essay meaning in poetry

Poetry & Poets

Explore the beauty of poetry – discover the poet within

What Is A Poetry Essay

Literary Background of Poetry Essays

A poetry essay is an analysis of a poem that discusses its meanings, literary devices, and overall structure. It should have a specific structure, including an introduction, thesis statement, body paragraphs, and a conclusion. It is quite common to analyze a poem in academic works, as the poet’s message often conveys powerful emotions and perspectives. In his analysis of the poem “The Bridle” by W.H. Auden, author Alan S. Trueblood states that “Poetry essays are a widely accepted form of literary discourse, but not one that can be easily accessed by all.” He goes on to note that in order to properly understand the poem, one must know “the cultural and linguistic forces at play.” Understanding the history and the context of the poem is essential to interpreting it effectively.

Analyzing the Structure of a Poetry Essay

The structure of a poetry essay is fairly straightforward. The beginning starts with an introduction, followed by the thesis statement which generally contains a description of the central argument or theme of the poem. This is then followed by the body of the essay, which is made up of supporting evidence and examples. Finally, this is rounded off with a conclusion summarizing the main points of the essay.

Analyzing the Words and Phrases of a Poem

The words and phrases used in a poem help the reader to understand what the poet is trying to convey through their work. Analyzing the use of diction and syntax within the poem is important when writing a poetry essay. Looking out for key words and phrases will enable the reader to gain an insight into the poem’s deeper meaning. In his analysis of the poem, “The Lady of Shalott” by Alfred Lord Tennyson, author Justin Chin states that “language carries multiple meanings and assumptions and interpretations, particularly in a poem.”

Analyzing the Metaphors and Imagery in Poetry

The symbols and images used in a poem can enhance the reader’s ability to interpret the poem. Common symbols in poetry include nature and animals, which can suggest more abstract ideas such as death, loneliness, and despair. The metaphors and imagery used can also offer insight into the poet’s feelings about their subject. In the poetry essay “Analysis of Poem The Word of God,” author Robert E. Stewart states that “The vivid imagery of the poem helps to convey a deep spiritual truth about trust and faith in God, who leads us even through the darkest of times.”

Analyzing the Subject Matter and Tone of a Poem

When writing a poetry essay, it is also important to consider the subject matter and tone of the poem. Consideration of the poem’s subject matter will help the reader to gain an understanding of the underlying message. Analysis of the poem’s tone can help the reader to understand how the poet is conveying their message, their mood, and their attitude. In his essay “Analysis of The Moment by Margaret Atwood,” author Nicholas Sutcliffe states that “Atwood expresses a feeling of despair and hopelessness throughout the poem, suggesting a sense of fear and uncertainty at the prospect of living life without her partner.”

Comparing and Contrasting Two Poems

Comparing and contrasting two poems can also provide insight into the underlying messages of each poem. It is important to identify similarities and differences in the content, structure, imagery, and tone of the two poems. In his essay “Comparative Analysis of ‘The Field Mice’ and ‘Woodlarks’,” author Benjamin Robert compares the two poems and notes that “Both poems contain images of nature, but ‘The Field Mice’ paints a picture of a peaceful and gentle scene, while ‘Woodlarks’ paints a darker image of nature.” This comparison aids the reader in understanding the complex themes of both poems.

Interpreting the Overall Meaning of a Poem

The last step in writing a poetry essay is to interpret the overall meaning of the poem. This involves considering the purpose of the poem, its theme, and the main idea or message embedded in it. In her essay “Analysis of ‘The Road Not Taken’ by Robert Frost,” author Stephanie Moy states that “The poem is about choices and how those choices can lead to different paths; Ultimately, it is an affirmation of the human capacity to make decisions that shape our destiny.”

Interpreting Poems in Light of Other Genres

Interpreting a poem in light of other genres can help to shed more light on the underlying meaning and message of the poem. Comparing a poem to a painting, for example, can help the reader to gain perspective on the imagery used in the poem and its emotional resonance. Similarly, comparing a poem to a song can help the reader to appreciate the musicality of the poem, its meter, and its emotional undertones.

Incorporating Critical Analysis Into Poetry Essays

A poetry essay should always include critical analysis of the poem. Looking out for words and phrases, searching for symbolism and imagery, and evaluating the tone and theme of the poem are all important aspects of a critical analysis. In his essay “Analysis of The Fisherman by William Wordsworth,” author David Adams suggests that “It is important to look at the poem from various angles and offer a critical analysis of the words, images, and metaphors used.”

Identifying Literary Devices in Poems

When writing a poetry essay, it is also important to identify the poem’s literary devices. These can be used to draw out the underlying meaning of the poem and to make the poem more interesting and evocative. In her analysis of the poem “Themes of Innocence,” author Rosemarie Bennett notes that “The use of alliteration, personification and similes help to create an atmosphere of darkness and innocence, giving the poem an almost fairytale-like quality.”

Referencing Published Analysis and Academic Criticism

When writing a poetry essay it is also important to cite published analysis and academic criticism. This can help to provide contextual information about the poem and to provide a more comprehensive analysis. In his essay “Analysis of ‘The Road Not Taken’ by Robert Frost,” author Nick Kelso states that “One should also include any published critiques and analyses of the poem in their essay, to give an indication of how the poem has been interpreted and viewed by other critics.”

Engaging readers through the Poetry Essay

Finally, it is important to ensure that the essay is engaging for the reader. Making sure that the reader is able to relate to the poet’s message and using emotional triggers can help to make the essay more interesting. In her essay “Analysis of ‘Station Island’ by Seamus Heaney,” author Esmeralda Santos suggests that “The use of vivid language and powerful imagery are the best way to convey the poem’s meaning in a way that will resonate with the reader.”

Dannah Hannah is an established poet and author who loves to write about the beauty and power of poetry. She has published several collections of her own works, as well as articles and reviews on poets she admires. She holds a Bachelor of Arts in English, with a specialization in poetics, from the University of Toronto. Hannah was also a panelist for the 2017 Futurepoem book Poetry + Social Justice, which aimed to bring attention to activism through poetry. She lives in Toronto, Canada, where she continues to write and explore the depths of poetry and its influence on our lives.

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How to write a poetry essay

• August 26, 2023

Whether you love literature or are just curious, this guide will help you understand, enjoy, and talk about poetry. So, let’s start exploring the world of lines and symbols, where each one tells a story to discover.

Here are the steps on writing a poetry essay.

Choose a poem

The first step is, of course, to choose a poem to write your essay . 

It should be one that you find interesting, thought-provoking, or emotionally resonant. It’s important to select a poem that you can engage with and analyze effectively.

• Choose a poem that genuinely captures your interest. Look for poems that evoke emotions, thoughts, or curiosity when you read them.
• Consider the themes addressed in the poem. It should offer ample material for analysis.

When choosing a poem

So for this guide, let’s choose Emily Dickinson’s poem “Because I could not stop for Death.” You’ll see a short excerpt of this poem for your understanding. 

Poem example for poetry essay

Because i couldn not stop for Death by Emily Dickinson

       Because I could not stop for Death –        He kindly stopped for me –        The Carriage held but just Ourselves –        And Immortality.        We slowly drove – He knew no haste        And I had put away        My labor and my leisure too,        For His Civility –        We passed the School, where Children strove        At Recess – in the Ring –        We passed the Fields of Gazing Grain –        We passed the Setting Sun –        The poem continues....

This poem is intriguing due to its exploration of mortality, the afterlife, and eternity. The imagery and language in the poem provide ample material for analysis, making it a suitable choice for a comprehensive essay.

After carefully choosing the poem that interests you, understanding the poem is the biggest key to writing an effective and nice poetry essay.

Understand the poem

Reading the poem several times to grasp its meaning is the most important part of a good analysis. You must first analyze the structure, rhyme scheme , meter and literary tools used in the poem.

For a solid understanding, you should:

• Read the poem multiple times to familiarize yourself with its content. Each reading may reveal new insights.
• Identify the central themes or messages the poem conveys.
• Study the rhyme scheme and meter (rhythmic pattern) of the poem.
• Consider how the structure, including its stanzas, lines, and breaks, contributes to the poem's meaning and impact.

For example

Remember, understanding the poem thoroughly is the foundation for a well-informed analysis. Take your time to grasp the poem’s various elements before moving on to the next steps in your essay.

Now that we have a clear understanding of the poem, let’s move into writing the introduction. 

Write a catchy introduction

• Begin with an attention-grabbing hook sentence that piques the reader's interest.
• Provide the necessary information about the poem and its author. Mention the poet's name and title of the poem.
• Offer some context about the poem's time period, literary movement, or cultural influences.
• Present your thesis statement , which outlines the main argument or focus of your essay.

Poetry essay introduction example

Introduction

Thesis statement for poetry essays

A thesis statement is a clear and concise sentence or two that presents the main argument or point of your essay . It provides a roadmap for your reader, outlining what they can expect to find in your essay.

In the case of a poetry essay, your thesis statement should capture the central message, themes, or techniques you’ll be discussing in relation to the poem.

Why is the thesis important for a poetry essay?

By reading your thesis statement, your audience should have a clear idea of what to expect from your poem analysis essay.

When creating a thesis statement, keep these in mind: 

• Start by identifying the key elements of the poem that you want to discuss. These could be themes, literary devices, emotions conveyed, or the poet's intentions.
• Based on the key elements you've identified, formulate a central argument that encapsulates your main analysis. What is the poem trying to convey? What are you trying to say about the poem?
• Your thesis should be specific and focused. Avoid vague or broad statements. Instead, provide a clear direction for your analysis.

Poetry essasy thesis statement example

....(introduction starts) ....(introduction continues) ....(introduction continues) In "Because I could not stop for Death," Emily Dickinson employs vivid imagery, personification, and an unconventional perspective on mortality to explore the transcendence of death and the eternity of the soul. Thesis statement, which is usually the last sentence of your introduction

Analyze language and imagery

Language and image analysis in poetry involves a close examination of the words, phrases and literary devices used by the poet. In this step you must uncover the deeper layers of meaning, emotion and sensory experiences conveyed by the poet’s choice of language and imagery.

Why language and imagery?

• Start by identifying and listing the literary devices present in the poem. These could include metaphors, similes, personification, symbolism, alliteration, onomatopoeia, and more.
• For each identified device, explain its significance. How does it contribute to the poem's meaning, mood, or tone?
• Analyze how the literary devices interact with the context of the poem. How do they relate to the themes, characters, or situations presented in the poem?
• Discuss how the use of specific language and imagery influences the reader's emotional response and understanding of the poem.

Continuing with Emily Dickinson’s “Because I could not stop for Death,” let’s analyze the use of imagery:

Language and imagery analysis example

Lines chosen for analysis

Discuss themes in body paragraphs

Exploring themes helps you grasp the deeper meaning of the poem and connect it to broader human experiences. Understanding the themes allows you to uncover what the poet is attempting to convey and how the poem relates to readers on a universal level.

