story essay poem

Have a language expert improve your writing

Run a free plagiarism check in 10 minutes, generate accurate citations for free.

Knowledge Base
How to write a literary analysis essay | A step-by-step guide

How to Write a Literary Analysis Essay | A Step-by-Step Guide

Published on January 30, 2020 by Jack Caulfield . Revised on August 14, 2023.

Literary analysis means closely studying a text, interpreting its meanings, and exploring why the author made certain choices. It can be applied to novels, short stories, plays, poems, or any other form of literary writing.

A literary analysis essay is not a rhetorical analysis , nor is it just a summary of the plot or a book review. Instead, it is a type of argumentative essay where you need to analyze elements such as the language, perspective, and structure of the text, and explain how the author uses literary devices to create effects and convey ideas.

Before beginning a literary analysis essay, it’s essential to carefully read the text and c ome up with a thesis statement to keep your essay focused. As you write, follow the standard structure of an academic essay :

An introduction that tells the reader what your essay will focus on.
A main body, divided into paragraphs , that builds an argument using evidence from the text.
A conclusion that clearly states the main point that you have shown with your analysis.

Instantly correct all language mistakes in your text

Upload your document to correct all your mistakes in minutes

Step 1: reading the text and identifying literary devices, step 2: coming up with a thesis, step 3: writing a title and introduction, step 4: writing the body of the essay, step 5: writing a conclusion, other interesting articles.

The first step is to carefully read the text(s) and take initial notes. As you read, pay attention to the things that are most intriguing, surprising, or even confusing in the writing—these are things you can dig into in your analysis.

Your goal in literary analysis is not simply to explain the events described in the text, but to analyze the writing itself and discuss how the text works on a deeper level. Primarily, you’re looking out for literary devices —textual elements that writers use to convey meaning and create effects. If you’re comparing and contrasting multiple texts, you can also look for connections between different texts.

To get started with your analysis, there are several key areas that you can focus on. As you analyze each aspect of the text, try to think about how they all relate to each other. You can use highlights or notes to keep track of important passages and quotes.

Language choices

Consider what style of language the author uses. Are the sentences short and simple or more complex and poetic?

What word choices stand out as interesting or unusual? Are words used figuratively to mean something other than their literal definition? Figurative language includes things like metaphor (e.g. “her eyes were oceans”) and simile (e.g. “her eyes were like oceans”).

Also keep an eye out for imagery in the text—recurring images that create a certain atmosphere or symbolize something important. Remember that language is used in literary texts to say more than it means on the surface.

Narrative voice

Ask yourself:

Who is telling the story?
How are they telling it?

Is it a first-person narrator (“I”) who is personally involved in the story, or a third-person narrator who tells us about the characters from a distance?

Consider the narrator’s perspective . Is the narrator omniscient (where they know everything about all the characters and events), or do they only have partial knowledge? Are they an unreliable narrator who we are not supposed to take at face value? Authors often hint that their narrator might be giving us a distorted or dishonest version of events.

The tone of the text is also worth considering. Is the story intended to be comic, tragic, or something else? Are usually serious topics treated as funny, or vice versa ? Is the story realistic or fantastical (or somewhere in between)?

Consider how the text is structured, and how the structure relates to the story being told.

Novels are often divided into chapters and parts.
Poems are divided into lines, stanzas, and sometime cantos.
Plays are divided into scenes and acts.

Think about why the author chose to divide the different parts of the text in the way they did.

There are also less formal structural elements to take into account. Does the story unfold in chronological order, or does it jump back and forth in time? Does it begin in medias res —in the middle of the action? Does the plot advance towards a clearly defined climax?

With poetry, consider how the rhyme and meter shape your understanding of the text and your impression of the tone. Try reading the poem aloud to get a sense of this.

In a play, you might consider how relationships between characters are built up through different scenes, and how the setting relates to the action. Watch out for dramatic irony , where the audience knows some detail that the characters don’t, creating a double meaning in their words, thoughts, or actions.

Here's why students love Scribbr's proofreading services

Discover proofreading & editing

Your thesis in a literary analysis essay is the point you want to make about the text. It’s the core argument that gives your essay direction and prevents it from just being a collection of random observations about a text.

If you’re given a prompt for your essay, your thesis must answer or relate to the prompt. For example:

Essay question example

Is Franz Kafka’s “Before the Law” a religious parable?

Your thesis statement should be an answer to this question—not a simple yes or no, but a statement of why this is or isn’t the case:

Thesis statement example

Franz Kafka’s “Before the Law” is not a religious parable, but a story about bureaucratic alienation.

Sometimes you’ll be given freedom to choose your own topic; in this case, you’ll have to come up with an original thesis. Consider what stood out to you in the text; ask yourself questions about the elements that interested you, and consider how you might answer them.

Your thesis should be something arguable—that is, something that you think is true about the text, but which is not a simple matter of fact. It must be complex enough to develop through evidence and arguments across the course of your essay.

Say you’re analyzing the novel Frankenstein . You could start by asking yourself:

Your initial answer might be a surface-level description:

The character Frankenstein is portrayed negatively in Mary Shelley’s Frankenstein .

However, this statement is too simple to be an interesting thesis. After reading the text and analyzing its narrative voice and structure, you can develop the answer into a more nuanced and arguable thesis statement:

Mary Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as.

Remember that you can revise your thesis statement throughout the writing process , so it doesn’t need to be perfectly formulated at this stage. The aim is to keep you focused as you analyze the text.

Finding textual evidence

To support your thesis statement, your essay will build an argument using textual evidence —specific parts of the text that demonstrate your point. This evidence is quoted and analyzed throughout your essay to explain your argument to the reader.

It can be useful to comb through the text in search of relevant quotations before you start writing. You might not end up using everything you find, and you may have to return to the text for more evidence as you write, but collecting textual evidence from the beginning will help you to structure your arguments and assess whether they’re convincing.

To start your literary analysis paper, you’ll need two things: a good title, and an introduction.

Your title should clearly indicate what your analysis will focus on. It usually contains the name of the author and text(s) you’re analyzing. Keep it as concise and engaging as possible.

A common approach to the title is to use a relevant quote from the text, followed by a colon and then the rest of your title.

If you struggle to come up with a good title at first, don’t worry—this will be easier once you’ve begun writing the essay and have a better sense of your arguments.

“Fearful symmetry” : The violence of creation in William Blake’s “The Tyger”

The introduction

The essay introduction provides a quick overview of where your argument is going. It should include your thesis statement and a summary of the essay’s structure.

A typical structure for an introduction is to begin with a general statement about the text and author, using this to lead into your thesis statement. You might refer to a commonly held idea about the text and show how your thesis will contradict it, or zoom in on a particular device you intend to focus on.

Then you can end with a brief indication of what’s coming up in the main body of the essay. This is called signposting. It will be more elaborate in longer essays, but in a short five-paragraph essay structure, it shouldn’t be more than one sentence.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, protagonist Victor Frankenstein is a stable representation of the callous ambition of modern science throughout the novel. This essay, however, argues that far from providing a stable image of the character, Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as. This essay begins by exploring the positive portrayal of Frankenstein in the first volume, then moves on to the creature’s perception of him, and finally discusses the third volume’s narrative shift toward viewing Frankenstein as the creature views him.

Some students prefer to write the introduction later in the process, and it’s not a bad idea. After all, you’ll have a clearer idea of the overall shape of your arguments once you’ve begun writing them!

If you do write the introduction first, you should still return to it later to make sure it lines up with what you ended up writing, and edit as necessary.

The body of your essay is everything between the introduction and conclusion. It contains your arguments and the textual evidence that supports them.

Paragraph structure

A typical structure for a high school literary analysis essay consists of five paragraphs : the three paragraphs of the body, plus the introduction and conclusion.

Each paragraph in the main body should focus on one topic. In the five-paragraph model, try to divide your argument into three main areas of analysis, all linked to your thesis. Don’t try to include everything you can think of to say about the text—only analysis that drives your argument.

