Cite an online poem like this:
Dickinson, Emily. "I Heard a Fly Buzz." Women's Studies Database Reading Room at the University of Maryland. n.d. Web. 21 April 2011.
Cite the poet, date of publication, poem title, editor, anthology name, page number and date and location of publication for APA format. Cite a long poem as you would a novel. Cite a poem you found online with the poet's name, the website's editor, the name of the website, the retrieval date and the URL.
Yeats, William Butler (1996) When you are old. In M.L. Rosenthal (Ed.), Selected poems: fourth edition (p. 14). New York: Scribner Paperback Poetry.
Virgil (1990). The Aeneid. R. Fitzgerald (trans.). New York: Vintage Classics.
Dickinson, Emily (n.d.). I heard a fly buzz. In Women's Studies Database Reading Room at the University of Maryland (ed.), Selected poems by Emily Dickinson. Retrieved April 21, 2011 from http://www.mith2.umd.edu/.
Cite a bibliographic entry for Chicago Manual of Style as you would a footnote, replacing the commas with periods and omitting line numbers.
Virgil. The Aeneid. Translated by Robert Fitzgerald. New York: Vintage Classics, 1990.
Dickinson, Emily. "I Heard a Fly Buzz." Women's Studies Database Reading Room at the University of Maryland, n.d. http://www.mith2.umd.edu/(accessed April 21, 2011).
A resident of the Baltimore area, Rachel Kolar has been writing since 2001. Her educational research was featured at the Maryland State Department of Education Professional Schools Development Conference in 2008. Kolar holds a Bachelor of Arts in English from Kenyon College and a Master of Arts in teaching from the College of Notre Dame of Maryland.
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Published on January 30, 2020 by Jack Caulfield . Revised on August 14, 2023.
Literary analysis means closely studying a text, interpreting its meanings, and exploring why the author made certain choices. It can be applied to novels, short stories, plays, poems, or any other form of literary writing.
A literary analysis essay is not a rhetorical analysis , nor is it just a summary of the plot or a book review. Instead, it is a type of argumentative essay where you need to analyze elements such as the language, perspective, and structure of the text, and explain how the author uses literary devices to create effects and convey ideas.
Before beginning a literary analysis essay, it’s essential to carefully read the text and c ome up with a thesis statement to keep your essay focused. As you write, follow the standard structure of an academic essay :
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Step 1: reading the text and identifying literary devices, step 2: coming up with a thesis, step 3: writing a title and introduction, step 4: writing the body of the essay, step 5: writing a conclusion, other interesting articles.
The first step is to carefully read the text(s) and take initial notes. As you read, pay attention to the things that are most intriguing, surprising, or even confusing in the writing—these are things you can dig into in your analysis.
Your goal in literary analysis is not simply to explain the events described in the text, but to analyze the writing itself and discuss how the text works on a deeper level. Primarily, you’re looking out for literary devices —textual elements that writers use to convey meaning and create effects. If you’re comparing and contrasting multiple texts, you can also look for connections between different texts.
To get started with your analysis, there are several key areas that you can focus on. As you analyze each aspect of the text, try to think about how they all relate to each other. You can use highlights or notes to keep track of important passages and quotes.
Consider what style of language the author uses. Are the sentences short and simple or more complex and poetic?
What word choices stand out as interesting or unusual? Are words used figuratively to mean something other than their literal definition? Figurative language includes things like metaphor (e.g. “her eyes were oceans”) and simile (e.g. “her eyes were like oceans”).
Also keep an eye out for imagery in the text—recurring images that create a certain atmosphere or symbolize something important. Remember that language is used in literary texts to say more than it means on the surface.
Ask yourself:
Is it a first-person narrator (“I”) who is personally involved in the story, or a third-person narrator who tells us about the characters from a distance?
Consider the narrator’s perspective . Is the narrator omniscient (where they know everything about all the characters and events), or do they only have partial knowledge? Are they an unreliable narrator who we are not supposed to take at face value? Authors often hint that their narrator might be giving us a distorted or dishonest version of events.
The tone of the text is also worth considering. Is the story intended to be comic, tragic, or something else? Are usually serious topics treated as funny, or vice versa ? Is the story realistic or fantastical (or somewhere in between)?
Consider how the text is structured, and how the structure relates to the story being told.
Think about why the author chose to divide the different parts of the text in the way they did.