In this step, you will likely dedicate multiple body paragraphs to the analysis of various aspects of language and imagery. Each body paragraph should focus on a specific literary device, phrase, or aspect of language and imagery.

Here’s how you can structure the body paragraphs.

Poetry essay body paragraphs example

Body Paragraph 1: Identify and Explain Literary Devices

Body Paragraph 2: Context and Interaction with Themes

Body Paragraph 3: Reader's emotional response and understanding

Provide evidence from the poem

Providing evidence involves quoting specific lines or stanzas from the poem to support the points you’re making in your analysis. These quotes serve as concrete examples that demonstrate how the poet uses language, imagery, or literary devices to convey specific meanings or emotions.

• Select lines or stanzas from the poem that directly relate to the point you're making in your analysis.
• Introduce each quote with context, explaining the significance of the lines and how they contribute to your analysis.
• Use quotation marks to indicate that you're using the poet's language.
• After providing the quote, interpret its meaning. Explain how the language, imagery, or devices used in the quoted lines contribute to your analysis.

Providing evidence example

In your essay, you should include several quotes and interpret them to reinforce your points. Quoting specific lines from the poem allows you to showcase the poet’s language while demonstrating how these lines contribute to the poem’s overall expression.

Write a conclusion

Conclusion paragraph is the last sentence of your poem analysis essay. It reinforces your thesis statement and emphasizes your insights.

Additionally, the conclusion offers a chance to provide a final thought that leaves a lasting impression on the reader. In your conclusion, make sure to:

• Start by rephrasing your thesis statement. Remind the reader of the main argument you've made in your essay.
• Provide a concise summary of the main points. Avoid introducing new information; focus on the key ideas.
• Discuss the broader significance or implications. How does the poem's message relate to readers beyond its specific context?
• End with a thoughtful reflection, observation, or question that leaves the reader with something to ponder.

Poetry essay conclusion example

In your essay, the conclusion serves as a final opportunity to leave a strong impression on the reader by summarizing your analysis and offering insights into the poem’s broader significance.

Now, it’s time to double check what you’ve written.

Proofread and revise your essay

Edit your essay for clarity, coherence, tense selection , correct headings , etc. Ensure that your ideas flow logically and your analysis is well-supported. Remember, a poetry essay is an opportunity to delve into the nuances of a poem’s language, themes, and emotions.

• Review each paragraph to ensure ideas flow logically from one to the next.
• Check for grammar and punctuation errors.
• Verify that your evidence from the poem is accurately quoted and explained.
• Make sure your language is clear and effectively conveys your analysis.

By proofreading and revising, you can refine your essay, improving its readability and ensuring that your insights are communicated accurately.

So this was the last part, you’re now ready to write your first poem analysis (poetry) essay. 

Frequently Asked Questions

What should i include in the introduction of a poetry essay.

In the introduction, provide background information about the poem and poet. Include the poem’s title, publication date, and any relevant context that helps readers understand its significance.

Can I include my emotional responses in a poetry essay?

Yes, you can discuss your emotional responses, but ensure they are supported by your analysis of the poem’s literary elements. Avoid focusing solely on personal feelings.

Is it important to understand the poet's background when writing a poetry essay?

While it can provide context, your focus should be on analyzing the poem itself. If the poet’s background is relevant to the poem’s interpretation, mention it briefly.

What's the best way to conclude a poetry essay?

In the conclusion, summarize your main points and tie them together. Offer insights into the poem’s broader significance, implications, or lasting impact.

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The Poetry issue

The Shape of the Void: Toward a Definition of Poetry

“Poetry leaves something out,” our columnist Elisa Gabbert says. But that’s hardly the extent of it.

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By Elisa Gabbert

I once heard a student say poetry is language that’s “coherent enough.” I love a definition this ambiguous. It’s both helpful (there’s a limit to coherence, and the limit is aesthetic) and unhelpful (enough for what, or whom?). It reminds me of a dictionary entry for “detritus” that I copied down in a notebook: “the pieces that are left when something breaks, falls apart, is destroyed, etc.” That seemed so artfully vague to me, so uncharacteristically casual for a dictionary. It has a quality of distraction, of trailing off, of suggesting you already know what detritus means. Part of me resists the question of what poetry is, or resists the answer — you already know what it means.

But let’s answer it anyway, starting with the obvious: If the words have rhyme and meter, it’s poetry. Nonwords with rhyme and meter, as in “Jabberwocky,” also are poetry. And since words in aggregate have at least some rhyme and rhythm, which lines on the page accentuate, any words composed in lines are poetry. There’s something to be said for the obvious. Virginia Woolf wrote of E.M. Forster: “He says the simple things that clever people don’t say; I find him the best of critics for that reason. Suddenly out comes the obvious thing one has overlooked.”

Is there much else? I think so. I think poetry leaves something out. All texts leave something out, of course — otherwise they’d be infinite — but most of the time, more is left out of a poem. Verse, by forcing more white space on the page, is constantly reminding you of what’s not there. This absence of something, this hyper-present absence, is why prose poems take up less space than other prose forms; the longer they get, the less they feel like poems. It’s why fragments are automatically poetic: Erasure turns prose into poems. It’s why any text that’s alluringly cryptic or elusive — a road sign, assembly instructions — is described as poetic. The poetic is not merely beauty in language, but beauty in incoherence, in resistance to common sense. The missingness of poetry slows readers down, making them search for what can’t be found. The encounter is almost inherently frustrating, as though one could not possibly pay enough attention. This is useful: Frustration is erotic.

“What is poetry?” is not the same question, quite, as “What is a poem?” How many poems did Emily Dickinson write? It depends what you count. In “Writing in Time,” the scholar Marta Werner writes, of Dickinson’s so-called Master letters, “At their most fundamental, ontological level, we don’t know what they are.” Perhaps my favorite poem of Dickinson’s is not, perhaps, a poem — it’s an odd bit of verse in the form of a letter to her sister-in-law, ending with the loveliest, slantest of rhymes: “Be Sue, while/I am Emily —/Be next, what/you have ever/been, Infinity.” Are the “breaks” really breaks? The letter is written on a small, narrow card; the words go almost to the edge of the paper. I think, too, of Rilke’s letters, which often read like poems. In 1925, he wrote to his Polish translator: “We are the bees of the Invisible. We wildly gather the honey of the visible, in order to store it in the great golden hive of the Invisible.” In these letter-poems, poetry reveals itself as more a mode of writing, a mode of thinking, even a mode of being , than a genre. The poem is not the only unit of poetry; poetic lines in isolation are still poetry. The poem is a vessel; poetry is liquid.

From time to time I’m asked, with bewilderment or derision, if this or that poem isn’t just “prose chopped into lines.” This idea of the free verse poem as “chopped” prose comes from Ezra Pound via Marjorie Perloff, who quotes Pound in her influential essay “The Linear Fallacy,” published in 1981. The essay encourages an oddly suspicious, even paranoid reading of most free verse as phony poetry, as prose in costume. The line, in Perloff’s view, in these ersatz poems, is a “surface device,” a “gimmick.” She removes all the breaks from a C.K. Williams poem to make the case that a stanza without the intentional carriage returns is merely a paragraph.

I find this baffling — as if chopping up prose has no effect. It does have an effect, the way putting more panes in a window changes the view. The architect Christopher Alexander thought big plate glass windows were a mistake, because “they alienate us from the view”: “The smaller the windows are, and the smaller the panes are, the more intensely windows help connect us with what is on the other side. This is an important paradox.” To state the Forsterian obvious again, adding breaks to a paragraph is not always going to make an interesting poem — but most poets don’t write that way. They write in the line , in the company of the void. That changes how you write — and more profoundly, how you think, and even how you are, your mode of being. When you write in the line, there is always an awareness of the mystery, of what is left out. This is why, I suppose, poems can be so confounding. Empty space on the page, that absence of language, provides no clues. But it doesn’t communicate nothing — rather, it communicates nothing . It speaks void, it telegraphs mystery.

By “mystery” I don’t mean metaphor or disguise. Poetry doesn’t, or shouldn’t, achieve mystery only by hiding the known, or translating the known into other, less familiar language. The mystery is unknowing, the unknown — as in Jennifer Huang’s “Departure”: “The things I don’t know have stayed/In this home.” The mystery is the missing mountain in Shane McCrae’s “The Butterflies the Mountain and the Lake”:

the / Butterflies monarch butterflies huge swarms they Migrate and as they migrate south as they Cross Lake Superior instead of flying

South straight across they fly South over the water then fly east still over the water then fly south again / And now biologists believe they turn to avoid a mountain

That disappeared millennia ago.

The missing mountain is still there. As for what is on the page, the language that changes the shape of the void, I’m of the opinion it can be almost anything. One of my favorite books that no one has heard of is “Survey Says!,” by Nathan Austin. It’s just a list of guesses ventured by contestants on “Family Feud,” arranged, most ingeniously, in alphabetical order by their second letter, so you get sequences like this: “A bra. Abraham Lincoln. A building. Scaffolding. Scalpel. A car. A card game. A cat. A cat. Ice cream. Ice cream. Ice cream. Ice cream.” We get the answers; the questions are missing. “Get a manicure. Get a toupee. Get drunk. Retirement fund. Get out of bed. Get ready! Let’s go with manuals. Get sick in there. Let’s say a pet. Let’s say shoes. Bette Davis.” The poetry seems to perform hypnosis, the found rhymes and assonance and anaphora enacting an enchantment, a bewitchery; it seems to be giving subconscious advice. Get ready! You must change your life.

Elisa Gabbert is the author of five collections of poetry, essays and criticism, most recently “ The Unreality of Memory & Other Essays .” Her On Poetry columns appear four times a year.

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John S. Jacobs was a fugitive, an abolitionist — and the brother of the canonical author Harriet Jacobs. Now, his own fierce autobiography has re-emerged .

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Writing About Poetry

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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 .

How to Write a Poetry Essay: Step-By-Step-Guide

Table of contents

• 1 What Is A Poetry Analysis?
• 2 How to Choose a Poem for Analysis?
• 3.0.1 Introduction
• 3.0.2 Main Body
• 3.0.3 Conclusion
• 4.1 Title of the Poem
• 4.2 Poetry Background
• 4.3 Structure of the Poem
• 4.4 Tone and Intonation of the Poetry
• 4.5 Language Forms and Symbols of the Poetry
• 4.6 Poetic devices
• 4.7 Music of the Poem
• 4.8 Purpose of Poem
• 5 Poetry Analysis Template
• 6 Example of Poem Analysis

Edgar Allan Poe once said:

“Poetry is the rhythmical creation of beauty in words.” 

The reader’s soul enjoys the beauty of the words masterfully expressed by the poet in a few lines. How much meaning is invested in these words, and even more lies behind them? For this reason, poetry is a constant object of scientific interest and the center of literary analysis.

As a university student, especially in literary specialties, you will often come across the need to write a poetry analysis essay. It may seem very difficult when you encounter such an essay for the first time. This is not surprising because even experienced students have difficulty performing such complex studies. This article will point you in the right direction and can be used as a poetry analysis worksheet.

