poetry explication assignment

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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English 1302 - Aguilar, Liz Ann: Essay

• Assignment- Poetry Analysis

Essay #3 Due Date: Monday, April 22, 2024 [SLOS 1-5] Background: For this assignment, the student will develop a greater understanding of fiction analysis by providing the student with an opportunity to research literary criticisms and apply those identified literary terms of the topic in the writing of a research essay for the course.  

Learning Outcomes for ENGL 1302: This essay #3 assignment will clearly address all five learning outcomes as identified in this course. 1. Demonstrate knowledge of individual and collaborative research processes. 2. Develop ideas and synthesize primary and secondary sources within focused academic arguments, including one or more research-based essays. 3. Analyze, interpret, and evaluate a variety of texts for the ethical and logical uses of evidence. 4. Write in a style that clearly communicates meaning, builds credibility, and inspires belief or action. 5. Apply the conventions of style manuals for specific academic disciplines (e.g., APA, CMS, MLA, etc.).  

Task: Essay #3-Fiction: The two short stories that students are required to use for this comparison and contrast essay are Nathaniel Hawthorne’s The Birth-Mark, and Haruki Murakami’s On Seeing the 100% Perfect Girl One Beautiful April Morning. Topic: “Write an essay exploring how character, point of view, setting, symbolism, or any recurring word or phrase contributes to the development of [the] theme [of perfection]. Be sure to state [perfection]-that theme in a sentence.” [Note: Quoted content in this topic is referenced in Suggestions for Writing, Question #1, of The Norton Introduction to Literature by Kelly J. Mays. Pg. 224], 13th edition  

Requirements: Essay #3 will follow the MLA heading format. The five-page [estimated word count-1,250 words] essay written in third person [he/she/it] will be typed, double- spaced, use Times New Roman font style, 12-point font size.

Along with your essay, a pre and post questionnaires of your topic and writing process, a topic outline, personal interview [quotes from the result of a three-question interview focus-on the theme of perfection] will be cited in your essay, and the interview will also be cited in the works cited page. For your works cited sources, you will include a minimum of six sources [two primary sources-the two short stories] and four secondary sources. Of the four secondary sources, one source will focus on a literary criticism, the second required source is a personal interview, a third source is a website, and the fourth source is your personal choice of reference material. The students will utilize the Modern Language Association, 9th edition for their internal citations and works cited throughout the essay.  

Tutor Review: You will be required to submit your essay for a tutor review through the Writing Center/SLAC online tutoring. The tutor review is required as a part of your essay grades, so schedule your online tutor appointments ahead of time. When you meet with your online tutor, please refer to the assignment task, so that the tutor can identify what the assignment requires.

Essay #2-FENCES Due Date: Monday, April 1st [SLOS 1-5]  

Background: For this assignment, the student will develop a greater understanding of characterization as it pertains to its purpose in the drama of Fences by August Wilson/ Antigone by Sophocles. Students will select one question from the list of possible topics provided. The research will provide the students with a better understanding of the character analysis of these men and women during the date of the play’s time period.  

Learning Outcomes for ENGL 1302: This essay #2 assignment will clearly address all five learning outcomes as identified in this course. 1. Demonstrate knowledge of individual and collaborative research processes. 2. Develop ideas and synthesize primary and secondary sources within focused academic arguments, including one or more research-based essays. 3. Analyze, interpret, and evaluate a variety of texts for the ethical and logical uses of evidence. 4. Write in a style that clearly communicates meaning, builds credibility, and inspires belief or action. 5. Apply the conventions of style manuals for specific academic disciplines (e.g., APA, CMS, MLA, etc.).  

Topics are listed below, choose one topic:  

Fences by August Wilson Reference- The Norton Introduction to Literature by Kelly J. Mays. Shorter 14th Edition  

I. Question #3 Suggestions for Writing located in your textbook on pg. 1340: “Write an essay exploring Wilson’s characterization of Rose. What might the play suggest, through her, about the options available to, or conflicts faced by, women in general or African American women in particular in the 1950s? To what extent might Wilson’s play, [ FENCES ] reproduce or challenge our preconceptions [or stereotypical views] about such women ?”  

II. Question #4-Suggestions for Writing located in your textbook on pg. 1340: “Research theories of tragedy and the tragic hero. Drawing on both these and evidence from Wilson’s play, explain whether and how Fences might be considered a tragedy or Troy Maxson a tragic hero.”

Antigone by Sophocles III. Question #1-Suggestions for Writing located in your textbook on pg. 1718: “The first two scenes or episodes of Antigone introduce us to each of the play’s two main characters—first Antigone, then Creon. Write an essay in which you explore what each scene shows us about who these characters are, what motives and values drive them, and why they come into conflict. What does Sophocles achieve by showing us Antigone in conversation with her sister, or Creon with a “convocation of the elders” (line 177)? In terms of characterization and conflict, what is the significance of the choral songs that end each of these two opening episodes?”

Requirements: Essay #2 will follow the MLA heading format. The four-page [estimated word count-1,000 words] essay written in third person [he/she/it] will be typed, double-spaced, use Times New Roman font style, 12-point font size.

Along with your essay, a pre and post questionnaires of your topic and writing process, required brainstorming-Reporter Questions [1-H and 5 W’s], a topic outline, two-annotated bibliographies [peer-reviewed journal article and website article] and works cited page referencing your primary source of the play either Antigone or Fences and four secondary sources. Of the four secondary sources, one source will be a peer-reviewed journal article and another source will be an article on a website. The students will utilize the Modern Language Association, 9th edition for their internal citations and works cited throughout the essay.  

Tutor Review: You will be required to submit your essay for a tutor review through the Student Success Center/Writing Center/SLAC online tutoring/Brainfuse. The tutor review is required as a part of your essay grades, so schedule your online tutor appointments ahead of time. When you meet with your online tutor, please refer to the assignment task, so that the tutor can identify what the assignment requires.