In longer essays, the same principle applies on a broader scale. For example, you might have two or three sections in your main body, each with multiple paragraphs. Within these sections, you still want to begin new paragraphs at logical moments—a turn in the argument or the introduction of a new idea.

Robert’s first encounter with Gil-Martin suggests something of his sinister power. Robert feels “a sort of invisible power that drew me towards him.” He identifies the moment of their meeting as “the beginning of a series of adventures which has puzzled myself, and will puzzle the world when I am no more in it” (p. 89). Gil-Martin’s “invisible power” seems to be at work even at this distance from the moment described; before continuing the story, Robert feels compelled to anticipate at length what readers will make of his narrative after his approaching death. With this interjection, Hogg emphasizes the fatal influence Gil-Martin exercises from his first appearance.

Topic sentences

To keep your points focused, it’s important to use a topic sentence at the beginning of each paragraph.

A good topic sentence allows a reader to see at a glance what the paragraph is about. It can introduce a new line of argument and connect or contrast it with the previous paragraph. Transition words like “however” or “moreover” are useful for creating smooth transitions:

… The story’s focus, therefore, is not upon the divine revelation that may be waiting beyond the door, but upon the mundane process of aging undergone by the man as he waits.

Nevertheless, the “radiance” that appears to stream from the door is typically treated as religious symbolism.

This topic sentence signals that the paragraph will address the question of religious symbolism, while the linking word “nevertheless” points out a contrast with the previous paragraph’s conclusion.

Using textual evidence

A key part of literary analysis is backing up your arguments with relevant evidence from the text. This involves introducing quotes from the text and explaining their significance to your point.

It’s important to contextualize quotes and explain why you’re using them; they should be properly introduced and analyzed, not treated as self-explanatory:

It isn’t always necessary to use a quote. Quoting is useful when you’re discussing the author’s language, but sometimes you’ll have to refer to plot points or structural elements that can’t be captured in a short quote.

In these cases, it’s more appropriate to paraphrase or summarize parts of the text—that is, to describe the relevant part in your own words:

Prevent plagiarism. Run a free check.

The conclusion of your analysis shouldn’t introduce any new quotations or arguments. Instead, it’s about wrapping up the essay. Here, you summarize your key points and try to emphasize their significance to the reader.

A good way to approach this is to briefly summarize your key arguments, and then stress the conclusion they’ve led you to, highlighting the new perspective your thesis provides on the text as a whole:

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

Ad hominem fallacy
Post hoc fallacy
Appeal to authority fallacy
False cause fallacy
Sunk cost fallacy

College essays

Choosing Essay Topic
Write a College Essay
Write a Diversity Essay
College Essay Format & Structure
Comparing and Contrasting in an Essay

(AI) Tools

Grammar Checker
Paraphrasing Tool
Text Summarizer
AI Detector
Plagiarism Checker
Citation Generator

By tracing the depiction of Frankenstein through the novel’s three volumes, I have demonstrated how the narrative structure shifts our perception of the character. While the Frankenstein of the first volume is depicted as having innocent intentions, the second and third volumes—first in the creature’s accusatory voice, and then in his own voice—increasingly undermine him, causing him to appear alternately ridiculous and vindictive. Far from the one-dimensional villain he is often taken to be, the character of Frankenstein is compelling because of the dynamic narrative frame in which he is placed. In this frame, Frankenstein’s narrative self-presentation responds to the images of him we see from others’ perspectives. This conclusion sheds new light on the novel, foregrounding Shelley’s unique layering of narrative perspectives and its importance for the depiction of character.

Cite this Scribbr article

If you want to cite this source, you can copy and paste the citation or click the “Cite this Scribbr article” button to automatically add the citation to our free Citation Generator.

Caulfield, J. (2023, August 14). How to Write a Literary Analysis Essay | A Step-by-Step Guide. Scribbr. Retrieved April 12, 2024, from https://www.scribbr.com/academic-essay/literary-analysis/

Is this article helpful?

Jack Caulfield

Other students also liked, how to write a thesis statement | 4 steps & examples, academic paragraph structure | step-by-step guide & examples, how to write a narrative essay | example & tips, unlimited academic ai-proofreading.

✔ Document error-free in 5minutes ✔ Unlimited document corrections ✔ Specialized in correcting academic texts

Spring Sale: Get 15% off selected writing courses, only through April 19! Learn more »

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

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.

A life lesson in Romeo and Juliet taught by death

Due to human nature, we draw conclusions only when life gives us a lesson since the experience of others is not so effective and powerful. Therefore, when analyzing and sorting out common problems we face, we may trace a parallel with well-known book characters or real historical figures. Moreover, we often compare our situations with […]

Ethical Research Paper Topics

Writing a research paper on ethics is not an easy task, especially if you do not possess excellent writing skills and do not like to contemplate controversial questions. But an ethics course is obligatory in all higher education institutions, and students have to look for a way out and be creative. When you find an […]

Art Research Paper Topics

Students obtaining degrees in fine art and art & design programs most commonly need to write a paper on art topics. However, this subject is becoming more popular in educational institutions for expanding students’ horizons. Thus, both groups of receivers of education: those who are into arts and those who only get acquainted with art […]

Famous Poems About Storytelling: Capturing the Essence of Narratives through Verse

The Power of Poetry: Telling Stories in Rhythmic Beauty

"the raven" by edgar allan poe, "the waste land" by t.s. eliot, "the odyssey" by homer, "the lady of shalott" by alfred, lord tennyson, "howl" by allen ginsberg, celebrating the art of storytelling in poetry.

Poetry has long been celebrated as a medium that transcends time and space, allowing us to connect with the deepest corners of the human experience. One of the most enchanting aspects of poetry is its ability to tell stories in a concise yet impactful manner. Throughout literary history, countless poets have skillfully woven tales into their verses, captivating readers with their mastery of storytelling. Let us explore some famous poems that have embraced the art of storytelling with grace and finesse.

When discussing poems that masterfully intertwine storytelling and poetry, it is impossible not to mention Edgar Allan Poe's "The Raven." This hauntingly beautiful narrative poem follows an unnamed narrator who is visited by a talking raven. As the poem progresses, the narrator descends into madness, with the raven serving as a symbol of his grief and despair. Lines such as "Quoth the Raven, 'Nevermore'" have become iconic, showcasing Poe's exceptional ability to create a vivid and captivating story through his verses.

T.S. Eliot's "The Waste Land" is a modernist masterpiece that weaves together multiple narratives, drawing inspiration from various mythological and literary sources. This epic poem explores the fragmented nature of post-World War I society, painting a bleak and desolate picture. Eliot's use of fragmented storytelling and diverse voices creates a rich tapestry that reflects the complexities of the human condition, making "The Waste Land" a fascinating and thought-provoking read.

No exploration of storytelling poems would be complete without mentioning the epic tale of "The Odyssey" by Homer. Composed in Ancient Greece, this epic poem recounts the arduous journey of Odysseus as he tries to return home after the Trojan War. With its vivid descriptions, larger-than-life characters, and thrilling adventures, "The Odyssey" has captivated readers for centuries. Homer's masterful storytelling and poetic prowess have ensured that this narrative remains an enduring classic.

Alfred, Lord Tennyson's "The Lady of Shalott" tells the tragic story of a young woman cursed to view the world only through a mirror, forbidden from directly witnessing reality. This narrative poem beautifully weaves themes of isolation, longing, and the consequences of breaking societal norms. Tennyson's lyrical and evocative verses bring the story to life, immersing readers in the Lady's plight and evoking a sense of melancholic beauty.

Allen Ginsberg's "Howl" is a powerful and influential poem that revolutionized the Beat Generation and challenged societal norms. Structured as a long-form epic, "Howl" delves into the lives of individuals who were marginalized and oppressed in mid-20th century America. Ginsberg's raw and unfiltered storytelling, with its vivid imagery and passionate language, creates a visceral experience that resonates deeply with readers and continues to inspire generations.