There are also less formal structural elements to take into account. Does the story unfold in chronological order, or does it jump back and forth in time? Does it begin in medias res —in the middle of the action? Does the plot advance towards a clearly defined climax?
With poetry, consider how the rhyme and meter shape your understanding of the text and your impression of the tone. Try reading the poem aloud to get a sense of this.
In a play, you might consider how relationships between characters are built up through different scenes, and how the setting relates to the action. Watch out for dramatic irony , where the audience knows some detail that the characters don’t, creating a double meaning in their words, thoughts, or actions.
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Your thesis in a literary analysis essay is the point you want to make about the text. It’s the core argument that gives your essay direction and prevents it from just being a collection of random observations about a text.
If you’re given a prompt for your essay, your thesis must answer or relate to the prompt. For example:
Is Franz Kafka’s “Before the Law” a religious parable?
Your thesis statement should be an answer to this question—not a simple yes or no, but a statement of why this is or isn’t the case:
Franz Kafka’s “Before the Law” is not a religious parable, but a story about bureaucratic alienation.
Sometimes you’ll be given freedom to choose your own topic; in this case, you’ll have to come up with an original thesis. Consider what stood out to you in the text; ask yourself questions about the elements that interested you, and consider how you might answer them.
Your thesis should be something arguable—that is, something that you think is true about the text, but which is not a simple matter of fact. It must be complex enough to develop through evidence and arguments across the course of your essay.
Say you’re analyzing the novel Frankenstein . You could start by asking yourself:
Your initial answer might be a surface-level description:
The character Frankenstein is portrayed negatively in Mary Shelley’s Frankenstein .
However, this statement is too simple to be an interesting thesis. After reading the text and analyzing its narrative voice and structure, you can develop the answer into a more nuanced and arguable thesis statement:
Mary Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as.
Remember that you can revise your thesis statement throughout the writing process , so it doesn’t need to be perfectly formulated at this stage. The aim is to keep you focused as you analyze the text.
To support your thesis statement, your essay will build an argument using textual evidence —specific parts of the text that demonstrate your point. This evidence is quoted and analyzed throughout your essay to explain your argument to the reader.
It can be useful to comb through the text in search of relevant quotations before you start writing. You might not end up using everything you find, and you may have to return to the text for more evidence as you write, but collecting textual evidence from the beginning will help you to structure your arguments and assess whether they’re convincing.
To start your literary analysis paper, you’ll need two things: a good title, and an introduction.
Your title should clearly indicate what your analysis will focus on. It usually contains the name of the author and text(s) you’re analyzing. Keep it as concise and engaging as possible.
A common approach to the title is to use a relevant quote from the text, followed by a colon and then the rest of your title.
If you struggle to come up with a good title at first, don’t worry—this will be easier once you’ve begun writing the essay and have a better sense of your arguments.
“Fearful symmetry” : The violence of creation in William Blake’s “The Tyger”
The essay introduction provides a quick overview of where your argument is going. It should include your thesis statement and a summary of the essay’s structure.
A typical structure for an introduction is to begin with a general statement about the text and author, using this to lead into your thesis statement. You might refer to a commonly held idea about the text and show how your thesis will contradict it, or zoom in on a particular device you intend to focus on.
Then you can end with a brief indication of what’s coming up in the main body of the essay. This is called signposting. It will be more elaborate in longer essays, but in a short five-paragraph essay structure, it shouldn’t be more than one sentence.
Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, protagonist Victor Frankenstein is a stable representation of the callous ambition of modern science throughout the novel. This essay, however, argues that far from providing a stable image of the character, Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as. This essay begins by exploring the positive portrayal of Frankenstein in the first volume, then moves on to the creature’s perception of him, and finally discusses the third volume’s narrative shift toward viewing Frankenstein as the creature views him.
Some students prefer to write the introduction later in the process, and it’s not a bad idea. After all, you’ll have a clearer idea of the overall shape of your arguments once you’ve begun writing them!
If you do write the introduction first, you should still return to it later to make sure it lines up with what you ended up writing, and edit as necessary.
The body of your essay is everything between the introduction and conclusion. It contains your arguments and the textual evidence that supports them.
A typical structure for a high school literary analysis essay consists of five paragraphs : the three paragraphs of the body, plus the introduction and conclusion.
Each paragraph in the main body should focus on one topic. In the five-paragraph model, try to divide your argument into three main areas of analysis, all linked to your thesis. Don’t try to include everything you can think of to say about the text—only analysis that drives your argument.