What Is A Poetry Analysis?

Any poetry analysis consists in an in-depth study of the subject of study and the background details in which it is located. Poetry analysis is the process of decomposing a lyrical work into its smallest components for a detailed study of the independent elements. After that, all the data obtained are reassembled to formulate conclusions and write literary analysis . The study of a specific lyric poem also includes the study of the hidden meaning of the poem, the poet’s attitude and main idea, and the expression of individual impressions. After all, the lyrics aim to reach the heart of the reader.

The goal of the poetry analysis is to understand a literary work better. This type of scientific research makes it possible to study entire categories of art on the example of specific works, classify them as certain movements, and find similarities and differences with other poems representing the era.

A poetry analysis essay is a very common type of an essay for university programs, especially in literary and philological areas. Students are often required to have extensive knowledge as well as the ability of in-depth analysis. Such work requires immersion in the context and a high level of concentration.

How to Choose a Poem for Analysis?

You are a really lucky person if you have the opportunity to choose a poem to write a poetry analysis essay independently. After all, any scientific work is moving faster and easier if you are an expert and interested in the field of study. First of all, choose a poet who appeals to you. The piece is not just a set of sentences united by a common meaning. Therefore, it is primarily a reflection of the thoughts and beliefs of the author.

Also, choose a topic that is interesting and close to you. It doesn’t matter if it is an intimate sonnet, a patriotic poem, or a skillful description of nature. The main thing is that it arouses your interest. However, pay attention to the size of the work to make your work easier. The volume should be sufficient to conduct extensive analysis but not too large to meet the requirement for a poem analysis essay.

Well, in the end, your experience and knowledge of the poetry topic are important. Stop choosing the object of study that is within the scope of your competence. In this way, you will share your expert opinion with the public, as well as save yourself from the need for additional data searches required for better understanding.

Poem Analysis Essay Outline

A well-defined structure is a solid framework for your writing. Sometimes our thoughts come quite chaotically, or vice versa, you spend many hours having no idea where to start writing. In both cases, a poem analysis outline will come to your aid. Many students feel that writing an essay plan is a waste of time. However, you should reconsider your views on such a work strategy. And although it will take you time to make a poetry analysis essay outline, it will save you effort later on. While a perfect way out is to ask professionals to write your essays online , let’s still take a look at the key features of creating a paper yourself. Working is much easier and more pleasant when you understand what to start from and what to rely on. Let’s look at the key elements of a poem analysis essay structure.

The essence of a poetry essay outline is to structure and organize your thoughts. You must divide your essay into three main sections: introduction, body, and conclusions. Then list brainstormed ideas that you are going to present in each of these parts.

Introduction

Your essay should begin with an introductory paragraph . The main purpose of this section is to attract the attention of the reader. This will ensure interest in the research. You can also use these paragraphs to provide interesting data from the author of the poem and contextual information that directly relates to your poem but is not a part of the analysis yet.

Another integral part of the poem analysis essay introduction is the strong thesis statement . This technique is used when writing most essays in order to summarize the essence of the paper. The thesis statement opens up your narrative, giving the reader a clear picture of what your work will be about. This element should be short, concise, and self-explanatory.

The central section of a literary analysis essay is going to contain all the studies you’ve carried out. A good idea would be to divide the body into three or four paragraphs, each presenting a new idea. When writing an outline for your essay, determine that in the body part, you will describe:

• The central idea.
• Analysis of poetic techniques used by the poet.
• Your observations considering symbolism.
• Various aspects of the poem.

Make sure to include all of the above, but always mind the coherence of your poem literary analysis.

In the final paragraph , you have to list the conclusions to which your poetry analysis came. This is a paragraph that highlights the key points of the study that are worth paying attention to. Ensure that the information in the conclusion matches your goals set in the introduction. The last few lines of a poem usually contain the perfect information for you to wrap up your paper, giving your readers a ground for further thought.

Tips on How to Analyze a Poem

Now, having general theoretical information about what a poetry analysis essay is, what its components are, and how exactly you can make an outline, we are ready to move on to practical data. Let’s take a closer look at the key principles that you should rely on in the poetry analysis. As you might guess, just reading a poem will not be enough to make a comprehensive analysis. You have to pay attention to the smallest details to catch what other researchers have not noticed before you.

Title of the Poem

And although the poems do not always have a title, if the work you have chosen has a name, then this is a good basis for starting the poetry analysis. The title of the poetic work gives the understanding of what the poet considers to be the key ideas of his verse. In some cases, this element directly reflects the theme and idea of the poem. However, there are also common cases when the poet plays with the name, putting the opposite information into it. Look at the correlation between the title and the content of the poem. This may give you new clues to hidden meanings.

Poetry Background

To fully immerse yourself in the context of the verse, you need to study the prerequisites for its writing. Analyze poetry and pay attention to the period of the author’s life in which the work was written. Study what emotions prevailed in a given time. The background information will help you study the verse itself and what is behind it, which is crucial for a critical analysis essay . What was the poet’s motivation, and what sensations prompted him to express himself specifically in this form? Such in-depth research will give you a broad understanding of the author’s intent and make your poem analysis essay writing more solid.

This fragment of your poem analysis essay study also includes interpretations of all the difficult or little-known words. Perhaps the analyzed poem was written using obsolete words or has poetic terms. For a competent poem analysis, you need to have an enhanced comprehension of the concepts.

Structure of the Poem

Each lyrical work consists of key elements. The theory identifies four main components of a poem’s structure: stanza, rhyme, meter, and line break. Let’s clarify each of the terms separately so that you know exactly what you are supposed to analyze.

The stanza is also called a verse. This element is a group of lines joined together and separated from other lines by a gap. This component of the poem structure exists for the ordering of the poem and the logical separation of thoughts.

The next crucial element is rhyme. This is a kind of pattern of similar sounds that make up words. There are different types of a rhyme schemes that a particular poem can follow. The difference between the species lies in the spaces between rhyming words. Thus, the most common rhyme scheme in English literature is iambic pentameter.

The meter stands for a composite of stressed and unstressed syllables, following a single scheme throughout the poem. According to the common silabotonic theory, the poem’s rhythm determines the measure of the verse and its poetic form. In other words, this is the rhythm with which lyrical works are written.

Finally, the line break is a technique for distinguishing between different ideas and sentences within the boundaries of one work. Also, the separation serves the reader as a key to understanding the meaning, thanks to the structuring of thoughts. If the ideas went continuously, this would create an extraordinary load on perception, and the reader would struggle to understand the intended message.

Writing an essay about poetry requires careful attention and analysis. Poems, although short, can be intricate and require a thorough understanding to interpret them effectively. Some students may find it challenging to analyze poetry and may consider getting professional help or pay to do an assignment on poetry. Regardless of the approach, it is essential to create a well-structured essay that examines the poem’s meaning and provides relevant examples.

Tone and Intonation of the Poetry

The tone and intonation of the poem could be analyzed based on two variables, the speaker and the recipient. Considering these two sides of the narrative, you can reach a better overview of the analyzed poem.

The first direction is to dig deeper into the author’s ideas by analyzing thematic elements. Pay attention to any information about the poet that can be gleaned from the poem. What mood was the author in when he wrote it, what exactly he felt, and what he wanted to share? What could he be hiding behind his words? Why did the poet choose the exact literary form? Is it possible to trace a life position or ideology through analysis? All of this information will help you get a clue on how to understand a poem.

The analysis of the figure of the recipient is also going to uncover some crucial keys to coherent study. Analyze a poem and determine whether the poem was written for someone specific or not. Find out whether the poet put motivational value into his work or even called readers to action. Is the writer talking to one person or a whole group? Was the poem based on political or social interests?

Language Forms and Symbols of the Poetry

Having sufficiently analyzed the evident elements of the poem, it is time to pay attention to the images and symbols. This is also called the connotative meaning of the work. It can sometimes get challenging to interpret poems, so we will see which other poetic techniques you should consider in the poetry analysis essay.

To convey intricate ideas and display thoughts more vividly, poets often use figurative language. It mostly explains some terms without directly naming them. Lyrical expression works are rich in literary devices such as metaphor, epithet, hyperbole, personification, and others. It may sometimes get really tough to research those poem elements yourself, so keep in mind buying lit essay online. Descriptive language is also one of the techniques used in poems that requires different literary devices in order to make the story as detailed as possible.

To fully understand poetry, it is not enough just to describe its structure. It is necessary to analyze a poem, find the hidden meanings, multiple artistic means, references the poet makes, and the language of writing.

Poetic devices

Poetic devices, such as rhythm, rhyme, and sounds, are used to immerse the audience. The poets often use figurative techniques in various poems, discovering multiple possibilities for the readers to interpret the poem. To discover the composition dedicated to the precise verse, you need to read the poem carefully. Consider studying poetry analysis essay example papers to better understand the concepts. It is a certain kind of reader’s quest aimed at finding the true meaning of the metaphor the poet has hidden in the poem. Each literary device is always there for a reason. Try to figure out its purpose.

Music of the Poem

Many poems formed the basis of the songs. This does not happen by chance because each poem has its own music. Lyrical works have such elements as rhythm and rhyme. They set the pace for reading. Also, sound elements are often hidden in poems. The line break gives a hint about when to take a long pause. Try to pay attention to the arrangement of words. Perhaps this will reveal you a new vision of the analyzed poem.

Purpose of Poem

While you analyze a poem, you are supposed to search for the purpose. Each work has its purpose for writing. Perhaps this is just a process in which the author shares his emotions, or maybe it’s a skillful description of landscapes written under great impressions. Social lyrics illuminate the situation in society and pressing problems. Pay attention to whether the verse contains a call to action or an instructive context. Your task is to study the poem and analyze the motives for its writing. Understanding the general context, and especially the purpose of the poet will make your analysis unique.

Poetry Analysis Template

To make it easier for you to research, we have compiled a template for writing a poetry analysis essay. The best specialists of the our writing service have assembled the main guides that will serve as a layout for your essay. Choose a poem that suits you and analyze it according to this plan.

Introduction:

•     The title of the poem or sonnet
•     The name of the poet
•     The date the poem was first published
•     The background information and interesting facts about the poet and the poem
•     Identify the structure of the poem, and the main components
•     Find out the data about the speaker and recipient
•     State the purpose of the poem
•     Distinguish the topic and the idea of the verse

Figurative language:

•     Study the literary devices
•     Search for the hidden meanings

Following these tips, you will write a competitive poem analysis essay. Use these techniques, and you will be able to meet the basic requirements for quality work. However, don’t forget to add personality to your essay. 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.