These famous poems serve as a testament to the enduring power of storytelling in poetry. Through their words, these poets have transported us to different worlds, evoked profound emotions, and illuminated the human experience. Whether through suspenseful tales, fragmented narratives, or lyrical beauty, these poems remind us of the captivating nature of stories and the incredible ability of poets to capture their essence within the constraints of verse.

So, the next time you immerse yourself in the world of poetry, take a moment to appreciate the art of storytelling that resides within. Allow yourself to be carried away by the words, the rhythm, and the stories that poets so skillfully craft, and let their narratives resonate within your soul.

Long Poems about Anxiety: Exploring the Depths of Inner Turmoil
Cowboy Poems about Love: Capturing the Wild West Romance

Entradas Relacionadas

Poems That Capture the Essence of South Korea

The Noble Knights in Medieval Poetry: A Glimpse into Chivalry

The Beauty of Journeys: Exploring Life's Path through Short Poems

Exploring the World Through Poetry: Traveling with Family

Poems About New Experiences: Embracing the Unknown

Blast Off: Exploring Space Through Poetry

Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.

18 Writing an Analysis of a Poem, Story, or Play

James Sexton

Learning Objectives:

Understand expectations for academic analysis
Distinguish between different kinds of analysis depending on discipline and writing objectives
Learn and appropriately organize the component elements of an analysis

How to Write a Literary Analysis

If you are taking a literature course, it is important that you know how to write an analysis—sometimes called an interpretation, a literary analysis, a critical reading, or a critical analysis—of a story, a poem, and a play. Your instructor will probably assign such an analysis as part of the course assessment. On your mid-term or final exam, you might have to write an analysis of one or more of the poems and/or stories on your reading list. You might be asked to write instead, or in addition to an analysis of a literary work, a more sophisticated essay in which you compare and contrast the protagonists of two stories, or the use of form and metaphor in two poems, or the tragic heroes in two plays.

You might learn some literary theory in your course and be asked to apply theory—feminist, reader-response, psychoanalytic, new historicist, for example—to one or more of the works on your reading list. But the seminal assignment in a literature course is the analysis of the single poem, story, novel, or play, and, even if you do not have to complete this assignment specifically, it will form the basis of most of the other writing assignments you will be required to undertake in your literature class. There are several ways of structuring a literary analysis, and your instructor might issue specific instructions on how he or she wants this assignment done. The method presented here might not be identical to the one your instructor wants you to follow, but it will be easy enough to modify.

The Beginning of a Literary Analysis

You want to begin your analysis with a paragraph that provides the context of the work you are analyzing and a brief account of what you believe to be the poem or story or play’s main theme. At a minimum, your account of the work’s context will include the name of the author, the title of the work, its genre, and the date and place of publication. If there is an important biographical or historical context to the work, you should include that, as well. Try to express the work’s theme in one or two sentences. Theme is that insight into human experience the author offers to readers, usually revealed as the content, the drama, the plot of the poem, story, or play unfolds and the characters interact. Assessing theme can be a complex task. Authors usually show the theme; they don’t tell it. They rarely say, at the end of the story, words to this effect: “and the moral of my story is…” They tell their story, develop their characters, provide some kind of conflict—and from all of this theme emerges. Because identifying themes can be challenging and subjective, it is often a good idea to work through the rest of the analysis, then return to the beginning and assess theme in light of your analysis of the work’s other literary elements. Here is a good example of an introductory paragraph from a student’s analysis of William Butler Yeats’ poem, “Among School Children”:

“Among School Children” was published in Yeats’ 1928 collection of poems The Tower . It was inspired by a visit Yeats made in 1926 to school in Waterford, an official visit in his capacity as a senator of the Irish Free State. In the course of the tour, Yeats reflects upon his own youth and the experiences that shaped the “sixty-year old, smiling public man” (line 8) he has become. Through his reflection, the theme of the poem emerges: a life has meaning when connections among apparently disparate experiences are forged into a unified whole.

The Body of a Literary Analysis

In the body of your literary analysis, you want to guide your readers through a tour of the poem, story, or play, pausing along the way to comment on, analyze, interpret, and explain key incidents, descriptions, dialogue, symbols, the writer’s use of figurative language—any of the elements of literature that are relevant to a sound analysis of this particular work. Your main goal is to explain how the elements of literature work to elucidate, augment, and develop the theme. The elements of literature are common across genres: a story, a narrative poem, and a play all have a plot and characters. But certain genres privilege certain literary elements. In a poem, for example, form, imagery and metaphor might be especially important; in a story, setting and point-of-view might be more important than they are in a poem; in a play, dialogue, stage directions, lighting serve functions rarely relevant in the analysis of a story or poem.

The length of the body of an analysis of a literary work will usually depend upon the length of work being analyzed—the longer the work, the longer the analysis—though your instructor will likely establish a word limit for this assignment. Make certain that you do not simply paraphrase the plot of the story or play or the content of the poem. This is a common weakness in student literary analyses, especially when the analysis is of a poem or a play.

Here is a good example of two body paragraphs from Amelia’s analysis of “Araby” by James Joyce.

Within the story’s first few paragraphs occur several religious references which will accumulate as the story progresses. The narrator is a student at the Christian Brothers’ School; the former tenant of his house was a priest; he left behind books called The Abbot and The Devout Communicant . Near the end of the story’s second paragraph the narrator describes a “central apple tree” in the garden, under which is “the late tenant’s rusty bicycle pump.” We may begin to suspect the tree symbolizes the apple tree in the Garden of Eden and the bicycle pump, the snake which corrupted Eve, a stretch, perhaps, until Joyce’s fall-of-innocence theme becomes more apparent.

The narrator must continue to help his aunt with her errands, but, even when he is so occupied, his mind is on Mangan’s sister, as he tries to sort out his feelings for her. Here Joyce provides vivid insight into the mind of an adolescent boy at once elated and bewildered by his first crush. He wants to tell her of his “confused adoration,” but he does not know if he will ever have the chance. Joyce’s description of the pleasant tension consuming the narrator is conveyed in a striking simile, which continues to develop the narrator’s character, while echoing the religious imagery, so important to the story’s theme: “But my body was like a harp, and her words and gestures were like fingers, running along the wires.”

The Conclusion of a Literary Analysis

The concluding paragraph of your analysis should realize two goals. First, it should present your own opinion on the quality of the poem or story or play about which you have been writing. And second, it should comment on the current relevance of the work. You should certainly comment on the enduring social relevance of the work you are explicating. You may comment, though you should never be obliged to do so, on the personal relevance of the work. Here is the concluding paragraph from a student’s analysis of Oscar Wilde’s The Importance of Being Earnest:

The conclusion is brief, but the students do manage to praise the play, reaffirm its main theme, and explain its enduring appeal. And note how her last sentence cleverly establishes that sense of closure that is also a feature of an effective analysis.

You may, of course, modify the template that is presented here. Your instructor might favor a somewhat different approach to literary analysis. Its essence, though, will be your understanding and interpretation of the theme of the poem, story, or play and the skill with which the author shapes the elements of literature—plot, character, form, diction, setting, point of view—to support the theme.

Adapted from English Literature: Victorians and Moderns by James Sexton, Creative Commons Attribution 4.0 International License

Share This Book

Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.

Writing an Analysis of a Poem, Story, or Play

James Sexton

If you are taking a literature course, it is important that you know how to write an analysis—sometimes called an interpretation or a literary analysis or a critical reading or a critical analysis—of a story, a poem, and a play. Your instructor will probably assign such an analysis as part of the course assessment. On your mid-term or final exam, you might have to write an analysis of one or more of the poems and/or stories on your reading list. Or the dreaded “sight poem or story” might appear on an exam, a work that is not on the reading list, that you have not read before, but one your instructor includes on the exam to examine your ability to apply the active reading skills you have learned in class to produce, independently, an effective literary analysis. You might be asked to write instead or, or in addition to an analysis of a literary work, a more sophisticated essay in which you compare and contrast the protagonists of two stories, or the use of form and metaphor in two poems, or the tragic heroes in two plays.