In longer essays, the same principle applies on a broader scale. For example, you might have two or three sections in your main body, each with multiple paragraphs. Within these sections, you still want to begin new paragraphs at logical moments—a turn in the argument or the introduction of a new idea.
Robert’s first encounter with Gil-Martin suggests something of his sinister power. Robert feels “a sort of invisible power that drew me towards him.” He identifies the moment of their meeting as “the beginning of a series of adventures which has puzzled myself, and will puzzle the world when I am no more in it” (p. 89). Gil-Martin’s “invisible power” seems to be at work even at this distance from the moment described; before continuing the story, Robert feels compelled to anticipate at length what readers will make of his narrative after his approaching death. With this interjection, Hogg emphasizes the fatal influence Gil-Martin exercises from his first appearance.
To keep your points focused, it’s important to use a topic sentence at the beginning of each paragraph.
A good topic sentence allows a reader to see at a glance what the paragraph is about. It can introduce a new line of argument and connect or contrast it with the previous paragraph. Transition words like “however” or “moreover” are useful for creating smooth transitions:
… The story’s focus, therefore, is not upon the divine revelation that may be waiting beyond the door, but upon the mundane process of aging undergone by the man as he waits.
Nevertheless, the “radiance” that appears to stream from the door is typically treated as religious symbolism.
This topic sentence signals that the paragraph will address the question of religious symbolism, while the linking word “nevertheless” points out a contrast with the previous paragraph’s conclusion.
A key part of literary analysis is backing up your arguments with relevant evidence from the text. This involves introducing quotes from the text and explaining their significance to your point.
It’s important to contextualize quotes and explain why you’re using them; they should be properly introduced and analyzed, not treated as self-explanatory:
It isn’t always necessary to use a quote. Quoting is useful when you’re discussing the author’s language, but sometimes you’ll have to refer to plot points or structural elements that can’t be captured in a short quote.
In these cases, it’s more appropriate to paraphrase or summarize parts of the text—that is, to describe the relevant part in your own words:
The conclusion of your analysis shouldn’t introduce any new quotations or arguments. Instead, it’s about wrapping up the essay. Here, you summarize your key points and try to emphasize their significance to the reader.
A good way to approach this is to briefly summarize your key arguments, and then stress the conclusion they’ve led you to, highlighting the new perspective your thesis provides on the text as a whole:
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By tracing the depiction of Frankenstein through the novel’s three volumes, I have demonstrated how the narrative structure shifts our perception of the character. While the Frankenstein of the first volume is depicted as having innocent intentions, the second and third volumes—first in the creature’s accusatory voice, and then in his own voice—increasingly undermine him, causing him to appear alternately ridiculous and vindictive. Far from the one-dimensional villain he is often taken to be, the character of Frankenstein is compelling because of the dynamic narrative frame in which he is placed. In this frame, Frankenstein’s narrative self-presentation responds to the images of him we see from others’ perspectives. This conclusion sheds new light on the novel, foregrounding Shelley’s unique layering of narrative perspectives and its importance for the depiction of character.
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High school students who study poetry forms come away with confidence to analyze poetry and to create and share their own poems.
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Teaching poetry is daunting for high school teachers. Nevertheless, we know that effective poetry instruction is good for students. It is an opportunity to explore often-underutilized speaking and listening standards. Poetry also provides access points for students with diverse proficiency levels—including our English language learner students. Poetry instruction, no matter the grade level or course, develops literary analysis, writing skills, and community.
My favorite approach to teaching poetry is through poetry forms—the physical arrangement of a poem like the haiku or the sonnet. Poetry forms help novice readers by giving guideposts for identifying and exploring poets’ writing choices. Additionally, they provide students with a structure to replicate as they work to put their own words on paper. They stretch students who want to write too little; they focus students who like to write a lot. Students who study poetry forms come away with confidence to analyze, create, and share their writing.
Introducing the form: Before I introduce a new form, I prepare a packet of approximately five classroom-appropriate poems for study. PoetryFoundation.org is one of my go-to resources for finding background on and examples of poetry forms. My favorite poetry forms to teach are the villanelle, a French poetry form made up of 19 lines that utilizes repeated lines throughout and an ABA rhyme scheme; and the sijo, a Korean poetry form that is made up of three lines and relies on a fairly strict syllable count.