Example of Poem Analysis

Maya Angelou’s “Still I Rise,” is a powerful anthem of strength and resilience that has become an iconic piece of literature. The poem was written in the 1970s during the civil rights movement and was published in Angelou’s collection of poetry, “And Still I Rise,” in 1978. The structure of the poem is unique in that it is not divided into stanzas but is composed of a series of short phrases that are separated by semicolons. This creates a sense of continuity and momentum as the poem moves forward. The lack of stanzas also reflects the speaker’s determination to keep going, regardless of the obstacles she faces. The tone of the poem is confident and defiant, with a strong sense of pride in the speaker’s identity and heritage. The intonation is rhythmic and musical, with a repeated refrain that emphasizes the theme of rising above adversity. The language forms used in the poem are simple and direct. One of the most powerful symbols in the poem is the image of the rising sun… FULL POEM ANALYSIS

Our database is filled with a wide range of poetry essay examples that can help you understand how to analyze and write about poetry. Whether you are a student trying to improve your essay writing skills or a poetry enthusiast looking to explore different perspectives on your favorite poems, our collection of essays can provide valuable insights and inspiration. So take a look around and discover new ways to appreciate and interpret the power of poetry!

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Poetry Explications

What this handout is about.

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 techniques of approaching and writing a poetry explication, and includes parts of two sample explications.

Preparing to write the explication

Before you try to tackle your first draft of the explication, it’s important to first take a few preliminary steps to help familiarize yourself with the poem and reveal possible avenues of analysis.

• Read the poem or excerpt of poetry silently, then read it aloud (if not in a testing situation). Repeat as necessary.
• Circle, highlight, underline, or otherwise note specific moments that caught your attention as you were reading, and reflect on why you noticed them. These could be moments that made sense to you, profoundly confused you, or something in between. Such moments might be single words, phrases, or formal features (e.g., rhyme, meter, enjambment).
• Reflect on the poem and what it conveyed to you as a reader. You might not be able to fully and logically describe this, but take note of what you noticed. You might consider jotting down your initial thoughts after your first reading, and then noting how your ideas changed after you re-read the poem.

The large issues

Before you really delve into linguistic and formal elements, it’s first important to take a step back and get a sense of the “big picture” of a poem. The following key questions can be helpful when assessing a poem’s overall message:

How did the poem affect you as a reader? The word “affect” can be helpful to consider here since it denotes the overall subjective experience one has in response to reading something (or seeing or experiencing anything, really). This can encompass thoughts, emotions, moods, ideas, etc.—whatever the experience produced in you as a person. You can ask yourself what affective, or emotional, atmosphere the poem produced, even if something about it is difficult to describe. What adjective would you use to describe the tone of the poem? Happy? Sad? Thoughtful? Despairing? Joyous? How did the poem make you feel generally? Did the poem bring to mind certain ideas or images, etc.?

Does the poem have an identifiable speaker or addressee? Is the poem attributed to a specific speaker, or is this unclear or ambiguous? Is the speaker clearly addressing a specific second person audience, or a general one, or does this not come up? Is there a specific dramatic motivation driving the speaker to speak? You may have to make decisions about how to discuss the speaker or addressee in your explication, so it’s worth noticing how the poem is framed.

What seems to be the larger theme, or point, of the poem? This is the first question to try to address. Even if the larger message of the poem seems highly ambiguous, it’s important to first try to get a sense of this before you can move into analyzing the poem more fully. Does the poem seem to be an attempt to understand something? To appreciate something? To express a feeling? To work through a complex idea? To convey an image? Some combination of motivations?

After considering these questions, keep in mind that it’s okay if the poem still confuses you or eludes your full understanding. In fact, this sense of mystery can encourage further thought when trying to explicate a poem. Keep thinking carefully about the intricacies of the language and you may be able to convey some of this sense in your explication.

The details

To analyze the design of the poem, we must focus on the poem’s parts, namely how the poem dramatizes conflicts or ideas in language. By concentrating on the parts, we develop our understanding of the poem’s structure, and we gather support and evidence for our interpretations. Some of the details we should consider include the following:

• Form: Does the poem represent a particular form (sonnet, sestina, etc.)? Does the poem present any unique variations from the traditional structure of that form?
• Rhetoric: How does the speaker make particular statements? Does the rhetoric seem odd in any way? Why? Consider the predicates and what they reveal about the speaker.
• Syntax: Consider the subjects, verbs, and objects of each statement and what these elements reveal about the speaker. Do any statements have convoluted or vague syntax?
• Vocabulary: Why does the poet choose one word over another in each line? Do any of the words have multiple or archaic meanings that add other meanings to the line? Use the Oxford English Dictionary as a resource.

The patterns

As you analyze the design line by line, look for certain patterns to develop which provide insight into the dramatic situation, the speaker’s state of mind, or the poet’s use of details. Some of the most common patterns include the following:

• Rhetorical Patterns: Look for statements that follow the same format.
• Rhyme: Consider the significance of the end words joined by sound; in a poem with no rhymes, consider the importance of the end words.
• Patterns of Sound: Alliteration and assonance create sound effects and often cluster significant words.
• Visual Patterns: How does the poem look on the page?
• Rhythm and Meter: Consider how rhythm and meter influence our perception of the speaker and language.

Basic terms for talking about meter

Meter (from the Greek metron, meaning measure) refers principally to the recurrence of regular beats in a poetic line. In this way, meter pertains to the structure of the poem as it is written.

The most common form of meter in English verse since the 14th century is accentual-syllabic meter, in which the basic unit is the foot. A foot is a combination of two or three stressed and/or unstressed syllables. The following are the four most common metrical feet in English poetry:

• IAMBIC (the noun is “iamb”): an unstressed syllable followed by a stressed syllable, a pattern which comes closest to approximating the natural rhythm of speech. Note line 23 from Shelley’s “Stanzas Written in Dejection, Near Naples”: ⏑ / ⏑ / ⏑ / ⏑ / And walked | with in | ward glo | ry crowned
• TROCHAIC (the noun is “trochee”): a stressed followed by an unstressed syllable, as in the first line of Blake’s “Introduction” to Songs of Innocence: / ⏑ / ⏑ / ⏑ / Piping | down the | valleys | wild
• ANAPESTIC (the noun is “anapest”): two unstressed syllables followed by a stressed syllable, as in the opening to Byron’s “The Destruction of Sennacherib”: ⏑ ⏑ / ⏑ ⏑ / ⏑ ⏑ / ⏑ ⏑ / The Assyr | ian came down | like the wolf | on the fold
• DACTYLIC (the noun is “dactyl”): a stressed syllable followed by two unstressed syllables, as in Thomas Hardy’s “The Voice”: / ⏑ ⏑ / ⏑ ⏑ / ⏑ ⏑ / ⏑ ⏑ Woman much | missed, how you | call to me, | call to me

Meter also refers to the number of feet in a line:

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.

I got rhythm

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.

Writing the explication

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

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

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 conclusion

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.

Tips to keep in mind

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:

An example of an explication written for a timed exam

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.

Suggestions for improvement

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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• Literary Terms
• Definition & Examples
• When & How to Write Poetry

I. What is Poetry?

Poetry is a type of literature based on the interplay of words and rhythm. It often employs rhyme and meter (a set of rules governing the number and arrangement of syllables in each line). In poetry, words are strung together to form sounds, images, and ideas that might be too complex or abstract to describe directly.

Poetry was once written according to fairly strict rules of meter and rhyme, and each culture had its own rules. For example, Anglo-Saxon poets had their own rhyme schemes and meters, while Greek poets and Arabic poets had others. Although these classical forms are still widely used today, modern poets frequently do away with rules altogether – their poems generally do not rhyme, and do not fit any particular meter. These poems, however, still have a rhythmic quality and seek to create beauty through their words.

The opposite of poetry is “prose” – that is, normal text that runs without line breaks or rhythm. This article, for example, is written in prose.

II. Examples and Explanation

Of all creatures that breathe and move upon the earth,

nothing is bred that is weaker than man.

(Homer, The Odyssey)

The Greek poet Homer wrote some of the ancient world’s most famous literature. He wrote in a style called epic poetry , which deals with gods, heroes, monsters, and other large-scale “epic” themes . Homer’s long poems tell stories of Greek heroes like Achilles and Odysseus, and have inspired countless generations of poets, novelists, and philosophers alike.

Poetry gives powerful insight into the cultures that create it. Because of this, fantasy and science fiction authors often create poetry for their invented cultures. J.R.R. Tolkien famously wrote different kinds of poetry for elves, dwarves, hobbits, and humans, and the rhythms and subject matter of their poetry was supposed to show how these races differed from one another. In a more humorous vein, many Star Trek fans have taken to writing love poetry in the invented Klingon language.

III. The Importance of Poetry

Poetry is probably the oldest form of literature, and probably predates the origin of writing itself. The oldest written manuscripts we have are poems, mostly epic poems telling the stories of ancient mythology. Examples include the Epic of Gilgamesh and the Vedas (sacred texts of Hinduism). This style of writing may have developed to help people memorize long chains of information in the days before writing. Rhythm and rhyme can make the text more memorable, and thus easier to preserve for cultures that do not have a written language.

Poetry can be written with all the same purposes as any other kind of literature – beauty, humor, storytelling, political messages, etc.

IV. Examples in of Poetry Literature

(adsbygoogle = window.adsbygoogle || []).push({}); I think that I shall never see  –> A a poem lovely as a tree… –> A poems are made by fools like me, –> B but only God can make a tree. –> B (Joyce Kilmer, Trees )

This is an excerpt from Joyce Kilmer’s famous short poem. The poem employs a fairly standard rhyme scheme (AABB, lines 1 and 2 rhymes together and lines 3 and 4 rhymes together), and a meter called “iambic tetrameter,” which is commonly employed in children’s rhymes.

I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking… (Alan Ginsberg, Howl)

These are the first few lines of Howl , one of the most famous examples of modern “free verse” poetry. It has no rhyme, and no particular meter. But its words still have a distinct, rhythmic quality, and the line breaks encapsulate the meaning of the poem. Notice how the last word of each line contributes to the imagery of a corrupt, ravaged city (“madness, naked, smoking”), with one exception: “heavenly.” This powerful juxtaposition goes to the heart of Ginsburg’s intent in writing the poem – though what that intent is, you’ll have to decide for yourself.

In the twilight rain, these brilliant-hued hibiscus – A lovely sunset

This poem by the Japanese poet Basho is a haiku . This highly influential Japanese style has no rhymes, but it does have a very specific meter – five syllables in the first line, seven in the second line, and five in the third line.

V. Examples of Poetry in Popular Culture

Rapping originated as a kind of performance poetry. In the 1960s and 70s, spoken word artists like Gil Scott-Heron began performing their poems over live or synthesized drumbeats, a practice that sparked all of modern hip hop. Even earlier, the beat poets of the 1950s sometimes employed drums in their readings.

Some of the most famous historical poems have been turned into movies or inspired episodes of television shows. Beowulf , for example, is an Anglo-Saxon epic poem that has spawned at least 8 film adaptations, most recently a 2007 animated film starring Angelina Jolie and Anthony Hopkins. Edgar Allen Poe’s The Raven has also inspired many pop culture spinoffs with its famous line, “Nevermore.”