You might learn some literary theory in your course and be asked to apply theory—feminist, Marxist, reader-response, psychoanalytic, new historicist, for example—to one or more of the works on your reading list. But the seminal assignment in a literature course is the analysis of the single poem, story, novel, or play, and, even if you do not have to complete this assignment specifically, it will form the basis of most of the other writing assignments you will be required to undertake in your literature class. There are several ways of structuring a literary analysis, and your instructor might issue specific instructions on how they want this assignment done. The method presented here might not be identical to the one your instructor wants you to follow, but it will be easy enough to modify, if your instructor expects something a bit different, and it is a good default method, if your instructor does not issue more specific guidelines. You want to begin your analysis with a paragraph that provides the context of the work you are analyzing and a brief account of what you believe to be the poem or story or play’s main theme. At a minimum, your account of the work’s context will include the name of the author, the title of the work, its genre, and the date and place of publication. If there is an important biographical or historical context to the work, you should include that, as well. Try to express the work’s theme in one or two sentences. Theme, you will recall, is that insight into human experience the author offers to readers, usually revealed as the content, the drama, the plot of the poem, story, or play unfolds and the characters interact. Assessing theme can be a complex task. Authors usually show the theme; they don’t tell it. They rarely say, at the end of the story, words to this effect: “and the moral of my story is…” They tell their story, develop their characters, provide some kind of conflict—and from all of this theme emerges. Because identifying theme can be challenging and subjective, it is often a good idea to work through the rest of the analysis, then return to the beginning and assess theme in light of your analysis of the work’s other literary elements. Here is a good example of an introductory paragraph from Ben’s analysis of William Butler Yeats’ poem, “Among School Children.”

In the body of your literature analysis, you want to guide your readers through a tour of the poem, story, or play, pausing along the way to comment on, analyze, interpret, and explain key incidents, descriptions, dialogue, symbols, the writer’s use of figurative language—any of the elements of literature that are relevant to a sound analysis of this particular work. Your main goal is to explain how the elements of literature work to elucidate, augment, and develop the theme. The elements of literature are common across genres: a story, a narrative poem, and a play all have a plot and characters. But certain genres privilege certain literary elements. In a poem, for example, form, imagery and metaphor might be especially important; in a story, setting and point-of-view might be more important than they are in a poem; in a play, dialogue, stage directions, lighting serve functions rarely relevant in the analysis of a story or poem.

Here is a good example of two body paragraphs from Amelia’s analysis of “Araby” by James Joyce.

The concluding paragraph of your analysis should realize two goals. First, it should present your own opinion on the quality of the poem or story or play about which you have been writing. And, second, it should comment on the current relevance of the work. You should certainly comment on the enduring social relevance of the work you are explicating. You may comment, though you should never be obliged to do so, on the personal relevance of the work. Here is the concluding paragraph from Dao-Ming’s analysis of Oscar Wilde’s The Importance of Being Earnest .

First performed in 1895, The Importance of Being Earnest has been made into a film, as recently as 2002 and is regularly revived by professional and amateur theatre companies. It endures not only because of the comic brilliance of its characters and their dialogue, but also because its satire still resonates with contemporary audiences. I am still amazed that I see in my own Asian mother a shadow of Lady Bracknell, with her obsession with finding for her daughter a husband who will maintain, if not, ideally, increase the family’s social status. We might like to think we are more liberated and socially sophisticated than our Victorian ancestors, but the starlets and eligible bachelors who star in current reality television programs illustrate the extent to which superficial concerns still influence decisions about love and even marriage. Even now, we can turn to Oscar Wilde to help us understand and laugh at those who are earnest in name only.

Dao-Ming’s conclusion is brief, but she does manage to praise the play, reaffirm its main theme, and explain its enduring appeal. And note how her last sentence cleverly establishes that sense of closure that is also a feature of an effective analysis.

You may, of course, modify the template that is presented here. Your instructor might favour a somewhat different approach to literary analysis. Its essence, though, will be your understanding and interpretation of the theme of the poem, story, or play and the skill with which the author shapes the elements of literature—plot, character, form, diction, setting, point of view—to support the theme.

A Model Analysis

Now read the short poem by Siegfried Sassoon, “ Base Details ,” and then read the sample essay with comments.

First let’s try to determine who is the speaker, the “I” of the poem. Notice that the speaker speculates: “If I were fierce, and bald, and short of breath…” Might we assume he is none of the three adjectives? So how old would he be? Start with a hypothesis and stick with it unless further details make your guess seem untenable. Then try a different hypothesis. For now let’s assume that the speaker is young. What is his rank? Is he an officer? Unlikely, probably an unlisted man, since his tone toward the majors is angry and sarcastic.

He calls them “scarlet.” What is the denotation of “scarlet”? What are some connotations of “scarlet”? What does “petulant” mean? Why are the faces of the majors described as “puffy”? What is the main meaning here of “scrap”? Are other meanings intended?

What is the purpose of the poem? Look up the brief biographical details for Sassoon on the online “ Oxford World War I Poets ” website.

After reading the poem three times (you should print a copy of the poem from Project Bartleby), have a look at the following student essay on diction in “Base Details.”

Student Essay: The Diction of “Base Details”

(Adapted from Edward J. Gordon, Writing About Imaginative Literature , Harbrace: 1973).

Old men make and run wars; young men fight and die in them. In “Base Details,” Siegfried Sassoon reveals through his diction a bitterness toward the fact that young men die in wars while the officers live safely behind the lines. The speaker in the poem is an ordinary soldier talking about the majors at the army base. By pretending what he would be like if he were an officer, he condemns war.

Through his choice of words, the soldier expresses an attitude of contempt for the officers behind the lines who “speed glum heroes up the line to death.” He speaks with sarcasm of their fierceness and goes on to describe them as “bald, and short of breath.” If he were a major, he, too, would have a “puffy petulant face,/Guzzling and gulping in the best hotel.” The connotations of these words suggest men who are overweight and out of shape from drinking and eating too much. The reference to “scarlet Majors” recalls the red dress uniforms of British officers and the colour of blood. [1]

The speaker then goes on to describe the attitude toward soldiers that is held by the officers. One speaks of losing many men in “this last scrap.” The understatement of that last word contrasts sharply with the mention in the same line of a heavy loss in battle. [2] In the last two lines of the poem, a further contrast is set up between “youth stone dead” and the officer who will “toddle safely home and die—in bed.” [3]

When the entire poem is read, the title becomes ambiguous. The apparent meaning refers to the details of a military base. But “base” can also mean low and contemptible. “Detail” also has two meanings. It can mean a detachment of men sent out on a particular mission—”speed glum heroes up the line”—but it can also mean a minor matter, as if sending people off to die is not important to the officers. So the apparent meaning that we see as we begin reading turns into a second meaning when we finish reading the poem.

The diction, then, makes a comment on the theme of the poem: old men who direct wars at a safe distance behind the lines seem to have little understanding of what it means to die in battle and appear on “the Roll of Honor.”

Text Attributions

This chapter is from “ Writing an Analysis of a Poem, Story, or Play ” in English Literature: Victorians and Moderns by James Sexton. CC BY .
Coherence would be even better here if the student could perhaps go on to point out explicitly how the majors figuratively have blood on their hands—the blood of the young soldiers under their command. One brief sentence would do. ↵
Here the student should state the other meanings of "scrap" and point out their thematic significance. ↵
Here the student could improve the essay by discussing the connotations of the verb "toddle" and then relating the diction to theme. ↵

Share This Book

school Campus Bookshelves
menu_book Bookshelves
perm_media Learning Objects
login Login
how_to_reg Request Instructor Account
hub Instructor Commons
Download Page (PDF)
Download Full Book (PDF)
Periodic Table
Physics Constants
Scientific Calculator
Reference & Cite
Tools expand_more
Readability

selected template will load here

This action is not available.