For each poetry form, no matter which grade level or class I am teaching it to, an elective or a core content course, I usually use a week. The first day, I introduce the form. On subsequent days, I alternate between having my students analyze other poets’ work and having them create their own. At the culmination of our study, students read their poems to the class.
Day 1: The first thing I do when I introduce a new poetry form is explain its rules. Rather than figurative elements like irony, metaphor, and symbolism, the rules that poetry forms rely on are often concrete elements, like repetition, rhyme, and syllable count—elements that provide straightforward entry points for novice readers and writers as well as concrete thinkers. Here is a template of the slide deck that I use to teach the villanelle .
Additionally, the Sejong Cultural Society created the slide deck that I use to teach the sijo . Their website is full of useful information and resources for bringing the sijo into the classroom. Before I go through any presentation, I give each student a packet of the poems. As I present the rules, students write down notes. Once we have explored the rules and have examined the examples together, I give students time to brainstorm ideas for their own poems.
Days 2–4: On each of the next few days, I provide one or two additional examples of the poetry type. For these examples, I like to use poems in which the poet has gone against the traditional form in some way. Perhaps the author of a villanelle disregarded part of the form’s rhyme scheme, as in Anne Waldman’s poem “The Lie.” Or maybe the author altered the lines that were supposed to repeat, as in Dan Lechay’s poem “Ghost Villanelle.” As we work to analyze the example poem, I have students discuss with a buddy what they notice about the piece. Then in a whole class discussion, I ask my students to evaluate how the poet used the rules as well as how they broke the rules. This provides a solid review of the form’s traditional structure, but it also shows that sometimes poets modify these structures.
After discussing the poet’s choices, we shift focus back to student work, allowing time for writing, revising, and editing their poems. Initially students might say that they are not sure where to start. I ask them what they think about often. If they tell me that they think about their pets, I ask them the first thing that comes to mind when they think of their pets.
If we are working on the villanelle, that becomes the first line in their poem, and this line will repeat three more times. At this point, I have them number the lines on their paper from 1 to 19. On lines 1, 6, 12, and 18 they record their first thought. Then I ask them about their second topic-related thought that comes to mind. They use that to fill in the lines 3, 9, 15, and 19. At that point, I leave them to fill in the missing lines with thoughts about whatever their topic is.
If we are working on the sijo, I have them write down these first two thoughts as their first and second lines. Then I leave them to create the twist that is required in the third line. The last thing I have them do is adjust their lines to fit the sijo’s syllable count.
Day 5: On the day when students read their poems aloud to the class, I like to set the desks up in a poetry circle—all desks facing each other. I begin by asking a few get-to-know-you questions. We go around the circle sharing our favorite color, our favorite animal, the worst gift we ever received, etc. It breaks the ice and provides insight into my students’ lives. Next, we listen to poems and snap our fingers in celebration of each.
I never grade students’ poems based on content or structure. Instead, they earn participation points simply for sharing. I provide positive feedback on each poem in front of the whole class. Comments like “I love how the alliteration in your poem created a playful rhythm” or “The imagery in your description of the night sky is really beautiful” or “I noticed that the extended metaphor throughout your poem elicited an intense macabre feeling” encourage the other students to consider the effects of the poet’s choices. I am hoping, too, that they will consider incorporating these elements into their own future writing.
After we have explored multiple poetry forms, I have students invent their own forms. Students decide on a name for their invented poetry type (I secretly love it when they name the poetry form after themselves) as well as the rules that dictate its structure (I require at least three). They must also create a completed poem using the rules. For me, seeing students share their new literary invention with the class feels like a triumphant culmination of the work that we have done.
These two poems, a villanelle and a sijo, were written by my former students.
“The Immortal Pain,” by Lilly Ray
Grief is a pain that never dies. You faded behind eyes of pale blue. I watched life leave your eyes. Death is one I despise. It’s been five years and oh how time flew. Grief is a pain that never dies. I watched life leave your eyes. How much of this pain can one go through? It doesn’t get easier despite the dozens of tries. I’ve suffered through the continuous cries. I long for the way you said, “I love you.” I think of you when I look up into the Kentucky skies. Grief is a pain that never dies. Life will never be the same, no matter how much I fantasize. I’ll never forget how I had to watch life leave your eyes. This pain bears no specific length or weight or size. One thing I know to be true is that I miss you. I had to watch life leave your eyes. Grief is a pain that never dies.