VI. Related Terms (with examples)

Nearly all poems are written in verse – that is, they have line breaks and meter (rhythm). But verse is also used in other areas of literature. For example, Shakespeare’s characters often speak in verse. Their dialogue is separated into rhythmic lines just like a song, but they are supposed to be speaking normally.

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

In literary nonfiction, no form is quite as complicated as the lyric essay. Lyrical essays explore the elements of poetry and creative nonfiction in complex and experimental ways, combining the subject matter of autobiography with poetry’s figurative devices and musicality of language.

For both poets and creative nonfiction writers, lyric essays are a gold standard of experimentation and language, but conquering the form takes lots of practice. What is a lyric essay, and how do you write one? Let’s break down this challenging CNF form, with lyric essay examples, before examining how you might approach it yourself.

Want to explore the lyric essay further? See our lyric essay writing course with instructor Gretchen Clark. 

What is a lyric essay?

The lyric essay combines the autobiographical information of a personal essay with the figurative language, forms, and experimentations of poetry. In the lyric essay, the rules of both poetry and prose become suggestions, because the form of the essay is constantly changing, adapting to the needs, ideas, and consciousness of the writer.

Lyric essay definition: The lyric essay combines autobiographical writing with the figurative language, forms, and experimentations of poetry.

Lyric essays are typically written in a poetic prose style . (We’ll expand on the difference between prose poetry and lyric essay shortly.) Lyric essays employ many of the poetic devices that poets use, including devices of repetition and rhetorical devices in literature.

That said, there are few conventions for the lyric essay, other than to experiment, experiment, experiment. While the form itself is an essay, there’s no reason you can’t break the bounds of expression.

One tactic, for example, is to incorporate poetry into the essay itself. You might start your essay with a normal paragraph, then describe something specific through a sonnet or villanelle , then express a different idea through a POV shift, a list, or some other form. Lyric essays can also borrow from the braided essay, the hermit crab, and other forms of creative nonfiction .

In truth, there’s very little that unifies all lyric essays, because they’re so wildly experimental. They’re also a bit tricky to define—the line between a lyric essay and the prose poem, in particular, is very hazy.

Rather than apply a one-size-fits-all definition for the lyric essay, which doesn’t exist, let’s pay close attention to how lyric essayists approach the open-ended form.

There are few conventions for the lyric essay, other than to experiment, experiment, experiment

Personal essay vs. lyric essay: An example of each

At its simplest, the lyric essay’s prose style is different from that of the personal essay, or other forms of creative nonfiction.

Personal essay example

Here are the opening two paragraphs from Beth Ann Fennelly’s personal essay “ I Survived the Blizzard of ’79. ”

“We didn’t question. Or complain. It wouldn’t have occurred to us, and it wouldn’t have helped. I was eight. Julie was ten.

We didn’t know yet that this blizzard would earn itself a moniker that would be silk-screened on T-shirts. We would own such a shirt, which extended its tenure in our house as a rag for polishing silver.”

The prose in this personal essay excerpt is descriptive, linear, and easy to understand. Fennelly gives us the information we need to make sense of her world, as well as the foreshadow of what’s to come in her essay.

Lyric essay example

Now, take this excerpt from a lyric essay, “ Life Code ” by J. A. Knight:

“The dream goes like this: blue room of water. God light from above. Child’s fist, foot, curve, face, the arc of an eye, the symmetry of circles… and then an opening of this body—which surprised her—a movement so clean and assured and then the push towards the light like a frog or a fish.” 

The prose in Knight’s lyric essay cannot be read the same way as a personal essay might be. Here, Knight’s prose is a sort of experience—a way of exploring the dream through language as shifting and ethereal as dreams themselves. Where the personal essay transcribes experiences, the lyric essay creates them.

Where the personal essay transcribes experiences, the lyric essay creates them.

For more examples of the craft, The Seneca Review and Eastern Iowa Review both have a growing archive of lyric essays submitted to their journals. In essence, there is no form to a lyric essay—rather, form and language are experimented with interchangeably, guided only by the narrative you seek to write.

Lyric Essay Vs Prose Poem

Lyric essays are commonly confused with prose poetry . In truth, there is no clear line separating the two, and plenty of essays, including some of the lyric essay examples in this article, can also be called prose poems.

Well, what’s the difference? A prose poem, broadly defined, is a poem written in paragraphs. Unlike a traditional poem, the prose poem does not make use of line breaks: the line breaks simply occur at the end of the page. However, all other tactics of poetry are in the prose poet’s toolkit, and you can even play with poetry forms in the prose poem, such as writing the prose sonnet .

Lyric essays also blend the techniques of prose and poetry. Here are some general differences between the two:

• Lyric essays tend to be longer. A prose poem is rarely more than a page. Some lyric essays are longer than 20 pages.
• Lyric essays tend to be more experimental. One paragraph might be in prose, the next, poetry. The lyric essay might play more with forms like lists, dreams, public signs, or other types of media and text.
• Prose poems are often more stream-of-conscious. The prose poet often charts the flow of their consciousness on the page. Lyric essayists can do this, too, but there’s often a broader narrative organizing the piece, even if it’s not explicitly stated or recognizable.

The two share many similarities, too, including:

• An emphasis on language, musicality, and ambiguity.
• Rejection of “objective meaning” and the desire to set forth arguments.
• An unobstructed flow of ideas.
• Suggestiveness in thoughts and language, rather than concrete, explicit expressions.
• Surprising or unexpected juxtapositions .
• Ingenuity and play with language and form.

In short, there’s no clear dividing line between the two. Often, the label of whether a piece is a lyric essay or a prose poem is up to the writer.

Lyric Essay Examples

The following lyric essay examples are contemporary and have been previously published online. Pay attention to how the lyric essayists interweave the essay form with a poet’s attention to language, mystery, and musicality.

“Lodge: A Lyric Essay” by Emilia Phillips

Retrieved here, from Blackbird .

This lush, evocative lyric essay traverses the American landscape. The speaker reacts to this landscape finding poetry in the rundown, and seeing her own story—family trauma, religion, and the random forces that shape her childhood. Pay attention to how the essay defies conventional standards of self-expression. In between narrative paragraphs are lists, allusions, memories, and the many twists and turns that seem to accompany the narrator on their journey through Americana.

“Spiral” by Nicole Callihan

Retrieved here, from Birdcoat Quarterly . 

Notice how this gorgeous essay evolves down the spine of its central theme: the sleepless swallows. The narrator records her thoughts about the passage of time, her breast examination, her family and childhood, and the other thoughts that arise in her mind as she compares them, again and again, to the mysterious swallows who fly without sleep. This piece demonstrates how lyric essays can encompass a wide array of ideas and threads, creating a kaleidoscope of language for the reader to peer into, come away with something, peer into again, and always see something different.

“Star Stuff” by Jessica Franken

Retrieved here, from Seneca Review .

This short, imagery -driven lyric essay evokes wonder at our seeming smallness, our seeming vastness. The narrator juxtaposes different ideas for what the body can become, playing with all our senses and creating odd, surprising connections. Read this short piece a few times. Ask yourself, why are certain items linked together in the same paragraph? What is the train of thought occurring in each new sentence, each new paragraph? How does the final paragraph wrap up the lyric essay, while also leaving it open ended? There’s much to interpret in this piece, so engage with it slowly, read it over several times.

5 approaches to writing the lyric essay

This form of creative writing is tough for writers because there’s no proper formula for writing it. However, if you have a passion for imaginative forms and want to rise to the challenge, here are several different ways to write your essay.

1. Start with your narrative

Writing the lyrical essay is a lot like writing creative nonfiction: it starts with getting words on the page. Start with a simple outline of the story you’re looking to write. Focus on the main plot points and what you want to explore, then highlight the ideas or events that will be most difficult for you to write about. Often, the lyrical form offers the writer a new way to talk about something difficult. Where words fail, form is key. Combining difficult ideas and musicality allows you to find the right words when conventional language hasn’t worked.

Emilia Phillips’ lyric essay “ Lodge ” does exactly this, letting the story’s form emphasize its language and the narrative Phillips writes about dreams, traveling, and childhood emotions.

2. Identify moments of metaphor and figurative language

The lyric essay is liberated from form, rather than constrained by it. In a normal essay, you wouldn’t want your piece overrun by figurative language, but here, boundless metaphors are encouraged—so long as they aid your message. For some essayists, it might help to start by reimagining your story as an extended metaphor.

A great example of this is Zadie Smith’s essay “ The Lazy River ,” which uses the lazy river as an extended metaphor to criticize a certain “go with the flow” mindset.

Use extended metaphors as a base for the essay, then return to it during moments of transition or key insight. Writing this way might help ground your writing process while giving you new opportunities to play with form.

3. Investigate and braid different threads

Just like the braided essay , lyric essays can certainly braid different story lines together. If anything, the freedom to play with form makes braiding much easier and more exciting to investigate. How can you use poetic forms to braid different ideas together? Can you braid an extended metaphor with the main story? Can you separate the threads into a contrapuntal, then reunite them in prose?

A simple example of threading in lyric essay is Jane Harrington’s “ Ossein Pith .” Harrington intertwines the “you” and “I” of the story, letting each character meet only when the story explores moments of “hunger.”

Whichever threads you choose to write, use the freedom of the lyric essay to your advantage in exploring the story you’re trying to set down.

4. Revise an existing piece into a lyric essay

Some CNF writers might find it easier to write their essay, then go back and revise with the elements of poetic form and figurative language. If you choose to take this route, identify the parts of your draft that don’t seem to be working, then consider changing the form into something other than prose.

For example, you might write a story, then realize it would greatly benefit the prose if it was written using the poetic device of anaphora (a repetition device using a word or phrase at the beginning of a line or paragraph). Chen Li’s lyric essay “ Baudelaire Street ” does a great job of this, using the anaphora “I would ride past” to explore childhood memory.

When words don’t work, let the lyrical form intervene.

5. Write stream-of-conscious

Stream-of-consciousness is a writing technique in which the writer charts, word-for-word, the exact order of their unfiltered thoughts on the page.

If it isn’t obvious, this is easier said than done. We naturally think faster than we write, and we also have a tendency to filter our thoughts as we think them, to the point where many thoughts go unconsciously unnoticed. Unlearning this takes a lot of practice and skill.

Nonetheless, you might notice in the lyric essay examples we shared how the essayists followed different associations with their words, one thought flowing naturally into the next, circling around a subject rather than explicitly defining it. The stream-of-conscious technique is perfect for this kind of writing, then, because it earnestly excavates the mind, creating a kind of Rorschach test that the reader can look into, interpret, see for themselves.

This technique requires a lot of mastery, but if you’re keen on capturing your own consciousness, you may find that the lyric essay form is the perfect container to hold it in.

Closing thoughts on the lyric essay form

Creative nonfiction writers have an overt desire to engage their readers with insightful stories. When language fails, the lyrical essay comes to the rescue. Although this is a challenging form to master, practicing different forms of storytelling could pave new avenues for your next nonfiction piece. Try using one of these different ways to practice the lyric craft, and get writing your next CNF story!