12.14: Sample Student Literary Analysis Essays

Last updated
Save as PDF
Page ID 40514

Heather Ringo & Athena Kashyap
City College of San Francisco via ASCCC Open Educational Resources Initiative

The following examples are essays where student writers focused on close-reading a literary work.

While reading these examples, ask yourself the following questions:

What is the essay's thesis statement, and how do you know it is the thesis statement?
What is the main idea or topic sentence of each body paragraph, and how does it relate back to the thesis statement?
Where and how does each essay use evidence (quotes or paraphrase from the literature)?
What are some of the literary devices or structures the essays analyze or discuss?
How does each author structure their conclusion, and how does their conclusion differ from their introduction?

Example 1: Poetry

Victoria Morillo

Instructor Heather Ringo

3 August 2022

How Nguyen’s Structure Solidifies the Impact of Sexual Violence in “The Study”

Stripped of innocence, your body taken from you. No matter how much you try to block out the instance in which these two things occurred, memories surface and come back to haunt you. How does a person, a young boy , cope with an event that forever changes his life? Hieu Minh Nguyen deconstructs this very way in which an act of sexual violence affects a survivor. In his poem, “The Study,” the poem's speaker recounts the year in which his molestation took place, describing how his memory filters in and out. Throughout the poem, Nguyen writes in free verse, permitting a structural liberation to become the foundation for his message to shine through. While he moves the readers with this poignant narrative, Nguyen effectively conveys the resulting internal struggles of feeling alone and unseen.

The speaker recalls his experience with such painful memory through the use of specific punctuation choices. Just by looking at the poem, we see that the first period doesn’t appear until line 14. It finally comes after the speaker reveals to his readers the possible, central purpose for writing this poem: the speaker's molestation. In the first half, the poem makes use of commas, em dashes, and colons, which lends itself to the idea of the speaker stringing along all of these details to make sense of this time in his life. If reading the poem following the conventions of punctuation, a sense of urgency is present here, as well. This is exemplified by the lack of periods to finalize a thought; and instead, Nguyen uses other punctuation marks to connect them. Serving as another connector of thoughts, the two em dashes give emphasis to the role memory plays when the speaker discusses how “no one [had] a face” during that time (Nguyen 9-11). He speaks in this urgent manner until the 14th line, and when he finally gets it off his chest, the pace of the poem changes, as does the more frequent use of the period. This stream-of-consciousness-like section when juxtaposed with the latter half of the poem, causes readers to slow down and pay attention to the details. It also splits the poem in two: a section that talks of the fogginess of memory then transitions into one that remembers it all.

In tandem with the fluctuating nature of memory, the utilization of line breaks and word choice help reflect the damage the molestation has had. Within the first couple of lines of the poem, the poem demands the readers’ attention when the line breaks from “floating” to “dead” as the speaker describes his memory of Little Billy (Nguyen 1-4). This line break averts the readers’ expectation of the direction of the narrative and immediately shifts the tone of the poem. The break also speaks to the effect his trauma has ingrained in him and how “[f]or the longest time,” his only memory of that year revolves around an image of a boy’s death. In a way, the speaker sees himself in Little Billy; or perhaps, he’s representative of the tragic death of his boyhood, how the speaker felt so “dead” after enduring such a traumatic experience, even referring to himself as a “ghost” that he tries to evict from his conscience (Nguyen 24). The feeling that a part of him has died is solidified at the very end of the poem when the speaker describes himself as a nine-year-old boy who’s been “fossilized,” forever changed by this act (Nguyen 29). By choosing words associated with permanence and death, the speaker tries to recreate the atmosphere (for which he felt trapped in) in order for readers to understand the loneliness that came as a result of his trauma. With the assistance of line breaks, more attention is drawn to the speaker's words, intensifying their importance, and demanding to be felt by the readers.

Most importantly, the speaker expresses eloquently, and so heartbreakingly, about the effect sexual violence has on a person. Perhaps what seems to be the most frustrating are the people who fail to believe survivors of these types of crimes. This is evident when he describes “how angry” the tenants were when they filled the pool with cement (Nguyen 4). They seem to represent how people in the speaker's life were dismissive of his assault and who viewed his tragedy as a nuisance of some sorts. This sentiment is bookended when he says, “They say, give us details , so I give them my body. / They say, give us proof , so I give them my body,” (Nguyen 25-26). The repetition of these two lines reinforces the feeling many feel in these scenarios, as they’re often left to deal with trying to make people believe them, or to even see them.

It’s important to recognize how the structure of this poem gives the speaker space to express the pain he’s had to carry for so long. As a characteristic of free verse, the poem doesn’t follow any structured rhyme scheme or meter; which in turn, allows him to not have any constraints in telling his story the way he wants to. The speaker has the freedom to display his experience in a way that evades predictability and engenders authenticity of a story very personal to him. As readers, we abandon anticipating the next rhyme, and instead focus our attention to the other ways, like his punctuation or word choice, in which he effectively tells his story. The speaker recognizes that some part of him no longer belongs to himself, but by writing “The Study,” he shows other survivors that they’re not alone and encourages hope that eventually, they will be freed from the shackles of sexual violence.

Works Cited

Nguyen, Hieu Minh. “The Study” Poets.Org. Academy of American Poets, Coffee House Press, 2018, https://poets.org/poem/study-0 .

Example 2: Fiction

Todd Goodwin

Professor Stan Matyshak

Advanced Expository Writing

Sept. 17, 20—

Poe’s “Usher”: A Mirror of the Fall of the House of Humanity

Right from the outset of the grim story, “The Fall of the House of Usher,” Edgar Allan Poe enmeshes us in a dark, gloomy, hopeless world, alienating his characters and the reader from any sort of physical or psychological norm where such values as hope and happiness could possibly exist. He fatalistically tells the story of how a man (the narrator) comes from the outside world of hope, religion, and everyday society and tries to bring some kind of redeeming happiness to his boyhood friend, Roderick Usher, who not only has physically and psychologically wasted away but is entrapped in a dilapidated house of ever-looming terror with an emaciated and deranged twin sister. Roderick Usher embodies the wasting away of what once was vibrant and alive, and his house of “insufferable gloom” (273), which contains his morbid sister, seems to mirror or reflect this fear of death and annihilation that he most horribly endures. A close reading of the story reveals that Poe uses mirror images, or reflections, to contribute to the fatalistic theme of “Usher”: each reflection serves to intensify an already prevalent tone of hopelessness, darkness, and fatalism.

It could be argued that the house of Roderick Usher is a “house of mirrors,” whose unpleasant and grim reflections create a dark and hopeless setting. For example, the narrator first approaches “the melancholy house of Usher on a dark and soundless day,” and finds a building which causes him a “sense of insufferable gloom,” which “pervades his spirit and causes an iciness, a sinking, a sickening of the heart, an undiscerned dreariness of thought” (273). The narrator then optimistically states: “I reflected that a mere different arrangement of the scene, of the details of the picture, would be sufficient to modify, or perhaps annihilate its capacity for sorrowful impression” (274). But the narrator then sees the reflection of the house in the tarn and experiences a “shudder even more thrilling than before” (274). Thus the reader begins to realize that the narrator cannot change or stop the impending doom that will befall the house of Usher, and maybe humanity. The story cleverly plays with the word reflection : the narrator sees a physical reflection that leads him to a mental reflection about Usher’s surroundings.