Essay #1 - Poetry Explication

Due Date: Sunday, February 18 th , 11:59p.m.  

Background: For this assignment, the student will explore the explication of poetry through a comparison and contrast essay analysis with a focus on an emotion. The students will utilize the Modern Language Association, 9th edition for their internal citations and works cited throughout the essay.  

Definition of Explication: “A poetry explication is an analytical essay that comments on a poem's elements and possible meanings. In other words, writers make connections between the narrative of the poem and the literary choices the poet uses to convey that narrative such as imagery, tone, rhythm and meter, and word choice” (Google Definition).  

Learning Outcomes for ENGL 1302:  

This essay #1 assignment will clearly address all five learning outcomes as identified in this course.  

• Demonstrate knowledge of individual and collaborative research processes.  
• Develop ideas and synthesize primary and secondary sources within focused academic arguments, including one or more research-based essays.  
• Analyze, interpret, and evaluate a variety of texts for the ethical and logical uses of evidence.  
• Write in a style that clearly communicates meaning, builds credibility, and inspires belief or action.  
• Apply the conventions of style manuals for specific academic disciplines (e.g., APA, CMS, MLA, etc.).  

TOPIC :   For this poetry explication, the student will write a comparison and contrast essay by selecting two published poems focused on the student’s selected emotion [Examples: Sadness/Happiness/Anger/Love/Fear]. Each poem should have a minimum of 12 lines for purposes of analysis. Both poems must describe the same emotion, but the contrast will occur in how both poems represent the idea and its portrayal within the poems.   

Requirements:  

Essay #1 will follow the MLA assignment and page heading format. The four-page essay [approximate 1000 words] will be typed, double-spaced, Times New Roman font style, 12-point font size.  Along with your essay, the following items will be submitted: Pre and Post Questionnaires of your topic and writing process, brainstorming [student choice], a topic outline [word to phrase outline], and works cited page referencing your selected two (2) poems and two (2) secondary sources of your choice [Examples: Literary criticism, website, critical essay, a peer-reviewed journal article, etc.]

Tutor Review:  

You will be required to submit your essay for a tutor review through the following locations: English Success Center, Brainfuse, SLAC online tutoring, or SAC Writing Center. Please note that a listing of these locations will be provided for you via Canvas announcements. The tutor review is required as a part of your essay grades, so schedule your online tutor appointments ahead of time. When you meet with your online tutor, please refer to the assignment task, so that the tutor can identify what the assignment requires. You will need to provide a confirmation page or paperwork that will verify your tutoring session, so please request this verification at the beginning of your tutoring session/in writing is using an online platform.   

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Writing About Poetry

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This section covers the basics of how to write about poetry, including why it is done, what you should know, and what you can write about.

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 .

Poem Explication/Oral Report (10th Grade): The Assignment

• The Assignment
• Books and Ebooks
• Databases and Other Online Resources
• Works Cited Information

Order of Report

Order of report:

1. Pass out copies of your poem THE DAY BEFORE YOUR REPORT . Your classmates will have to read the poem and be prepared to answer any questions you pose about the form and content.

2. One (or both) of you will start with the life of the poet and his/her influence on American poetry.

3. One of you will read the poem straight through (practice and prove you can read the poem meaningfully, with the right cadence, tempo, etc.)

4. One (or both) of you will deliver your explication (do not read your essay word for word; use it as a general guide as you divide the poem into reasonable sections and explicate line by line, verse by verse)

5. Turn in your biographical report and written explication with Works Cited (source of bio; books read; articles researched)  Note: You have to write an explication (a 2-3 page essay, though it can be rough) to turn in.

Evaluation:

            1.  Biography and Works Cited (25 pts)

            2.  Reading of poem (5 points)

            3.  Explication (50 points)

            4.  Overall presentation (posture, eye contact, originality, animation, visual/audio aids) and organization (20 points)

Note:  For each minute over the 15-minute limit, you will lose points.

Evaluation Sheet for Oral Report

Guidelines for Oral Report/Poem Explication

Theodore Roethke (suggested poem: "The Waking")

Elizabeth Bishop (suggested poem: "The Fish")

Richard Wilbur  (suggested poem: "Advice to a Prophet")

Sylvia Plath  (suggested poem: "Mirror")

Billy Collins  (suggested poem: "The Art of Drowning")

Karl Shapiro  (suggested poem: "Auto Wreck")

James Dickey  (suggested poem: "The Lifeguard")

           As your final test grade of the year, you will choose a partner and deliver a report on a relatively recent poet.  In class we will determine partners and the poets that would best suit that pairing.

Guidelines:

I.  Together you will research/compile, in a PowerPoint, the biography of the writer and the written explication (can be rough).  One of you might do more on the biography than the other, and vice versa, depending on how you are able to manage the challenge of working together with your busy schedules.

           You will deliver the whole report in fewer than 15 minutes.  Both of you will be standing at the podium, PowerPoint in the background, with notes/note-cards before you so that you aren’t reading the screen.  Both of you will discuss part of the bio and both of you will switch off explaining the poem. Your PowerPoint should have images and text that outline the finer points of your report.  Use good PowerPoint delivery technique by not reading the screen except to point out something relevant (such as a map or image).

           You will be evaluated on the depth of the bio, the artistry of your PowerPoint, the intensity of your explication. 

           Your PowerPoint should be at least 7 slides long, with multiple images on each slide.  You can divide the PowerPoint into sections such as:  Young Life; University Life; World War II years; Midlife, Later Life, Themes. 