[…] Sean “Writing Your Truth: Understanding the Lyric Essay.” writers.com. https://writers.com/understanding-the-lyric-essay published 19 May, 2020/ accessed 13 Oct, […]

[…] https://writers.com/understanding-the-lyric-essay […]

I agree with every factor that you have pointed out. Thank you for sharing your beautiful thoughts on this. A personal essay is writing that shares an interesting, thought-provoking, sometimes entertaining, and humorous piece that is often drawn from the writer’s personal experience and at times drawn from the current affairs of the world.

[…] been wanting to learn more about lyric essay, and this seems a natural transition from […]

thanks for sharing

Thanks so much for this. Here is an updated link to my essay Spiral: https://www.birdcoatquarterly.com/post/nicole-callihan

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A Guide to Poetry Analysis: Understanding Poetry Terms & Techniques

• The Albert Team
• Last Updated On: February 16, 2024

What We Review

 Introduction to the Art of Poetry Analysis

Poetry analysis is a multi-step process of building and understanding of and appreciation for a poetic work. As a result, poems are not meant to be skimmed over or only read in part. Rather, in the words of Billy Collins, poets want readers to “take a poem and hold it up to the light like a color slide or press an ear against its hive.” True poetry analysis treats the poem as a work of art to be inspected up close while also appreciating the beauty in the form.

Poetry Terms: A Glossary for Poem Analysis

There are several poetry terms that are essential knowledge when it comes to poem analysis. Some of these poetry terms are: form, structure, line, stanza, pattern, rhyme scheme, poetic devices, sound devices, imagery, metaphor, simile, and symbolism to name a few. Albert has entire posts dedicated to defining each of these poetry terms in detail, and those can be found here.

Step-by-Step Guide to Analyzing a Poem

When analyzing a poem, there are several key steps to the process. This is why teachers will often ask students to read a poem multiple times, each time looking out for a different key element.

First, in a poem analysis it is helpful to identify the poem’s form and structure. What is the rhyme scheme? What is the rhythmic pattern?

Next, the reader should examine the language and imagery in the poem, including the poet’s diction or word choice and the breadth of poetic devices and imagery, including but not limited to similes, metaphors, and symbolism to name a few.

Once the reader has established the poetic form and structure as well as taken note of the different types of poetic language in the poem, this will allow the reader then to establish the theme and tone of the poem. Often, the theme reflects the poem’s historical and cultural context, while the tone reflects the poet’s personal and cultural connection to the poem. 

Identifying the Poem’s Structure and Form

First, it is helpful to identify the poem’s form and structure. You can accomplish this by asking a series of questions such as:

• What is the rhyme scheme or rhythmic pattern?
• How many stanzas are in the poem?
• Do any of the lines or stanzas break from the established pattern in the poem?

All of these are important questions to consider when identifying the poem’s structure and form. Some poetry forms, such as sonnets, are typically written on the topic of love. If the poem you are analyzing is written in the form of a sonnet, you can safely anticipate that the subject will be love.

It is also helpful to note that when a poet decides to divert from an established pattern in a poem, it is on purpose. Typically poets break from a normal pattern in a poem when they want to indicate a shift, whether a shift in tone, mood, or topic. 

Examining the Language and Imagery by Looking for Symbolism and Metaphors

Next, readers should look for the poetic devices chosen by the writer. For example, how does the author incorporate imagery into his or her poem: is it through primarily metaphors, or is it through primarily similes, or, is it an even mixture of both?

Sometimes students new to analyzing poetry want to take a poem at face value without considering poetry terms. However, in poetry one thing almost always stands for or symbolizes something else.

For example, Maya Angelou’s “Caged Bird” poem isn’t really about a bird; it’s about our experience as humans as feeling trapped or contained in circumstances that we do not want to be in. We can see others living and experiencing life in ways that we wish we could, but it is seemingly always out of reach. 

Understanding the Poem’s Theme and Tone

Once you have a basic understanding of what poetic devices are used and how these devices are used to represent something greater, you can determine both poem themes as well as the author’s tone. The poet’s choice of words clearly determines their tone.

If a poet uses words like “harsh” or “cruel” to describe their subject, the poem clearly has an offended or unhappy tone. However, if a poet uses words like “dream-like” or “fantastical”, their tone is imaginative.

The theme is the message that the author wants to convey within the poem. It can derived from everything that the reader has established so far, from the structure of the poem, the use of poetic devices within the poem, and the tone of the author.

Going back to Billy Collins and his poem, “Introduction to Poetry”, Collin’s theme or message to the reader is to never analyze poetry so intensely that you forget to enjoy the beauty of the work. Even though Collins begins his poem with the beautiful imagery of holding a poem up to the light like a color slide, he ends his poem with a very harsh image of the reader “tie[ing] the poem to a chair with rope and tortur[ing] a confession out of it.” This stark contrast serves a warning to the reader that true poem analysis seeks meaning without ignoring the artistry of the work. 

Considering the Poem’s Historical and Cultural Context

It would seem that poetry analysis could stop at determining the theme; however, every poem that was ever written and will be written was created within a moment in time, and these moments in time influence a poet’s work whether a poet intends for it to or not.

For example, Walt Whitman’s poem, “O Captain! My Captain!” is a response to the assassination of Abraham Lincoln in 1865. The tone of the poem indicates that Abraham Lincoln was highly respected by his fellow Americans, and his loss was considered a great tragedy. 

Interpreting the Poem’s Personal and Universal Significance

Not only do poems carry deep personal significance to the author, but as humans we also experience many of the same emotions or struggles in our lives. Consequently, this allows poems to carry universal significance, even across centuries.

For example, consider Maya Angelou’s “Caged Bird.” Even though Angelou wrote this poem about her personal experience, her poem is still appreciated several decades later by readers who can relate to her experiences of feeling trapped in her circumstances. 

Case Studies: Applying Analysis to Famous Poems | Ode to a Nightingale

Let’s apply what we’ve learned about poetry analysis to the poem, “Ode to a Nightingale” by John Keats. Remember to keep in mind what you have learned about poetry terms.

Analyzing the Poetic Structure

First, let’s determine the form and structure of this poem. In this poem, Keats listens to the immortal song of a nightingale and bemoans the frailty of human life.

Here is the first stanza to analyze: 

“My heart aches, and a drowsy numbness pains          My sense, as though of hemlock I had drunk, Or emptied some dull opiate to the drains          One minute past, and Lethe-wards had sunk: ‘Tis not through envy of thy happy lot,          But being too happy in thine happiness,—                 That thou, light-winged Dryad of the trees                         In some melodious plot          Of beechen green, and shadows numberless,                 Singest of summer in full-throated ease.”

The poetic structure follows an ABABCDECDE format. Additionally, the rhythmic structure is primarily iambic pentameter with some minor variations in certain lines. 

Interpreting Symbolism and Metaphor in “Ode to A Nightingale “

Next, let’s look for examples of poetic language and interpret these devices. The second stanza is highly imaginative and uses devices such as alliteration, allusion, symbolism, and personification to express the narrator’s desire to leave his life behind to follow the nightingale into immortality.

“O, for a draught of vintage! that hath been          Cool’d a long age in the deep-delved earth, Tasting of Flora and the country green,          Dance, and Provençal song, and sunburnt mirth! O for a beaker full of the warm South,          Full of the true, the blushful Hippocrene,                 With beaded bubbles winking at the brim,                         And purple-stained mouth;          That I might drink, and leave the world unseen,                 And with thee fade away into the forest dim.” 

Keats uses alliteration to describe the unique and special nature of this “vintage” or wine he wishes to drink. This wine clearly has supernatural powers as indicated by the allusion to the Greek Hippocrene, a mythological fountain that gives the one who drinks from it poetic inspiration.

This wine is also symbolized as the “warm South”, a drink promising to provide comfort to whoever drinks it. Lastly, the wine is personified as having “beaded bubbles winking at the brim” and as having a “purple-stained mouth”. This drink that he imagines is tempting him and luring him to forget his human life and follow the nightingale to a better existence.

Unraveling the Tone and Mood of a Poem

As seen above, the author’s tone is highly imaginative, but his tone is also melancholy, especially when he looks back at how quickly men grow old and die in this life. The third stanza shifts to this mournful tone: 

“Fade far away, dissolve, and quite forget          What thou among the leaves hast never known, The weariness, the fever, and the fret          Here, where men sit and hear each other groan; Where palsy shakes a few, sad, last gray hairs,          Where youth grows pale, and spectre-thin, and dies;                 Where but to think is to be full of sorrow                         And leaden-eyed despairs,          Where Beauty cannot keep her lustrous eyes,                 Or new Love pine at them beyond to-morrow.”

As you can see, the speaker clearly despises his current state, claiming that “to think is to be full of sorrow”. The mood of the poem is also revealed through these shifting stanzas: while the forest where the nightingale sings is full of flowers and music and magical creatures, his personal life is full of pain, old age, and disappointment. 

Exploring Themes in “Ode to a Nightingale “

By contrasting these two moods, Keats underlines the vanity of human imagination and pursuit of the unattainable. This is the theme of Keats’ poem: as hard as we try, ultimately, we all grow old and pass away. Myths are merely myths, and fairy tales are merely sprung from someone’s imagination and have no place in reality. 

Conclusion: Enhancing Appreciation through Poetry Analysis

Even though poetry analysis can be a time-consuming task, it is often a rewarding one. So much thought and effort go into the formation of a poem, so it is only natural that as readers we would likewise engage thought and effort into understanding these poems. 

For more practice analyzing poetry, check out our Poetry course! Albert’s Poetry course offers questions about poetry terms, poem themes, and much more. Use our practice questions with detailed explanations to grow in your understanding and appreciation of poetry!

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A Summary and Analysis of Percy Shelley’s ‘A Defence of Poetry’

By Dr Oliver Tearle (Loughborough University)

‘A Defence of Poetry’ is an essay written by the Romantic poet Percy Bysshe Shelley (1792-1822). One of the most important prose works of the Romantic era, and a valuable document concerning Shelley’s own poetic approach, the essay is deserving of closer analysis and engagement.

You can read Shelley’s ‘A Defence of Poetry’ here before proceeding to our summary and analysis of the essay below.

‘A Defence of Poetry’: summary

Shelley wrote ‘A Defence of Poetry’ in 1821 in response to an essay written by his friend, Thomas Love Peacock. In ‘The Four Ages of Poetry’, Peacock – now best-remembered for novels like Nightmare Abbey – wittily argued that poetry was surplus to requirements in the modern age, because scientific and technological discoveries had rendered it unnecessary.

We can get all the wonder we need from science. Arguing from a Utilitarian position, Peacock (with his tongue if not firmly in his cheek then certainly languidly resting against it) suggests that poetry is of less use to modern man than it was in previous ages.