The narrator’s disillusionment by such grim reflection continues in the story. For example, he describes Roderick Usher’s face as distinct with signs of old strength but lost vigor: the remains of what used to be. He describes the house as a once happy and vibrant place, which, like Roderick, lost its vitality. Also, the narrator describes Usher’s hair as growing wild on his rather obtrusive head, which directly mirrors the eerie moss and straw covering the outside of the house. The narrator continually longs to see these bleak reflections as a dream, for he states: “Shaking off from my spirit what must have been a dream, I scanned more narrowly the real aspect of the building” (276). He does not want to face the reality that Usher and his home are doomed to fall, regardless of what he does.

Although there are almost countless examples of these mirror images, two others stand out as important. First, Roderick and his sister, Madeline, are twins. The narrator aptly states just as he and Roderick are entombing Madeline that there is “a striking similitude between brother and sister” (288). Indeed, they are mirror images of each other. Madeline is fading away psychologically and physically, and Roderick is not too far behind! The reflection of “doom” that these two share helps intensify and symbolize the hopelessness of the entire situation; thus, they further develop the fatalistic theme. Second, in the climactic scene where Madeline has been mistakenly entombed alive, there is a pairing of images and sounds as the narrator tries to calm Roderick by reading him a romance story. Events in the story simultaneously unfold with events of the sister escaping her tomb. In the story, the hero breaks out of the coffin. Then, in the story, the dragon’s shriek as he is slain parallels Madeline’s shriek. Finally, the story tells of the clangor of a shield, matched by the sister’s clanging along a metal passageway. As the suspense reaches its climax, Roderick shrieks his last words to his “friend,” the narrator: “Madman! I tell you that she now stands without the door” (296).

Roderick, who slowly falls into insanity, ironically calls the narrator the “Madman.” We are left to reflect on what Poe means by this ironic twist. Poe’s bleak and dark imagery, and his use of mirror reflections, seem only to intensify the hopelessness of “Usher.” We can plausibly conclude that, indeed, the narrator is the “Madman,” for he comes from everyday society, which is a place where hope and faith exist. Poe would probably argue that such a place is opposite to the world of Usher because a world where death is inevitable could not possibly hold such positive values. Therefore, just as Roderick mirrors his sister, the reflection in the tarn mirrors the dilapidation of the house, and the story mirrors the final actions before the death of Usher. “The Fall of the House of Usher” reflects Poe’s view that humanity is hopelessly doomed.

Poe, Edgar Allan. “The Fall of the House of Usher.” 1839. Electronic Text Center, University of Virginia Library . 1995. Web. 1 July 2012. < http://etext.virginia.edu/toc/modeng/public/PoeFall.html >.

Example 3: Poetry

Amy Chisnell

Professor Laura Neary

Writing and Literature

April 17, 20—

Don’t Listen to the Egg!: A Close Reading of Lewis Carroll’s “Jabberwocky”

“You seem very clever at explaining words, Sir,” said Alice. “Would you kindly tell me the meaning of the poem called ‘Jabberwocky’?”

“Let’s hear it,” said Humpty Dumpty. “I can explain all the poems that ever were invented—and a good many that haven’t been invented just yet.” (Carroll 164)

In Lewis Carroll’s Through the Looking-Glass , Humpty Dumpty confidently translates (to a not so confident Alice) the complicated language of the poem “Jabberwocky.” The words of the poem, though nonsense, aptly tell the story of the slaying of the Jabberwock. Upon finding “Jabberwocky” on a table in the looking-glass room, Alice is confused by the strange words. She is quite certain that “ somebody killed something ,” but she does not understand much more than that. When later she encounters Humpty Dumpty, she seizes the opportunity at having the knowledgeable egg interpret—or translate—the poem. Since Humpty Dumpty professes to be able to “make a word work” for him, he is quick to agree. Thus he acts like a New Critic who interprets the poem by performing a close reading of it. Through Humpty’s interpretation of the first stanza, however, we see the poem’s deeper comment concerning the practice of interpreting poetry and literature in general—that strict analytical translation destroys the beauty of a poem. In fact, Humpty Dumpty commits the “heresy of paraphrase,” for he fails to understand that meaning cannot be separated from the form or structure of the literary work.

Of the 71 words found in “Jabberwocky,” 43 have no known meaning. They are simply nonsense. Yet through this nonsensical language, the poem manages not only to tell a story but also gives the reader a sense of setting and characterization. One feels, rather than concretely knows, that the setting is dark, wooded, and frightening. The characters, such as the Jubjub bird, the Bandersnatch, and the doomed Jabberwock, also appear in the reader’s head, even though they will not be found in the local zoo. Even though most of the words are not real, the reader is able to understand what goes on because he or she is given free license to imagine what the words denote and connote. Simply, the poem’s nonsense words are the meaning.

Therefore, when Humpty interprets “Jabberwocky” for Alice, he is not doing her any favors, for he actually misreads the poem. Although the poem in its original is constructed from nonsense words, by the time Humpty is done interpreting it, it truly does not make any sense. The first stanza of the original poem is as follows:

’Twas brillig, and the slithy toves

Did gyre and gimble in the wabe;

All mimsy were the borogroves,

An the mome raths outgrabe. (Carroll 164)

If we replace, however, the nonsense words of “Jabberwocky” with Humpty’s translated words, the effect would be something like this:

’Twas four o’clock in the afternoon, and the lithe and slimy badger-lizard-corkscrew creatures

Did go round and round and make holes in the grass-plot round the sun-dial:

All flimsy and miserable were the shabby-looking birds

with mop feathers,

And the lost green pigs bellowed-sneezed-whistled.

By translating the poem in such a way, Humpty removes the charm or essence—and the beauty, grace, and rhythm—from the poem. The poetry is sacrificed for meaning. Humpty Dumpty commits the heresy of paraphrase. As Cleanth Brooks argues, “The structure of a poem resembles that of a ballet or musical composition. It is a pattern of resolutions and balances and harmonizations” (203). When the poem is left as nonsense, the reader can easily imagine what a “slithy tove” might be, but when Humpty tells us what it is, he takes that imaginative license away from the reader. The beauty (if that is the proper word) of “Jabberwocky” is in not knowing what the words mean, and yet understanding. By translating the poem, Humpty takes that privilege from the reader. In addition, Humpty fails to recognize that meaning cannot be separated from the structure itself: the nonsense poem reflects this literally—it means “nothing” and achieves this meaning by using “nonsense” words.

Furthermore, the nonsense words Carroll chooses to use in “Jabberwocky” have a magical effect upon the reader; the shadowy sound of the words create the atmosphere, which may be described as a trance-like mood. When Alice first reads the poem, she says it seems to fill her head “with ideas.” The strange-sounding words in the original poem do give one ideas. Why is this? Even though the reader has never heard these words before, he or she is instantly aware of the murky, mysterious mood they set. In other words, diction operates not on the denotative level (the dictionary meaning) but on the connotative level (the emotion(s) they evoke). Thus “Jabberwocky” creates a shadowy mood, and the nonsense words are instrumental in creating this mood. Carroll could not have simply used any nonsense words.

For example, let us change the “dark,” “ominous” words of the first stanza to “lighter,” more “comic” words:

’Twas mearly, and the churly pells

Did bimble and ringle in the tink;

All timpy were the brimbledimps,

And the bip plips outlink.

Shifting the sounds of the words from dark to light merely takes a shift in thought. To create a specific mood using nonsense words, one must create new words from old words that convey the desired mood. In “Jabberwocky,” Carroll mixes “slimy,” a grim idea, “lithe,” a pliable image, to get a new adjective: “slithy” (a portmanteau word). In this translation, brighter words were used to get a lighter effect. “Mearly” is a combination of “morning” and “early,” and “ringle” is a blend of “ring” and "dingle.” The point is that “Jabberwocky’s” nonsense words are created specifically to convey this shadowy or mysterious mood and are integral to the “meaning.”