II.  Read a good biographical essay on your author from a reference book in the library, and prepare some information that helps to bring your writer to life and to explain the world of the poem that you choose to explicate.  Check the Dictionary of Literary Biography, American Writers, or other good reference books.  If you Google your writer, insure that the website is academic in scope.  Check this LibGuide for more information on the assignment and sources such as our databases to help you organize a solid presentation on the writer’s life.  Use the internet to get images or other helpful visual aids for your writer’s bio or for his/her poem.  Your PowerPoint should be exciting—do not read it from the screen!  Use good PowerPoint delivery technique

III.  Read the essay about and poems by your author in The Norton Anthology of Modern Poetry that is on reserve in the library to get a feel for the kinds of poems your poet writes.

IV.  Explicate your poem together; read the sample explication of Frost’s “Design” that I gave you before spring break to help you organize your written essay.  Read the sample explications on my webpage.  Do not read other explications online!  We want your view of the poem. 

           In your report, you should refer to at least one other poem by the poet, a poem that fits into the biography or else serves as a good introduction or conclusion to your explication.  You can summarize the poems quickly; comparing the poems will help to give your audience a fuller view of the writer’s world.

V.  Prepare your report.  Rehearse it several times to insure you can deliver your understanding of the poet’s life and the poem in 15 minutes.  Don’t go over time!

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• Last Updated: Jan 20, 2024 11:02 AM
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Poetry & Poets

Explore the beauty of poetry – discover the poet within

How To Write A Poetry Explication

Writing Process

Writing a poetry explication takes time and skill as it is essential to understand the construction, emotion resonance and double meaning underneath the surface of a poem in order to convey its message clearly and effectively. Investigation into a work’s techniques, rhythms and diction will help in the development of an explication. Before delving into an explication, it is necessary to take the time to read the poem carefully, looking for major literary components such as metaphors and imagery. The reader also needs to analyze the poem’s structure and emotional effects as they read.

Objective Description

The explication process requires a systematic, objective description of the particular passage being studied. This requires the reader to pay close attention to the detail. Focus on the selection’s form, structure and other technical features such as meter, rhyme and stanza form. Capture the rhythm, sound and emotion through strong descriptive words, such as ‘dissonant’ or ‘angry’, that detail why a stanza sounds or looks the way it does. Note any imagery, symbolism or figurative language used by the poet.

Identify Meaning

The most important step in writing a successful explication is establishing the poem’s overall meaning. To do this, the reader needs to identify what is being said and may have to trace a particular element throughout the poem. For example, pay attention to repetition of certain themes and ideas, or certain lines. Evaluate why the poet chose to use particular wording and consider whether or not the poem contains a paradox that could further aid in understanding the overall meaning.

Raising Questions

A successful explication also requires the reader to pause and ask questions as they read. This encourages an open discussion and analysis of the poem. Formulate questions pertaining to the poem’s structure, meaning, emotional content and why certain image or words have been chosen. Ask yourself why this poem might have been written, or why the speaker chose to say what he or she did.

Analyzing the Poem

Once the reader has identified the essential components of the poem, perform a critical analysis of its content. Evaluate the poem’s strength and believability as a narrative or voice of the speaker. Compare and contrast the poem’s subject to its stylistic form, and analyze how the poem expresses its themes and ideas. Investigating the poem’s context in the larger setting of the poet’s life and the music or culture he or she derived it from may also help in deciphering the deeper layers of meaning.

Synthesizing Findings

The final step in writing a successful explication is to provide an interpretation of the poem overall. This should be an affirmative summary of your previous findings, covered in a succinct and focused manner. Summarize the poem’s connective elements and explain how they underpin the poem’s hidden and underlying meaning.

Law and Morals

Explicating poems often requires the reader to analyze moral and ethical questions which influence the poem and its author. Analyze these from the perspective of the poem’s cultural and legal context, as well as any ethical mandalas which shape or are shaped by the poem’s overall meaning. Competing legal systems may be observed and the current legal system analyzed in light of the social, ethical and historical context of the poem.

Cultural Implications

When writing an explication of a poem, it is important to consider the cultural and historical context in which the poem exists. Think about who the poem is speaking to, what culture it is engaging with, and any marginalized voices it is representing. Pay attention to the details of the speaker’s language and any subtle signs of their cultural identifiers, such as specific dialects of English or references to a particular region.

Variety in Metaphors

Pay attention to the variety of metaphors employed by the poet in order to further their point of view. Metaphors provide an additional layer of complexity and understanding to a poem, and can provide the reader with an in depth understanding of the poem. Analyze how these metaphors interact with one another and the overall theme of the poem.

Historical Significance

When writing a poetry explication, consider the poem’s historical significance. This can be difficult to identify, but looking into the language, perspective and references of the poem at the time of its writing can offer some insight into the poem’s meaning. Analyze any historic events that might have had an influence on the poem and think about the deeper implications of any of the events that are referenced.

Relevance to Life and Society

When writing a poetry explication, look closely at any themes that the poem covers. Evaluate how these themes might apply to life, society and current events and think about the impact that these themes might have on the world. Consider both the positive and negative implications and how these themes might contribute in varying ways to both.

Establishing Connections

When writing a explication of a poem, situate the poem within the current conversation and the wider cultural moment. Consider how the poem builds on previous conversations and how it might break new ground. Analyze the poet’s style in relation to other poets, and how it may diverge or join with the larger poetic dialogue.

Be Critical

When writing an explication of a poem, it is necessary to evaluate the text critically and evaluate the impact of the text. Consider what the poem is trying to say, and if the poem is a successful reflection of this. Take into consideration the techniques used by the poet to convey their point and think about the techniques used to move the poem’s narrative forward.

Minnie Walters

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

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• Prof. Mary Fuller

Departments

As taught in.

• American Literature

Learning Resource Types

Reading poetry, analytic essay.

Your best work for this class has combined close observation of evidence with a coherent narrative about how the poem works and produces meaning; anyone could read such an essay and feel they have heard new layers of meaning that give the work more resonance and make experiencing it more satisfying and engaging. That’s really how to think about the work of writing about poetry: be a welcoming and trustworthy guide to other readers.