Shelley intended his essay to be published in the follow-up issue of the Literary Miscellany , which had published Peacock’s essay that had prompted Shelley’s rebuttal. However, the Miscellany folded after its first issue, so Shelley’s essay was never printed in his lifetime – and it only appeared in print in 1840, eighteen years after Shelley’s death, when his widow, Mary Shelley, published it.

Shelley argues that poetry is mimetic: that is, it reflects the real world. In the early days of civilisation, men ‘imitate[d] natural objects’, observing the order and rhythm of these things, and from this impulse was poetry born. Reason and imagination are both important faculties in the poet.

Reason, he tells us, is logical thought, whereas imagination is perceiving things, and noticing the similarities between things (here, we might think of the poet’s stock-in-trade, the metaphor and simile, which liken one thing to another). It is through reason but also through imagination that we can identify beauty in the world, and from such a perception or realisation are great civilisations made. Poets, then, are the makers of civilisation itself, as Shelley argues:

But poets, or those who imagine and express this indestructible order, are not only the authors of language and of music, of the dance, and architecture, and statuary, and painting: they are the institutors of laws, and the founders of civil society, and the inventors of the arts of life, and the teachers, who draw into a certain propinquity with the beautiful and the true that partial apprehension of the agencies of the invisible world which is called religion.

The poet throughout history has been both legislator (law-maker) and prophet (religious messenger). And because poets work within the medium of language (unlike the sculptor or painter, who works in the visual medium), they have attained a greater degree of fame than other artists.

Shelley distinguishes between ‘measured’ and ‘unmeasured’ language, the former being poetry (which uses metre , i.e., you measure out the syllables per line) and the latter being prose. Poetry is superior to prose, even though both use language, because poetry also taps into the possibilities of sounds: ‘the language of poets has ever affected a certain uniform and harmonious recurrence of sound, without which it were not poetry, and which is scarcely less indispensable to the communication of its influence, than the words themselves, without reference to that peculiar order.’

Shelley also makes a distinction between storytelling (and, indeed, history) and poetry, arguing, ‘A story of particular facts is as a mirror which obscures and distorts that which should be beautiful; poetry is a mirror which makes beautiful that which is distorted.’ Poetry thus reflects the world, like a mirror, but does so in a way that renders the distorted image beautiful.

Indeed, poetry can make us see the world in a new light, making it richer and more beautiful:

Poetry lifts the veil from the hidden beauty of the world, and makes familiar objects be as if they were not familiar; it reproduces all that it represents, and the impersonations clothed in its Elysian light stand thenceforward in the minds of those who have once contemplated them, as memorials of that gentle and exalted content which extends itself over all thoughts and actions with which it coexists.

The key to all of this, Shelley reiterates, is imagination.

Shelley devotes the next portion of ‘A Defence of Poetry’ to a sort of critical history of poetry from the days of ancient Greece up to the present, considering how, throughout the ages, poets have had a moral influence upon the world.

He argues that, following the Fall of Rome and the establishment of Christianity, it was poets who saved the world from ruin and anarchy: ‘the world would have fallen into utter anarchy and darkness, but that there were found poets among the authors of the Christian and chivalric systems of manners and religion, who created forms of opinion and action never before conceived; which, copied into the imaginations of men, became as generals to the bewildered armies of their thoughts.’

He sees the medieval poet Dante (1265-1321) as the ‘bridge’ between the ancient and modern world. Responding to Peacock, Shelley argues that the poet’s purpose is utilitarian, since poetry ‘lifts the veil from the hidden beauty of the world’, and has a moral purpose. Shelley concludes his essay with the rousing and famous words:

Poets are the hierophants of an unapprehended inspiration; the mirrors of the gigantic shadows which futurity casts upon the present; the words which express what they understand not; the trumpets which sing to battle, and feel not what they inspire; the influence which is moved not, but moves. Poets are the unacknowledged legislators of the world.

We have discussed this famous last line in more detail in a separate post .

‘A Defence of Poetry’: analysis

Shelley’s was not the first great defence of poetry as an art form, and probably the most notable precursor in English literature is Sir Philip Sidney’s ‘An Apology for Poetry’ , from the 1580s. But Shelley’s argument is more closely keyed into his own time, and emphasises some key aspects of Romanticism as a literary movement, and the importance of the poet as a figure in that movement.

Shelley’s central argument in ‘A Defence of Poetry’ is, at bottom, a moral one: poets enhance our sympathetic imaginations and thus poetry is a force for moral good. This is why, in that often-quoted final line, ‘poets are the unacknowledged legislators of the world’: because poets have both the moral purpose and the imaginative faculties which help to make our world and its moral systems what they are.

As M. H. Abrams observed in his analysis of ‘A Defence of Poetry’, in his brilliant The Mirror and the Lamp: Romantic Theory and the Critical Tradition (Galaxy Books) , Shelley’s argument in ‘A Defence of Poetry’ is in some ways a Platonic one, concerned with ‘eternal Forms’; but crucially, whereas Plato had written of poets as the rivals of philosophers and statesmen as imitators of the natural world, Shelley collapses this rivalry and argues that great lawmakers and philosophers are poets.

Critics have often noticed that ‘A Defence of Poetry’ is a great essay on poetry in spite of what it leaves out: there is no detailed history of the development of poetry (Shelley’s whistle-stop tour of classical and medieval poets notwithstanding), nor is there any list of rules which good poets should follow.

Instead, Shelley’s argument is one which reflects many of the tenets of the Romantic movement: the idea of the poet as a visionary or prophet, the primacy of the imagination, and the ways in which the poet can change the world, becoming lawmaker, statesman, and philosopher all in one.

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Stanza Definition

What is a stanza? Here’s a quick and simple definition:

A stanza is a group of lines form a smaller unit within a poem. A single stanza is usually set apart from other lines or stanza within a poem by a double line break or a change in indentation.

Some additional key details about stanzas:

• Stanzas provide poets with a way of visually grouping together the ideas in a poem, and of putting space between separate ideas or parts of a poem. Stanzas also help break the poem down into smaller units that are easy to read and understand.
• Stanzas aren't always separated by line breaks. Especially in older or longer poems, stanzas may be differentiated from one another according to where the meter or rhyme scheme change.
• Because stanzas are the basic unit of poetry, they are often compared to paragraphs in prose.

How to Pronounce Stanza

Here's how to pronounce stanza: stan -zuh

Stanzas, Meter, and Rhyme Scheme

Stanzas can have any meter or rhyme scheme , or none at all. However, that way that stanzas work are different in formal verse that has meter and rhyme scheme and free verse that does not.

Stanzas in Formal Verse

In formal verse —that is, poetry with a strict meter and rhyme scheme—a stanza may contain multiple meters and different rhymes. For example, some stanzas alternate between iambic pentameter and iambic tetrameter. However, the general rule about stanzas in formal verse is that their form recurs from stanza to stanza—the words are different in each stanza, but the general metrical pattern and rhyme scheme are usually the same in each stanza.

Here's an example. In this two-stanza poem by Emily Dickinson, the first stanza alternates lines of iambic tetrameter (eight syllables) with lines of iambic trimeter (six syllables), and the rhyme scheme is A B C B . Since this is formal verse, the second stanza should be expected to repeat the same pattern (the same meter and rhyme scheme, but using different rhymes), which it does.

You left me – Sire – two Legacies – A Legacy of Love A Heavenly Father would suffice Had He the offer of – You left me Boundaries of Pain – Capacious as the Sea – Between Eternity and Time – Your Consciousness – and me –

Stanzas in Free Verse

In free verse —or, poetry without meter or rhyme scheme—the stanza is a unit that is defined by meaning or pacing, rather than by meter or rhyme. In other words, a stanza break may be used in free verse to create a pause in the poem, or to signal a shift in the poem's focus. In free verse, unlike in formal verse, stanzas are often irregular throughout the poem, so a poem may contain a dozen two-line couplets shuffled in with a handful of six-line sestets and one much longer stanza.

Here's an example of the use of stanza breaks in free verse—an excerpt from the poem "A Sharply Worded Silence" by Louise Glück—which consists of a four-line quatrain , followed by a single line, followed by a three-line tercet . Notice how the stanza breaks serve to break the poem into units of speech or thought—much like paragraphs in prose .

Because it is the nature of garden paths to be circular, each night, after my wanderings, I would find myself at my front door, staring at it, barely able to make out, in darkness, the glittering knob. It was, she said, a great discovery, albeit my real life. But certain nights, she said, the moon was barely visible through the clouds and the music never started. A night of pure discouragement. And still the next night I would begin again, and often all would be well.

Types of Stanzaic Form

For the most part, stanzas are named according to the number of lines they contain.

• Couplet: A stanza made up of two lines. The simplest and most basic unit of poetry in English is the rhyming couplet.
• Tercet: A stanza made up of three lines. Also called a tristich. Forms of poetry that are based on the tercet include villanelles and terza rima .
• Quatrain: A stanza made up of four lines. The unit of many traditional forms of poetry, such as ballads and sestinas .
• Cinquain: A stanza made up of five lines. Also called a quintain. Some poems, such as the Japanese tanka and the American cinquain, consist of a single five-line stanza.
• Sestet: A stanza made up of six lines. Also called a sestain. Sestets appear primarily in sonnets .

Other Types of Stanzas

There are other types of stanzas that are not simply defined by their number of lines. These specialized types of stanzas are defined by specific rhyme scheme or metrical requirements, or they always appear in specific poetic forms. Here are just a few of the more common types of stanzas that are defined by rhyme scheme or meter.

• Ballad Stanza: A type of four-line stanza common in English poetry. It is generally written in common meter with an ABCB rhyme scheme.
• Octave: This is an eight-line stanza in iambic pentameter, usually with an ABBA ABBA rhyme scheme. It is of particular importance to sonnets, though it also appears in other forms.
• Elegiac couplet: One of the more common forms in ancient Greek and Latin verse, elegiac couplets are defined by their meter: alternating dactylic hexameter and pentameter. Elegiac couplets are scarcely used by poets writing in English.
• Envoi: An envoi is a brief concluding stanza at the end of a poem that summarizes the preceding poem or serves as its dedication. This type of stanza is defined not by its length, meter, or rhyme scheme, but rather by its content and its position at the end of the poem. Envois appear most often in the poetic form called the ballade .
• Stand-alone lines: Used almost exclusively in free verse, single-line stanzas are seldom be referred to as stanzas, but should be acknowledged as constituting a unit of poetry in and of themselves when preceded and followed by double line breaks.

Breaking Down and Adding Up Stanzas

Stanzas consisting of four or more lines may sometimes be described as containing shorter stanzas within them, even if there is no stanza break. For example, the first two lines of a quatrain may be referred to as a couplet, even if they do not form their own stanza. This can make it easier, when speaking or writing about a poem, to break larger pieces down into units that are shorter than stanzas but longer than individual lines.