“8:01 P.M.,” by Riley Wyatt
I stayed out past sunset kicking at rocks by the riverside tumble and plummet and skid they did but who was I to care little did they know, oblivious I walked still sleepwalking
By the end of the semester, students have developed robust literary skills, and they have also become a part of a literary community. In the end, students not only master the art of poetry but also gain the confidence and creativity to tackle any writing challenge.
Erin Murphy, professor of English at Penn State Altoona, has three original works published in a new anthology of contemporary literature for young adults. “Just YA: Short Poems, Stories, and Essays,” edited by Sarah Donovan, is designed for teachers of grades 7 through 12. The book includes a teacher’s guide and is organized around the themes of identity, love, place, justice, and the future. Credit: Penn State . Creative Commons
September 24, 2024
ALTOONA, Pa. — Erin Murphy, professor of English at Penn State Altoona, has three original works published in a new anthology of contemporary literature for young adults.
“Just YA: Short Poems, Stories, and Essays,” edited by Sarah Donovan, is designed for teachers of grades seven through 12. The book includes a teacher’s guide and is organized around the themes of identity, love, place, justice and the future.
Murphy’s featured works include “Erased,” an erasure poem about climate change; “Illuminated,” a poem about social media; and “Slow Burn,” a creative nonfiction essay about family and mental health.
“Just YA” is published as an open-access book, which means that all content is free of charge and available online. Interested teachers and readers may download the anthology from the anthology website .
“Just YA” is a “rich anthology … with an emphasis on currency and relevance missing from commercial textbooks,” writes educator Wendy Stephens, adding that the book is “an incredible resource with immediate curricular application and more than fifty pages of ideas for instructional support.”
Murphy is the author or editor of more than a dozen books, chapbooks and anthologies, with two additional books forthcoming from Salmon Poetry and Wesleyan University Press. She is the Poet Laureate of Blair County and is currently serving as Penn State’s inaugural Mellon Academic Leadership Fellow for the Big Ten Academic Alliance. You can read more about her work on the author's website .
Marissa Carney
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How do you want to express yourself? You can explore different genres, or kinds of writing, such as poetry, short stories, plays, essays, longer works, or even multimedia projects. Then, learn about the different parts of each, like themes, plot, character, word choice, meter and rhythm, and more.
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Main Paragraphs. Now, we come to the main body of the essay, the quality of which will ultimately determine the strength of our essay. This section should comprise of 4-5 paragraphs, and each of these should analyze an aspect of the poem and then link the effect that aspect creates to the poem's themes or message.
Identify Key Themes and Symbols. One important aspect of crafting a poem analysis essay is identifying the key themes and symbols within the poem. Themes are recurring ideas or messages that the poet conveys through the poem, while symbols are objects, characters, or elements that represent deeper meanings. When analyzing a poem, pay attention ...
Key Strategies for Writing a Successful Poetry Essay. 1. Close Reading: Begin by closely reading the poem multiple times to understand its structure, themes, and language use. 2. Analysis: Analyze the poem's meaning, symbolism, and poetic devices such as metaphors, similes, and imagery. 3.
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 ...
Analyze both the choices of the author of the poem and your own vision. First of all, beauty is in the eye of the beholder. Do not limit yourself to dry analysis, add your own vision of the poem. In this way, you will get a balanced essay that will appeal to teachers.
Poetry essay body paragraphs example. Body Paragraph 1: Identify and Explain Literary Devices. "Because I could not stop for Death" by Emily Dickinson employs various literary devices that contribute to the poem's themes. The poem employs personification, where Death is personified as a courteous carriage driver.
The final step to writing your poetry essay is to include your own insights and analysis. This is important for providing your essay with its unique voice and is essential for providing a unique argument. Using your knowledge of the poem, provide the reader with a summary of your own ideas and opinions on the poem.
Analyzing Poetry. To analyze a poem, you must break it down into all its important elements and explain how they work together to create an effect or reinforce a meaning. Read your assignment carefully to find out what you're being asked to do, since there are many ways to present an analysis. You may, for example, be required to do research ...
Body Paragraphs. The body section should form the main part of poetry analysis. Make sure you have determined a clear focus for your analysis and are ready to elaborate on the main message and meaning of the poem. Mention the tone of the poetry, its speaker, try to describe the recipient of the poem's idea.