This essay focuses on one of the poems we’ve read this month—your choice—with one additional element.

For essays on either flavor of this assignment, please provide a title that is not the title of the poem, but gives some idea of your interpretation, the questions you address, or what you find most interesting about the work.

The essay should be 4 pages (roughly 1000 words).

A: Frost, “Birches”; Hughes, “Harlem”; Cohen, “Lit”; Pardlo, “Double Dutch”; Jess, work from “Olio”; Trethewey, “Incident.”

For essays about the poems in A, I’d like you to incorporate something that the poet has said about poetry in general, or his or her work in particular, that seems useful or relevant to you in understanding the poem. If you’re working on Olio, you may have notes of your own. For the other poets, try these resources:

• Frost, Robert. “Comment on Birches.” [preview with Google Books ]
• “ Education by Poetry ,” Amherst Alumni Council address, November 15, 29.
• On music, style and dreams deferred .
• “ Breaking Bubbles .”
• “ Cave Canems 20th Anniversary ,” a background on an organization that formed a “home for black poetry.”
• On syncopated sonnets at TedXNashville.
• “ The Language is Constructing our Ideas More Than We are Deploying the Language ”, an interview with Gregory Pardlo in which he talks about improvisation vs. form, April, 2017.
• Interview with Gregory Pardlo, July 10, 2015 ; Pardlo talks about the role of conventions and talks about the idea of the “difficult” poem.
• More interviews on Pardlo’s website .
• “ Contributer Interview: Andrea Cohen (2011) ,” Cohen on humor, influences, diction, and more.
• “ Poetry Breaks: What Poetry Is .”
• “ Poetry Breaks: Where Ideas Come From .”
• A 2007 interview with Mosaic .
• On metaphorical language and more.
• On geography and the American South .
• On the “ruthlesseness” of viewing the world as a poet , as well as the role of photography.
• On photography and more .
• On repetition and the layering of images .

B: Lowell, “For the Union Dead”; Pardlo, “For Which It Stands.”

For essays about the two poems above, I’d like you to incorporate information about a couple of the poem’s important allusions (condensed references to external places, events, texts, and so on), for which a more complete understanding of something briefly referenced in the poem expands our understanding of what it says. This is one of the only times I will encourage you to use Google, at least as a place to start!

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—AP Poetry Analysis—

We choose our AP Poetry Analysis prompts not just to prepare students for the essay on the AP Literature exam, but also to introduce the major themes of the novel or play through a complementary text that addresses the subject matter through a different lens.  Similar to the thought-provoking quotation that we use as the basis of our Journal Discussions, we want to give students another perspective on the issues they will encounter in the novel or play they are about to read.

Oftentimes, the choice of poem is relatively obvious by allusions made in the title or text of the novel or play.  For instance, when reading Chinua Achebe's  Things Fall Apart , it makes sense to analyze William Butler Yeats' "The Second Coming," the poem from which the title of the novel is taken.  Similarly, when reading Kate Chopin's  The Awakening , it is helpful to analyze Charles Swinburne's "A Cameo" since Gouvernail murmurs the first two lines of the poem during Edna's farewell dinner on Esplanade Street. There is a reason that authors and playwrights allude to other literary works, and our job as readers is to determine the thematic connection between the two. 

When there is not an obvious allusion made in the title or text, we have the opportunity to select a poem that relates thematically to the novel or play and is consistent with the AP Literary Analysis prompt already chosen.  For instance, when we teach Sandra Cisneros'  The House on Mango Street , we want students to focus on how Esperanza's feelings towards her neighborhood change over the course of the novel.  To achieve this purpose we chose the 2010 AP Literary Argument prompt for our final essay:

"You can leave home all you want, but home will never leave you."

- Sonsyrea Tate

Sonsyrea Tate's statement suggests that "home" may be conceived as a dwelling, a place, or a state of mind.  It may have positive or negative associations, but in either case, it may have a considerable influence on the individual.

Choose a novel or play in which a central character leaves home yet finds that home remains significant.  Write a well-developed essay in which you analyze the importance of "home" to this character and the reasons for its continuing influence.  Explain how the character's idea of home illuminates the larger meaning of the work.

While there are many poems that focus on the concept of "home," we selected Robert Hayden's "Those Winter Sundays" to compare and contrast with Cisneros' work.  When analyzing any piece of literature, we focus on the four pillars of style analysis:  diction, imagery, language, and syntax.  We go into depth on all four pillars in the Style Analysis Tutorial , so for this section we will focus on what is unique about analyzing poetry in comparison to prose.

When we present a poem to the class, we structure it like an AP Poetry Analysis prompt that students will find on the AP Literature exam so they get more comfortable with the format:

When we first introduce poetry to students, we note that paragraphs and sentences in prose have been replaced with stanzas and lines in poetry.  We emphasize, however, that most poetry is still written in complete thoughts and contains end punctuation.  Our advice to students is to read poetry as if it were prose, pausing and stopping when the punctuation dictates.  We always read poems out loud in class twice — the first time by the teacher to model how it should sound and then a second time by a student reader.  For poems with multiple long stanzas, we might have different students read different stanzas aloud.  

Since every word in poetry is important, we first define any words that students might not know —like "indifferently" or "austere" in Hayden's poem, for example .  We want students to consider the significance of the diction, imagery, and language in a poem —which, again, we discuss in detail in the Style Analysis Tutorial —but in this tutorial we are going to focus on how the specific syntax of poetry, which we call poetic devices, differs from prose and how poets use these poetic devices to establish tone and reveal theme. 