The same is true of grouping multiple stanzas together. Two distinct quatrains may be described as making up a single octave, as is often the case with sonnets —the two quatrains that begin a sonnet are, together, referred to as the octave. Similarly, the two halves of an octave can always also be referred to as quatrains. What this means is that while stanzas are usually set off from other stanzas by lines breaks or indentation, that isn't always the case. For instance, fourteen-line sonnets often appear without any stanza breaks at all—and yet the first eight lines of the poem are still referred to as the octave.

In some cases, a stanza can be broken down multiple ways. For example, a stanza that is a sestet may be described as consisting of two tercets, even though there may not be a stanza break between the two tercets to distinguish them. On the other hand, a sestet may also be described as consisting of three couplets. Neither would be improper, but which one you choose may be informed by a few separate factors. A sestet with the rhyme scheme ABCABC would more likely be described as consisting of two tercets than three couplets, since it would be more natural to break the stanza up into two units with a rhyme scheme of ABC than to break it into three units with rhyme schemes of AB, CA, and BC. A sestet with an ABABAB rhyme scheme, on the other hand, would more properly be described as consisting of three couplets, since such a stanza could be thought of as breaking down into three units with rhyme schemes of AB.

Stanza vs. Strophe

"Strophe," like "stanza," is a term that refers to a grouping of lines in poetry. In some cases it can be used interchangeably with "stanza," while in others it can't:

• When line groupings are inconsistent : "Strophe" is used specifically in the context of poetry that does not use stanzas of consistent length throughout the poem, as is the case with many poems written in free verse . In such cases the term "strophe" can be used interchangeable with "stanza" to refer to any grouping of lines as a unit.
• When line groupings are consistent : When line groupings are either consistent (when all of the stanzas in a poem are four-line quatrains, for instance) or when the line-groupings follow traditional rules (as in the octave and sextet of a sonnet), the word strophe cannot be used. In those cases, "stanza" is always used to refer to such line groupings.

To put it another way: all strophes are stanzas, but not all stanzas are strophes.

Stanza Examples

Couplets in max ritvo's "boy goes to war".

Here's a contemporary example of the use of couplets in a work of free verse by the poet Max Ritvo.

His father told him never start writing or reading in the middle of a book. There’s a title, don’t go on without one. And he didn’t go on without one — he had the title Private. This was life’s taproot — the obedient boy began always at the beginning. Books start out with what the boy calls Beauty — the boat’s still in port. The cat’s alive. Pantry’s packed.

Tercets in Dylan Thomas's "Do not go gentle into that good night"

Tercets are the basic unit of a form known as the villanelle , which follows an A B A rhyme scheme and has two refrains that repeat throughout the poem. These two tercets are the opening two stanzas of one of the more famous modern examples of the villanelle, Dylan Thomas;s "Do no go gentle into that good night."

Do not go gentle into that good night , Old age should burn and rave at close of day ; Rage, rage against the dying of the light . Though wise men at their end know dark is right , Because their words had forked no lightning they Do not go gentle into that good night .

Quatrains in Millay's "The Ballad of the Harp-Weaver"

This ballad by Edna St. Vincent Millay uses quatrains with a rhyme scheme of A B C B .

“Son,” said my mother , When I was knee- high , “You’ve need of clothes to cover you , And not a rag have I. “There’s nothing in the house To make a boy breeches , Nor shears to cut a cloth with Nor thread to take stitches .

Cinquain in Poe's "To Helen"

Here's an example of a poem by Edgar Allen Poe written entirely in cinquains . In this example, the rhyme scheme is not consistent between stanzas—Poe uses A B A BB in the first and A B A B A in the second, and A BB A B in the third.

Helen, thy beauty is to me Like those Nicean barks of yore That gently, o'er a perfumed sea , The weary, way-worn wanderer bore To his own native shore . On desperate seas long wont to roam , Thy hyacinth hair, thy classic face , Thy Naiad airs have brought me home To the glory that was Greece , And the grandeur that was Rome . Lo, in yon brilliant window- niche How statue-like I see thee stand , The agate lamp within thy hand , Ah! Psyche, from the regions which Are Holy Land !

Couplet in Shakespeare's "Sonnet V"

The lines at the end of this sonnet may be referred to as a "rhyming couplet." This couplet is distinguished from the rest of the poem not by a double line break, but by indentation—as well as by the fact that it uses a separate rhyme scheme from the rest of the sonnet. (In keeping with the form of the English sonnet, this poem uses a rhyme scheme of ABAB CDCD EFEF GG . Notice how the final two lines are the only adjacent lines in the whole poem to rhyme; this is yet another factor that sets them apart as a couplet.)

Those hours, that with gentle work did frame The lovely gaze where every eye doth dwell, Will play the tyrants to the very same And that unfair which fairly doth excel; For never-resting time leads summer on To hideous winter, and confounds him there; Sap checked with frost, and lusty leaves quite gone, Beauty o'er-snowed and bareness every where: Then were not summer's distillation left, A liquid prisoner pent in walls of glass, Beauty's effect with beauty were bereft, Nor it, nor no remembrance what it was: But flowers distilled, though they with winter meet , Leese but their show; their substance still lives sweet .

Elegiac Couplets in Ovid's "Elegy III"

This brief excerpt from a longer love poem by the Roman poet Ovid makes use of elegiac couplets (though the original meter is lost in translation). Although the couplets aren't separated from one another by double line breaks, each half of the quatrain below may be referred to as a couplet because of the metrical pattern they followed in the original Latin, as well as the AA BB rhyme scheme they follow in English.

Heav'n knows, dear maid, I love no other fair ; In thee lives all my love, my heav'n lies there . Oh! may I by indulgent Fate's decree , With thee lead all my life, and die with thee .

Envoi in Kipling's "Sestina of the Tramp-Royal"

This sestina by Rudyard Kipling is a good example of the sestina's use of envoi , a brief concluding stanza to a poem. The example here is an excerpt of the sestina's final stanza and the envoi . This envoi has three lines, as do all envois in sestinas. Envois also often appear in the poetic form called ballades , where they may have four or more lines.

It’s like a book, I think, this bloomin’ world, Which you can read and care for just so long, But presently you feel that you will die Unless you get the page you’re readin’ done, An’ turn another—likely not so good; But what you’re after is to turn ’em all. Gawd bless this world! Whatever she ’ath done— Excep’ when awful long I’ve found it good. So write, before I die, ‘’E liked it all!’

Stanzas in Milton's "On the New Forcers of Conscience under the Long Parliament"

Here's an example of a poem in which the poet uses indentation to differentiate the stanzas, rather than double line breaks. This poem is a "caudate sonnet," a variation on the sonnet that consists of an octave (or two quatrains) and a sestet (two tercets) followed by a brief concluding portion called a coda, which consists here of two tercets. Milton uses indentation to accentuate lines that are, in a traditional sonnet, the first lines of stanzas. Here, we've color-coded the different stanzas so it's easier to see how the indentation signals stanza breaks.

BECAUSE you have thrown off your Prelate Lord, And with stiff vows renounced his Liturgy, To seize the widowed whore Plurality, From them whose sin ye envied, not abhorred, Dare ye for this adjure the civil sword To force our consciences that Christ set free, And ride us with a Classic Hierarchy, Taught ye by mere A. S. and Rutherford? Men whose life, learning, faith, and pure intent, Would have been held in high esteem with Paul Must now be named and printed heretics By shallow Edwards and Scotch What-d’ye-call! But we do hope to find out all your tricks, Your plots and packing, worse than those of Trent, That so the Parliament May with their wholesome and preventive shears Clip your phylacteries, though baulk your ears, And succour our just fears, When they shall read this clearly in your charge: New Presbyter is but old Priest writ large.

Notice how the six lines of the coda are indented differently from the stanzas in the rest of the poem, signifying the coda's difference from the rest of the sonnet.

Stanzas in Johnny Cash's "Ring of Fire"

This is an example of stanzas in songs with lyrics. "Ring of Fire," a song by the American folk musician Johnny Cash, has verses of four lines and a chorus of five lines. The rhyme scheme is different between the verses and the chorus; it shifts from AA BB in the verse to A B A C A in the chorus. The excerpt below shows the first stanza of the song and the chorus.

Love is a burnin' thing And it makes a fiery ring Bound by wild desire I fell into a ring of fire I fell into a burnin' ring of fire I went down, down, down And the flames went higher And it burns, burns, burns The ring of fire, the ring of fire

Why Do Writers Use Stanzas?

Stanzas are used, much like paragraphs in prose, to group related ideas into units. This helps the poem to feel more structured and, therefore, more digestible to the reader or listener. The specific length, meter, and rhyme scheme of a stanza may be dictated by the poem's form, or they may be decisions that the poet makes freely according to his or her artistic vision. For example, a single-line stanza can be used to convey an image in a dramatic fashion, or an eight-line stanza can be used to convey one long, complex thought.

Other Helpful Stanza Resources

• The Wikipedia Page on Stanza: A somewhat technical explanation, including various helpful examples.
• The dictionary definition of Stanza: A basic definition that includes a bit on the etymology of stanza (in Italian it means "room," or "stopping place.")
• A short video explaining stanzas in under a minute.

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Home > Academic departments > Comparative Literature > Comparative Literature M.A. Essays > 28

Comparative Literature M.A. Essays

Transcreation in world of warcraft’s china localization: echoes of poetry across two worlds.

Yilu Ren Follow

Date of Award

Spring 6-2024

Document Type

First advisor.

James Dorsey

Second Advisor

Roopika Risam

The official trailer for the globally popular MMORPG (massively multiplayer online role-playing game) World of Warcraft Patch 5.2: The Thunder King featured an original English poem, subsequently translated into 10 other languages. All versions retained a poetic form, with the one release in mainland China creatively borrowing the tetrasyllabic verse style akin to that used in Shijing , the first anthology of Chinese poetry. This unprecedented adaptation of a literary genre in the localization of a non-literary video game product blurred the conceptual boundary between Lawrence Venuti's binary notions of foreignization and domestication in translation theory.

Viewed in light of Eugene Nida's three-stage translation framework (analysis, transfer, restructuring) and Stuart Hall's four-stage model of communication (production, circulation, consumption, reproduction), this case study demonstrates how the classical Chinese poetic form, mediated through the interactive video game platform, breaks free from its purely literary origins to become itself the "medium" in the sense of Marshall McLuhan’s seminal claim that “the medium is the message.”

That is, the poetic style itself, to a large extent, dictates how the content is conveyed and presented, embodying rich cultural connotations beyond the literal meaning of its content. This seamless integration of an ancient literary heritage into a modern multimedia environment represents a pioneering act of transcreation, artfully reinventing the source material while preserving its affective resonance for a new audience. As such, this perspective provides an innovative approach that contributes to the theorization of localization practice within Translation Studies.

Recommended Citation

Ren, Yilu, "Transcreation in World of Warcraft’s China Localization: Echoes of Poetry across Two Worlds" (2024). Comparative Literature M.A. Essays . 28. https://digitalcommons.dartmouth.edu/complit_essays/28

Since June 03, 2024

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