Consequently, Humpty’s rendering of the poem leaves the reader with a completely different feeling than does the original poem, which provided us with a sense of ethereal mystery, of a dark and foreign land with exotic creatures and fantastic settings. The mysteriousness is destroyed by Humpty’s literal paraphrase of the creatures and the setting; by doing so, he has taken the beauty away from the poem in his attempt to understand it. He has committed the heresy of paraphrase: “If we allow ourselves to be misled by it [this heresy], we distort the relation of the poem to its ‘truth’… we split the poem between its ‘form’ and its ‘content’” (Brooks 201). Humpty Dumpty’s ultimate demise might be seen to symbolize the heretical split between form and content: as a literary creation, Humpty Dumpty is an egg, a well-wrought urn of nonsense. His fall from the wall cracks him and separates the contents from the container, and not even all the King’s men can put the scrambled egg back together again!

Through the odd characters of a little girl and a foolish egg, “Jabberwocky” suggests a bit of sage advice about reading poetry, advice that the New Critics built their theories on. The importance lies not solely within strict analytical translation or interpretation, but in the overall effect of the imagery and word choice that evokes a meaning inseparable from those literary devices. As Archibald MacLeish so aptly writes: “A poem should not mean / But be.” Sometimes it takes a little nonsense to show us the sense in something.

Brooks, Cleanth. The Well-Wrought Urn: Studies in the Structure of Poetry . 1942. San Diego: Harcourt Brace, 1956. Print.

Carroll, Lewis. Through the Looking-Glass. Alice in Wonderland . 2nd ed. Ed. Donald J. Gray. New York: Norton, 1992. Print.

MacLeish, Archibald. “Ars Poetica.” The Oxford Book of American Poetry . Ed. David Lehman. Oxford: Oxford UP, 2006. 385–86. Print.

Attribution

Sample Essay 1 received permission from Victoria Morillo to publish, licensed Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International ( CC BY-NC-SA 4.0 )
Sample Essays 2 and 3 adapted from Cordell, Ryan and John Pennington. "2.5: Student Sample Papers" from Creating Literary Analysis. 2012. Licensed Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported ( CC BY-NC-SA 3.0 )

Top 20 Famous Poems: Inspiring Poems For Your Next Essay

Are you looking for famous poems to study for your next essay? Then, check out these top 20 poems to inspire your next writing project.

Poetry has a way of capturing human emotion and conveying it in the written word through rhyme and meter. Many famous poets have made their mark on literature worldwide, writing everything from love poems to nonsense poems that explore the way words can work together to create verse.

Taking a closer look at famous poems can help to truly understand the impact that poetry has had. Here are 20 works of famous poetry that have impacted the world of literature.

1.“Still I Rise” by Maya Angelou

2. “stopping by woods on a snowy evening” by robert frost, 3. “the road not taken” by robert frost, 4. sonnet 18 by william shakespeare, 5. “do not go gentle into that good night” by dylan thomas, 6. “i wandered lonely as a cloud” by william wordsworth, 7. “how do i love thee” by elizabeth barrett browning, 8. “she walks in beauty” by lord byron, 9. “the waste land” by t.s. eliot, 10. “the raven” by edgar allan poe, 11. “jabberwocky” by lewis carroll, 12. “o captain my captain” by walt whitman, 13. “invictus” by william ernest henley, 14. “the love song of j. alfred prufrock” by t.s. eliot, 15. “fire and ice” by robert frost, 16. “every day you play” by pablo neruda, 17. “because i could not stop for death” by emily dickinson, 18. “if-” by rudyard kipling, 19. “paul revere’s ride” by henry wadsworth longfellow, 20. “ozymandias” by percy bysshe shelley.

“ Still I Rise ” is in the third poetry collection by American poet Maya Angelou. This poem pays homage to the human spirit even as it overcomes discrimination and hardship. To write, Angelou tapped into her experiences as a black American woman.

In the poem, Angelou talks bout how others have downplayed her , her accomplishment, and her people, trying to break her spirit. And yet, she rises above these problems to find success.

“You may write me down in history With your bitter, twisted lies, You may trod me in the very dirt But still, like dust, I’ll rise.”

Written in 1922, “ Stopping by the Woods on a Snowy Evening ” uses imagery, personification, and repetition to create a memorable poem. It displays iambic tetrameter and appears on the surface to have a simple meaning. This poem is distinctive in how simple it appears, yet how well it holds to the meter and rhyme scheme. Simplicity and accuracy are not easy to attain.

“Whose woods these are I think I know. His house is in the village, though; He will not see me stopping here To watch his woods fill up with snow.“

Perhaps one of the most commonly-studied poems in American literature, “ The Road Not Taken ,” talks about a young man traveling through the forest when he comes to a fork in the road. He chooses the “one less traveled by” and states it has made all the difference. The final lines of this poem have become part of modern society, showing up in movies, commercials, and graduation speeches every year.

Many people know the final lines of this poem, even if they do not know that they came from a famous American poet. The poem’s lines are now part of over 400 book titles or subtitles, and that fact alone, combined with its general popularity, earns it a spot on this list.

“I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I— I took the one less traveled by, And that has made all the difference.”

Perhaps one of his most famous love poems, Sonnet 18 , starts with one of Shakespeare’s most iconic lines. As he compares his lady love to a summer’s day, hearts swoon, and romantics take note.

Sonnet 18 follows the 14-line structure of most English sonnets. It has three quatrains and a couplet and follows iambic pentameter. The poem’s romantic lines make it a favorite to quote to an object of affection.

“Shall I compare thee to a summer’s day? Thou art more lovely and more temperate. Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date.”

This famous poem by Dylan Thomas is read at two out of every three funerals . It captures the feelings brought on by death and highlights how people who love someone want them to fight against the reality of the end of life.

“ Do Not Go Gentle into That Good Night ” is particularly popular because it sounds so beautiful when read aloud. Thomas got much of his income from working on the radio, and as such, he learned the power of the spoken human voice. This understanding is reflected in the cadence of his verses.

“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.”

Also known as “Daffodils,” this famous poem from William Wordsworth was written in the early 1800s. It took its inspiration from a walk Wordsworth took with his sister around Glencoyne Bay, where the two came upon a large field of daffodils.

“I Wandered Lonely as a Cloud ” is popular due to its rich imagery. When someone reads it, they can picture the daffodils dancing on the hill. However, unlike other famous poems, it does not necessarily have a double meaning but is simply a tribute to something beautiful in nature.

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

How Do I Love Thee” is the title of Sonnet 43 by Elizabeth Barrett Browning. This romantic poem indicates that the different ways the speaker loves the object of her affections simply cannot be counted.

Throughout the poem, Browning exudes her passionate love for her husband . She even indicates that her love fills the quiet moments that happen in a home when two people live together. It follows the traditional abba, abba, cd, cd, cd sonnet rhyme scheme.

“How do I love thee? Let me count the ways. I love thee to the depth and breadth and height My soul can reach, when feeling out of sight For the ends of being and ideal grace.”

This short, lyrical poem follows the iambic tetrameter pattern. It was written in 1814 by Lord Byron, who was inspired by Anne Beatrix Wilmont, his first cousin’s wife when he saw her at a party. “ She Walks in Beauty ” was put to music by Isaac Nation and is considered an excellent example of Romanticism in poetry.

This poem is on the list of famous poetry because of how many times it has been quoted. It has references in The Philadelphian, television shows like M.A.S.H. , Bridgerton, and White Collar, among others.

“She walks in beauty, like the night Of cloudless climes and starry skies; And all that’s best of dark and bright Meet in her aspect and her eyes; Thus mellowed to that tender light Which heaven to gaudy day denies.”

Considered one of the most influential poems of the 20th century, this poem has dissonance that mirrors what Eliot felt was the fracture of his time. Even though it was written for the 20th century, it still holds value in modern society when society still feels quite disjointed.

Throughout the lines of this poem, Eliot explores his disgust at the state of society following World War I. “ The Waste Land ” explores the thought of spiritual emptiness, which is what Eliot believed he saw in the world around him.

“April is the cruelest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain.”