We break poetic devices into three categories based on the repetition of sounds.  The first category identifies the repetition of specific letter-sounds, which takes the form of alliteration, consonance, and assonance.  The second category concentrates on the repetition of syllables, which involves a poem's rhyme, rhythm, and meter.  The third category focuses on the repetition of words or phrases, which we call parallel structure:

I.  Alliteration/Consonance/Assonance

Alliteration is the repetition of consonant sounds at the beginning of words whereas consonance is the repetition of consonant sounds within words.  Assonance is the repetition of vowel sounds.   Poets use repeated sounds not just because they are pleasing to the ear , but also to emphasize certain words  and create connections between words.

Let's look at the opening stanza of Hayden's poem:

Sundays too my father got up early

and put his clothes on in the blueblack cold,

then with cracked hands that ached

from labor in the weekday weather made

banked fires blaze.  No one ever thanked him.

When introducing poetic devices, we first ask students to find as many repetitions of consonant and vowel sounds as possible within an opening stanza.  For Hayden's poem, students usually notice the repetition of the hard "k" sound that comes at the beginning of words like " cl othes," " c old," and " cr acked"; in the middle of words like "cra ck ed," "a ch ed," "wee k day," "ba nk ed," and "tha nk ed"; and at the end of words like "bluebla ck ."

When we ask students to describe the tone, or feeling, associated with that particular sound, students often say it is harsh and abrupt.  The next question is why Hayden would want to repeat that particular sound in his opening stanza, and how that sound might reflect the feelings that the speaker has internalized when remembering his father and his childhood home.  

Despite the coldness of the relationship he had with his father, it is clear that the speaker's feelings have changed now that he is older.  The adult speaker seems to recognize and appreciate the fact that his father "got up early" during the week, most likely to go to a blue-collar job that produced "cracked hands that ached."  Not only does Hayden alliterate the " w eekday w eather" to emphasize the harsh conditions that his father endured during the week to provide for his family, but he also alliterates the " bl ue bl ack cold" when the speaker's father "made /  b anked fires bl aze" to show how the father also provided comfort for his family in the early morning darkness before any of them had gotten out of bed.

When Hayden stops the opening thought with a caesura in the middle of the fifth line, he uses the period to interrupt the flow of the line to set us up for the devastating final words of the stanza:  "No one ever thanked him."  When reading those words, we sense the guilt and regret the speaker has for failing to appreciate his father when he was a child.

Hayden's use of assonance is also interesting to analyze in the first stanza, specifically with the juxtaposition of long and short "a" sounds.  The long "a" sounds connect the hands that " a ched / from l a bor in the weekd a y weather m a de / banked fires bl a ze."  Those same hands that "ached" from long hours of manual labor outside the home were the same hands that "made" the fires inside the home —on "Sund a ys too"— to provide comfort and warmth for his family.

One could argue that the length of those drawn out "a" sounds  reflects the long thankless days that the father spent providing for his family with no apparent acknowledgment or appreciation of his sacrifice.  Is there bitterness inside the father?  Perhaps those harsh "k" sounds combined with the short "a" sounds in "bluebl a ck," "cr a cked," "b a nked," and "th a nked" reflect not just the speaker's fear of his father as a child, but also the resentment that the speaker imagines the father must have had towards his ungrateful family.

We emphasize with students that any literary interpretation—but especially with an analysis of the subtleties of syntax or poetic devices—is subject to debate.  The role of a literary critic is not necessarily to be "correct," but to make interesting observations based on evidence from the text to make the reader think differently or more deeply about the work.  Some interpretations are more convincing than others based on the evidence to support the claims, and others are more compelling based on the insight and depth of the analysis. 

Our advice to students is to think deeply about the literary work and make as interesting an argument as possible based on the evidence from the text.  An essay does not necessarily have to convince the reader that a certain interpretation is "right," but it should always aspire to be thought-provoking and make the reader think about the work in a new way.

II.  Rhyme/Rhythm/Meter

When we introduce the concept of rhyme, we differentiate between "end rhymes" and "internal rhymes."  When end rhymes create a consistent pattern, we call that a "rhyme scheme" and use letters, such as ABAB,  to represent the repeating pattern.  For Hayden's poem, however, there are no end rhymes, which means there is no rhyme scheme.  The first question that students should ask is why Hayden would choose to write his poem in free verse rather than with a set rhyme scheme.

Just because there are no end rhymes does not mean, however, that there are no internal rhymes.  In the first stanza, we see "blue black " and " cracked " on successive lines and " banked " and " thanked " in the same line.  These internal rhymes are not only aesthetically pleasing to the ear, but they also link those words thematically.  It is up to the reader to make a connection as to why the poet would want to pair those two words.

In the first pairing, the "blue black cold" represents the harsh conditions that the father has to face everyday — "Sundays too"—to provide and care for his family.  His perpetual sacrifice is represented by the " cracked hands that ached," but it seems that the "aching" of his hands does not just reflect a physical hardship; instead, it seems to also imply an internal suffering, one that the speaker is unable to recognize as a child but acknowledges and takes some responsibility for as an adult.  Similarly, the " banked fires" that the father made "blaze" every morning go unacknowledged by his family; despite the fact that he should have been " thanked " for the sacrifices he made, no one ever did.

In the second stanza, Hayden also uses internal rhymes effectively:

I'd wake and hear the cold splintering, breaking.

When the rooms were warm, he'd call,

and slowly I would rise and dress,

fearing the chronic angers of that house,

The first line connects " wake " with the first syllable in " break ing," showing how the father regularly gets up in the early morning to make the house warm for his family by "breaking" the cold.  The tone of the stanza, however, is not one of familial love and warmth.  The present participles at the end of the first line connect with the present participle in the fourth line to create a series of internal rhymes by repeating the "-ing" syllable on "splinter ing ," break ing ," and "fear ing ."  Despite the speaker's understanding at an intellectual level that the father's efforts are "splintering" and "breaking" the cold, they are sublimated by his simultaneously "fearing the chronic angers of that house."  Instead of feeling gratitude for his father's efforts, the speaker only has dread and fear, fully aware that his father's temper is always in threat of "splintering" and "breaking" the peace and tranquility of the house.