A summary of the poetry analysis essay provides a concise overview of its content and structure. It helps the reader grasp the key elements of the poem before delving into the analysis. You need to: Summarize the content and structure of the poem. Highlight key events, images, or ideas presented in the poem.
Nonetheless, if you're new to writing poetry or want to explore a different writing process, try your hand at our approach. Here's how to write a poem step by step! 1. Devise a Topic. The easiest way to start writing a poem is to begin with a topic. However, devising a topic is often the hardest part.
2. Type short quotations of three lines or less in the text of your essay. Insert a slash with a space on each side to separate the lines of the poem. Type the lines verbatim as they appear in the poem--do not paraphrase. [2] Capitalize the first letter of each new line of poetry.
1 Decide what you want to write about. Unless you've been assigned to write a poem about a specific topic, the first step in writing a poem is determining a topic to write about. Look for inspiration around you, perhaps in nature, your community, current events, or the people in your life.
Poetry analysis is simply the process of reviewing the multiple artistic, functional, and structural pieces that make up a poem. Normally, this review is conducted and recorded within an analytical essay. This type of essay writing requires one to take a deeper look at both the choices that a poet made and the effects of those choices.
Here is an outline of a poem analysis essay to use: Opening paragraph - Introduce the Poem, title, author and background.. Body of text - Make most of the analysis, linking ideas and referencing to the poem.. Conclusion - State one main idea, feelings and meanings.. Poem Analysis Essay Introduction. To start an introduction to a poem analysis essay, include the name of the poem and the author.
Pay attention to the use of language, word choice, and imagery. Consider the tone and mood of the poem. Look for patterns or repetitions in the poem. Think about the emotions evoked by the poem. Identifying the theme of a poem requires careful analysis and interpretation.
How to Write a Poem in 5 Easy Steps. Poetry is one of the most elegant forms of human expression. From the epics of Homer to the sonnets of William Shakespeare to Edgar Allen Poe's "The Raven" to the silly limerick you learned at school, there is a type of poetry for every purpose. Reading poetry is a rite of passage for American ...
Writing About Poetry. View in PDF Format. I. Reading Strategies. Get to know the poem. Critically consider all aspects of the poem: the meanings of individual words, the way the words sound, the amount of syllables per line, how many sentences there are, the shape of the poem on the page, etc. Pay attention to the connection between the form ...
A poetry explication is a relatively short analysis which describes the possible meanings and relationships of the words, images, and other small units that make up a poem. Writing an explication is an effective way for a reader to connect a poem's subject matter with its structural features. This handout reviews some of the important ...
Paraphrase the poem. Again, before you begin to organize your essay, make sure you understand the language of the poem. Poetry, particularly from other time periods, often contains confusing syntax or vocabulary. Put into your own words those lines or phrases which are especially difficult. Resist the temptation to brush over the lines or ...
Step 3: Mark It Up. There is no one correct way to mark up a poem. You can underline lines which stand out to you. You can take notes in the margins identifying poetic techniques as you see them. You can scan the poem, a method of marking stressed and unstressed syllables.
Step 2. Cite the poet, date of publication, poem title, editor, anthology name, page number and date and location of publication for APA format. Cite a long poem as you would a novel. Cite a poem you found online with the poet's name, the website's editor, the name of the website, the retrieval date and the URL. Cite a short poem like this:
Table of contents. Step 1: Reading the text and identifying literary devices. Step 2: Coming up with a thesis. Step 3: Writing a title and introduction. Step 4: Writing the body of the essay. Step 5: Writing a conclusion. Other interesting articles.
Introducing the form: Before I introduce a new form, I prepare a packet of approximately five classroom-appropriate poems for study. PoetryFoundation.org is one of my go-to resources for finding background on and examples of poetry forms. My favorite poetry forms to teach are the villanelle, a French poetry form made up of 19 lines that utilizes repeated lines throughout and an ABA rhyme ...
Murphy's featured works include "Erased," an erasure poem about climate change; "Illuminated," a poem about social media; and "Slow Burn," a creative nonfiction essay about family and mental health. "Just YA" is published as an open-access book, which means that all content is free of charge and available online.
You can explore different genres, or kinds of writing, such as poetry, short stories, plays, essays, longer works, or even multimedia projects. Then, learn about the different parts of each, like themes, plot, character, word choice, meter and rhythm, and more.