When determining rhythm, we have to look at the punctuation and the pattern of stressed and unstressed syllables (i.e. meter) in a line or stanza.  In looking at the punctuation in the second stanza, the first thing we notice is the proliferation of commas.  The comma at the end of the first line creates an asyndeton that takes the place of an "and" that could have easily separated the two present participles in a smoother, more rhythmic way.  Instead, Hayden uses the comma to create a jarring transition between the two participles that abruptly concludes with the period at the end of the line.

One could argue that the punctuation aptly reflects the harsh, abrupt tone that we saw in the consonance of the repeated "k" sounds in the first stanza, which continues in the second stanza with " c old," "brea k ing," " c all," and " chr oni c ."  The commas at the end of each successive line in the second stanza slows the pace and makes us consider each line carefully.  The commas never complete the thought, however, so we carry the tension from one line to the next —and even into the next stanza—understanding implicitly that the "chronic angers of that house" remain unresolved and simmering beneath the surface, which breaks any sense of harmony in the house or rhythm in the poem.

The disruptive punctuation is complemented by the absence of a set meter.   To determine meter, we have to recognize which syllables are stressed and which are not.  The easiest way to do that is to look at the multi-syllable words first to determine where the natural accents lie.  For instance, the word "splintering" in the first line of the second stanza has three syllables, but only one contains the natural accent, which is the first; the final two syllables are unstressed.  Likewise, in "breaking" the first syllable is stressed and the second is not.   In fact, all of the multi-syllable words in the second stanza have the first syllable stressed:

After we find the natural accents, we then look at the single-syllable words, where there is ample room for interpretation.  In general, primary words — like nouns and verbs — are usually stressed whereas secondary words — like articles and prepositions — are not.   This is a guideline but not a rule, however.  When words are stressed, they are emphasized; sometimes it makes sense, based on the context of the line, to stress an adjective, for instance, rather than the noun.  Similarly, stressed and unstressed syllables usually alternate in poetry to create a natural rhythm, but poets will intentionally disrupt the rhythm to call attention to specific words. 

Here is a possible scan of the second stanza in Hayden's poem:

The first line starts off with a series of three rhythmic iambs (two-syllable combinations of unaccented syllables followed by accented syllables) before the pattern is broken with the words "splintering, breaking" at the end of the line.  By analyzing the meter, we can assume that soon after waking—even on Sundays with a fire warming the house—the speaker still feels a sense of tension and unease.  What is interesting is Hayden's decision to end the line with a weak, unaccented syllable, which one could argue conveys a sense of weary resignation, as if the speaker can never escape the constant "splintering, breaking" tension that permeates the house.  

The first syllable of the second line, "When," could certainly be accented, but leaving it unaccented allows that feeling of helplessness to carry over from the previous line and build into another series of rhythmic iambs that runs through the next two lines until it is disrupted once again by a present participle, this time "Fearing," which starts the fourth line and connects to the "splintering, breaking" of the first line.  This rhythmic pattern—and its disruption—repeats itself as if to imply that any sense of harmony within the house cannot remain for long. 

The preposition "of" in the final line of the stanza could also be unstressed, but choosing to accent the preposition creates another series of four straight iambs that is broken once again by a present participle, this time the "Speaking" at the beginning of the final stanza.  What is interesting is that the father is responsible for the "splintering, breaking" of the rhythm in the second stanza, but it is the speaker who is responsible for breaking the rhythm in the final stanza by "Speaking indifferently" to his father, which seems to imply that they both share responsibility for the psychic tension and "chronic angers of that house."  

III.  Parallel Structure

Parallel structure is the repetition of words or phrases within the lines of a poem.  We have already seen how Hayden uses parallel structure in repeating the use of present participles to break the rhythm of the lines in the second stanza and at the beginning of the third.  We also see a key repetition in the penultimate line that, one could argue, unlocks the thematic meaning of the entire poem:

Speaking indifferently to him,

who had driven out the cold

and polished my good shoes as well.

What did I know, what did I know

of love's austere and lonely offices?

By repeating "'What did I know, what did I know" the speaker acknowledges his own ignorance as a child of the love and sacrifice that his father demonstrated through his daily actions.  The repetition also implies a sense of guilt and regret that he was unable to understand or appreciate his father when he was younger.  What is obvious is that the speaker has matured over the years —perhaps now having children of his own—and sees his father in a new, more compassionate light.  

To help students identify poetic devices and become more comfortable with the analytical process, we provide five study guide questions on the back of the AP prompt that students should try to answer on their own.  When students return to class, we answer any questions they may have and share our different interpretations of the poem as a whole class.

After we have explicated the poem and answered questions from the study guide, students prepare to write their AP Poetry Analysis essay.  Similar to the other AP essays, we encourage students to use  Hegel's Dialectic to organize their thoughts and outline their arguments:

The AP Poetry Analysis prompt for Hayden's poem asks students to consider how the speaker has "re-assessed" the "strained" relationship he had with his father in childhood.  One possible way to organize the argument would be to have the thesis, or initial claim (i.e. first body paragraph), focus on the "strained" relationship in the speaker's childhood.  The antithesis, or counter-claim (i.e. second body paragraph), could then focus on the speaker's re-assessment of that relationship once he becomes an adult.  The synthesis (i.e. third body paragraph) would focus on what the speaker has learned from the experience, which would also reflect Hayden's overall theme (i.e. "the meaning of the work as a whole").

If this were the first assignment of the year, we would provide a model for what a quality AP Poetry Analysis essay using Hegel's Dialectic might look like: 

When using Hegel's Dialectic for an AP Poetry Analysis essay, it is sometimes helpful to think of the thesis/antithesis/synthesis model in terms of tone and theme instead.  Students should look for competing, yet complementary, tones in the poem, which would then be the focus of their first two body paragraphs.  Students would then resolve the tension between those competing tones by revealing overall theme in the concluding third body paragraph.

Once students have completed the Journal Discussion and written the AP Poetry Analysis essay, they are now ready to begin the novel or play with a solid introduction to the major themes of the work.  Moreover, they will be able to compare and contrast how the author or playwright addresses the Essential Questions with the poet and and the author/speaker of the quotation.  Ultimately, students will have to answer those Essential Questions for themselves, but they now have three different guides to help them along the way.

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A Full Guide to Writing a Perfect Poem Analysis Essay

01 October, 2020

14 minutes read

Author:  Elizabeth Brown

Poem analysis is one of the most complicated essay types. It requires the utmost creativity and dedication. Even those who regularly attend a literary class and have enough experience in poem analysis essay elaboration may face considerable difficulties while dealing with the particular poem. The given article aims to provide the detailed guidelines on how to write a poem analysis, elucidate the main principles of writing the essay of the given type, and share with you the handy tips that will help you get the highest score for your poetry analysis. In addition to developing analysis skills, you would be able to take advantage of the poetry analysis essay example to base your poetry analysis essay on, as well as learn how to find a way out in case you have no motivation and your creative assignment must be presented on time.

What Is a Poetry Analysis Essay?

A poetry analysis essay is a type of creative write-up that implies reviewing a poem from different perspectives by dealing with its structural, artistic, and functional pieces. Since the poetry expresses very complicated feelings that may have different meanings depending on the backgrounds of both author and reader, it would not be enough just to focus on the text of the poem you are going to analyze. Poetry has a lot more complex structure and cannot be considered without its special rhythm, images, as well as implied and obvious sense.

While analyzing the poem, the students need to do in-depth research as to its content, taking into account the effect the poetry has or may have on the readers.

Preparing for the Poetry Analysis Writing

The process of preparation for the poem analysis essay writing is almost as important as writing itself. Without completing these stages, you may be at risk of failing your creative assignment. Learn them carefully to remember once and for good.

Thoroughly read the poem several times

The rereading of the poem assigned for analysis will help to catch its concepts and ideas. You will have a possibility to define the rhythm of the poem, its type, and list the techniques applied by the author.

While identifying the type of the poem, you need to define whether you are dealing with:

• Lyric poem – the one that elucidates feelings, experiences, and the emotional state of the author. It is usually short and doesn’t contain any narration;
• Limerick – consists of 5 lines, the first, second, and fifth of which rhyme with one another;
• Sonnet – a poem consisting of 14 lines characterized by an iambic pentameter. William Shakespeare wrote sonnets which have made him famous;
• Ode – 10-line poem aimed at praising someone or something;
• Haiku – a short 3-line poem originated from Japan. It reflects the deep sense hidden behind the ordinary phenomena and events of the physical world;
• Free-verse – poetry with no rhyme.

The type of the poem usually affects its structure and content, so it is important to be aware of all the recognized kinds to set a proper beginning to your poetry analysis.

Find out more about the poem background

Find as much information as possible about the author of the poem, the cultural background of the period it was written in, preludes to its creation, etc. All these data will help you get a better understanding of the poem’s sense and explain much to you in terms of the concepts the poem contains.

Define a subject matter of the poem

This is one of the most challenging tasks since as a rule, the subject matter of the poem isn’t clearly stated by the poets. They don’t want the readers to know immediately what their piece of writing is about and suggest everyone find something different between the lines.

What is the subject matter? In a nutshell, it is the main idea of the poem. Usually, a poem may have a couple of subjects, that is why it is important to list each of them.

In order to correctly identify the goals of a definite poem, you would need to dive into the in-depth research.

Check the historical background of the poetry. The author might have been inspired to write a poem based on some events that occurred in those times or people he met. The lines you analyze may be generated by his reaction to some epoch events. All this information can be easily found online.

Choose poem theories you will support

In the variety of ideas the poem may convey, it is important to stick to only several most important messages you think the author wanted to share with the readers. Each of the listed ideas must be supported by the corresponding evidence as proof of your opinion.

The poetry analysis essay format allows elaborating on several theses that have the most value and weight. Try to build your writing not only on the pure facts that are obvious from the context but also your emotions and feelings the analyzed lines provoke in you.

How to Choose a Poem to Analyze?

If you are free to choose the piece of writing you will base your poem analysis essay on, it is better to select the one you are already familiar with. This may be your favorite poem or one that you have read and analyzed before. In case you face difficulties choosing the subject area of a particular poem, then the best way will be to focus on the idea you feel most confident about. In such a way, you would be able to elaborate on the topic and describe it more precisely.

Now, when you are familiar with the notion of the poetry analysis essay, it’s high time to proceed to poem analysis essay outline. Follow the steps mentioned below to ensure a brilliant structure to your creative assignment.

Best Poem Analysis Essay Topics

• Mother To Son Poem Analysis
• We Real Cool Poem Analysis
• Invictus Poem Analysis
• Richard Cory Poem Analysis
• Ozymandias Poem Analysis
• Barbie Doll Poem Analysis
• Caged Bird Poem Analysis
• Ulysses Poem Analysis
• Dover Beach Poem Analysis
• Annabelle Lee Poem Analysis
• Daddy Poem Analysis
• The Raven Poem Analysis
• The Second Coming Poem Analysis
• Still I Rise Poem Analysis
• If Poem Analysis
• Fire And Ice Poem Analysis
• My Papa’S Waltz Poem Analysis
• Harlem Poem Analysis
• Kubla Khan Poem Analysis
• I Too Poem Analysis
• The Juggler Poem Analysis
• The Fish Poem Analysis
• Jabberwocky Poem Analysis
• Charge Of The Light Brigade Poem Analysis
• The Road Not Taken Poem Analysis
• Landscape With The Fall Of Icarus Poem Analysis
• The History Teacher Poem Analysis
• One Art Poem Analysis
• The Wanderer Poem Analysis
• We Wear The Mask Poem Analysis
• There Will Come Soft Rains Poem Analysis
• Digging Poem Analysis
• The Highwayman Poem Analysis
• The Tyger Poem Analysis
• London Poem Analysis
• Sympathy Poem Analysis
• I Am Joaquin Poem Analysis
• This Is Just To Say Poem Analysis
• Sex Without Love Poem Analysis
• Strange Fruit Poem Analysis
• Dulce Et Decorum Est Poem Analysis
• Emily Dickinson Poem Analysis
• The Flea Poem Analysis
• The Lamb Poem Analysis
• Do Not Go Gentle Into That Good Night Poem Analysis
• My Last Duchess Poetry Analysis

Poem Analysis Essay Outline

As has already been stated, a poetry analysis essay is considered one of the most challenging tasks for the students. Despite the difficulties you may face while dealing with it, the structure of the given type of essay is quite simple. It consists of the introduction, body paragraphs, and the conclusion. In order to get a better understanding of the poem analysis essay structure, check the brief guidelines below.

Introduction

This will be the first section of your essay. The main purpose of the introductory paragraph is to give a reader an idea of what the essay is about and what theses it conveys. The introduction should start with the title of the essay and end with the thesis statement.

The main goal of the introduction is to make readers feel intrigued about the whole concept of the essay and serve as a hook to grab their attention. Include some interesting information about the author, the historical background of the poem, some poem trivia, etc. There is no need to make the introduction too extensive. On the contrary, it should be brief and logical.

Body Paragraphs

The body section should form the main part of poetry analysis. Make sure you have determined a clear focus for your analysis and are ready to elaborate on the main message and meaning of the poem. Mention the tone of the poetry, its speaker, try to describe the recipient of the poem’s idea. Don’t forget to identify the poetic devices and language the author uses to reach the main goals. Describe the imagery and symbolism of the poem, its sound and rhythm.

Try not to stick to too many ideas in your body section, since it may make your essay difficult to understand and too chaotic to perceive. Generalization, however, is also not welcomed. Try to be specific in the description of your perspective.

Make sure the transitions between your paragraphs are smooth and logical to make your essay flow coherent and easy to catch.

In a nutshell, the essay conclusion is a paraphrased thesis statement. Mention it again but in different words to remind the readers of the main purpose of your essay. Sum up the key claims and stress the most important information. The conclusion cannot contain any new ideas and should be used to create a strong impact on the reader. This is your last chance to share your opinion with the audience and convince them your essay is worth readers’ attention.

Problems with writing Your Poem Analysis Essay? Try our Essay Writer Service!

Poem Analysis Essay Examples 

A good poem analysis essay example may serve as a real magic wand to your creative assignment. You may take a look at the structure the other essay authors have used, follow their tone, and get a great share of inspiration and motivation.

Check several poetry analysis essay examples that may be of great assistance:

• https://study.com/academy/lesson/poetry-analysis-essay-example-for-english-literature.html
• https://www.slideshare.net/mariefincher/poetry-analysis-essay

Writing Tips for a Poetry Analysis Essay

If you read carefully all the instructions on how to write a poetry analysis essay provided above, you have probably realized that this is not the easiest assignment on Earth. However, you cannot fail and should try your best to present a brilliant essay to get the highest score. To make your life even easier, check these handy tips on how to analysis poetry with a few little steps.

• In case you have a chance to choose a poem for analysis by yourself, try to focus on one you are familiar with, you are interested in, or your favorite one. The writing process will be smooth and easy in case you are working on the task you truly enjoy.
• Before you proceed to the analysis itself, read the poem out loud to your colleague or just to yourself. It will help you find out some hidden details and senses that may result in new ideas.
• Always check the meaning of words you don’t know. Poetry is quite a tricky phenomenon where a single word or phrase can completely change the meaning of the whole piece. 
• Bother to double check if the conclusion of your essay is based on a single idea and is logically linked to the main body. Such an approach will demonstrate your certain focus and clearly elucidate your views. 
• Read between the lines. Poetry is about senses and emotions – it rarely contains one clearly stated subject matter. Describe the hidden meanings and mention the feelings this has provoked in you. Try to elaborate a full picture that would be based on what is said and what is meant.

Write a Poetry Analysis Essay with HandmadeWriting

You may have hundreds of reasons why you can’t write a brilliant poem analysis essay. In addition to the fact that it is one of the most complicated creative assignments, you can have some personal issues. It can be anything from lots of homework, a part-time job, personal problems, lack of time, or just the absence of motivation. In any case, your main task is not to let all these factors influence your reputation and grades. A perfect way out may be asking the real pros of essay writing for professional help.

There are a lot of benefits why you should refer to the professional writing agencies in case you are not in the mood for elaborating your poetry analysis essay. We will only state the most important ones:

• You can be 100% sure your poem analysis essay will be completed brilliantly. All the research processes, outlines, structuring, editing, and proofreading will be performed instead of you. 
• You will get an absolutely unique plagiarism-free piece of writing that deserves the highest score.
• All the authors are extremely creative, talented, and simply in love with poetry. Just tell them what poetry you would like to build your analysis on and enjoy a smooth essay with the logical structure and amazing content.
• Formatting will be done professionally and without any effort from your side. No need to waste your time on such a boring activity.

As you see, there are a lot of advantages to ordering your poetry analysis essay from HandmadeWriting . Having such a perfect essay example now will contribute to your inspiration and professional growth in future.

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