Considered one of the first poems written in America , “The Raven” holds a special place in literature. This poem is considered one about grief, showing several examples of onomatopoeia with the raven tapping and rapping on the chamber door.

The repetition in “ The Raven ” drives the reader towards the end of the poem, where the author quotes the final “nevermore.” The death of his wife, Virginia, in the event that likely triggered the poem because of Poe’s grief over the loss of his wife.

“Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore— While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. ’Tis some visitor,’ I muttered, ‘tapping at my chamber door— Only this and nothing more.’”

Lewis Carroll was a novelist, but he often used poetry in his novels. “ Jabberwocky ” is a nonsense poem that was part of Carroll’s 1871 novel Through the Looking-Glass . It tells the story of killing a mythical creature named “the Jabberwock.” In the book, Alice finds the poem in a book when she visits the Red Queen.

With so many unknown words, “ Jabberwocky ” confuses even Alice in the book. The poem is in ballad style, an exciting way to study the style with nonsensical words. Yet it leaves many unanswered questions, which fits the world of Wonderland that Carroll is trying to create.

“’Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe.”

“O Captain, My Captain ” is a poem that shows an extended metaphor style. Whitman wrote it in 1865 after the assassination of President Abraham Lincoln. The poem is a tribute to Lincoln and his impact on the country during such a pivotal time in history.

In the three-stanza poem, Whitman compares Lincoln to a ship’s captain. Whitman also uses the literary device of juxtaposition to show the difference between the victory the country was experiencing and the death of its leader, who could not enjoy the victory. In the final stanza, he uses personification when talking about the shores, potentially representing the masses of people welcoming the ship, not knowing that the captain is slain.

“O Captain! my Captain! our fearful trip is done, The ship has weather’d every rack, the prize we sought is won, The port is near, the bells I hear, the people all exulting, While follow eyes the steady keel, the vessel grim and daring; But O heart! heart! heart! O the bleeding drops of red, Where on the deck my Captain lies, Fallen cold and dead.”

“ Invictus ” is an important poem in British literature written in 1875 by William Ernest Henley. Its final quatrain is the most famous of the piece, indicating that each master the fate of their soul.

Henley battled tubercular arthritis throughout his life, diagnosed at just 12 years of age. This painful disease was challenging to live with, and he was in the hospital for the amputation of his knee when he wrote “Invictus .” Knowing the personal trials, the author was dealing with makes the poem even more inspiring to the reader.

“It matters not how strait the gate, How charged with punishments the scroll, I am the master of my fate: I am the captain of my soul.”

“The Love Song of J. Alfred Prufrock” is another famous piece by T.S. Eliot. It was his first professionally-published poem , and literary critics believe it marked the initiation of the shift between Romantic verse and Modernism.

The poem looks at the psyche of a modern man, who is simultaneously eloquent but emotionally stilted. In the poem, the speaker indicates he wants to reach out to his love interest, only to feel he cannot do so. What follows is a monologue that laments the lack of emotional connection that the author can create. Looking for more famous poems, check out our list of Mary Oliver poems .

“Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table; Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels And sawdust restaurants with oyster-shells: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question… Oh, do not ask, “What is it?” Let us go and make our visit.”

Poet laureate Robert Frost has another short poem that is among the most famous in literature. “ Fire and Ice ” discusses the end of the world using an untraditional rhyme scheme. It asks whether the world will end in an inferno or an ice storm.

Some literary scholars believe “ Fire and Ice” were inspired by Dante’s Inferno , while others claim a conversation with astronomer Harlow Shapley was the basis. In the end, Frost wrote a poem that did not draw any conclusion about how the world will end but instead left the idea up to the reader.

“Some say the world will end in fire, Some say in ice. From what I’ve tasted of desire I hold with those who favor fire. But if it had to perish twice, I think I know enough of hate To say that for destruction ice Is also great And would suffice.”

Not all of the poets on this list come from American or English literature. For example, Nobel Prize-winning poet Pablo Neruda was from Chile and won the Prize for his contributions to literature. He was known for his ability to produce poems full of deep passion, even when talking about everyday things.

“ Every Day You Play ” is a romantic poem that implies sensuality and references flowers while talking about the love interest. It contains one of Neruda’s most famous literary lines, “I want to do with you what spring does with the cherry trees.”

“My words rained over you, stroking you. A long time I have loved the sunned mother-of-pearl of your body. Until I even believe that you own the universe. I will bring you happy flowers from the mountains, bluebells, dark hazels, and rustic baskets of kisses. I want to do with you what spring does with the cherry trees.”

“Because I Could Not Stop for Death” is an elegy poem by Emily Dickinson. The six-stanza poem is written as a personal encounter with Death , a male character who drives a carriage. It indicates the speaker is not afraid of Death, which is a kind companion on this final journey.

This poem is divided into quatrains with an abcb rhyming pattern. The drive-in in the story symbolizes Dickinson’s life, and eventually, Death takes her into the afterlife. The final stanza, in which the speaker is now dead, is more abstract than the rest of the poem. If you are interested in learning about poems, learn the answer to the question is Dr. Seuss poetry .

“Because I could not stop for Death— He kindly stopped for me— The Carriage held but just Ourselves— And Immortality.”

Though he is more famous for his novels, including The Jungle Book, Rudyard Kipling was also a skilled poet named English Nobel laureate for his work. “ If- ” is, perhaps, his most famous poem. The work is written to serve as parental advice to Kipling’s son, John, advocating for him to look beyond what other people think of him and to make the most out of life’s difficult situations.

Each couplet in the poem starts with the word “if.” it expresses its meaning clearly, serving as a mantra to live by, which may have been Kipling’s goal. Throughout the lines, Kipling gives practical advice for dreaming and planning while keeping one’s head grounded in realistic goals.

“If you can keep your head when all about you Are losing theirs and blaming it on you; If you can trust yourself when all men doubt you, But make allowance for their doubting too; If you can wait and not be tired by waiting, Or, being lied about, don’t deal in lies, Or, being hated, don’t give way to hating, And yet don’t look too good, nor talk too wise;”

Longfellow is often revered as one of the most influential American poets , and “Paul Revere’s Ride” is one of his most famous pieces. While this poem does not have much literary analysis because it tells the tale of Revere’s famous ride, its regular rhyme and measure give the impression of a horse galloping through the towns.

Through this poem, Longfellow memorialized Paul Revere’s famous ride. He received inspiration from a tour of Boston he took, giving him the chance to see many of the sights of the famous day for himself. He did take some poetic license in his work, but his line “one, if by land, and two, if by sea” immortalized the signal lanterns that were part of the historic event.

“Listen, my children, and you shall hear Of the midnight ride of Paul Revere, On the eighteenth of April, in Seventy-Five: Hardly a man is now alive Who remembers that famous day and year.”

“ Ozymandias ” is a sonnet by Percy Bysshe Shelley, a 19th-century English Romantic poet. The poem received its inspiration from the Rameses II statue on display at the British Museum during Shelley’s time. It warns against hubris and arrogance, which are common in great leaders.

The sonnet uses iambic pentameter. It showcases the sad image of a fallen statue that once stood to head the greatness of the Pharaoh. Where once a mighty king ruled the land, nothing is left but a decaying, wrecked statute. To learn more, check out our round-up of the best 10 concrete poems !

“And on the pedestal, these words appear: My name is Ozymandias, King of Kings; Look on my Works, ye Mighty, and despair! Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away.”

Nicole Harms has been writing professionally since 2006. She specializes in education content and real estate writing but enjoys a wide gamut of topics. Her goal is to connect with the reader in an engaging, but informative way. Her work has been featured on USA Today, and she ghostwrites for many high-profile companies. As a former teacher, she is passionate about both research and grammar, giving her clients the quality they demand in today's online marketing world.

View all posts

A Story by Li-Young Lee

“A Story” by Li-Young Lee was originally published in The City in Which I Love You (1990). This poem is about a father’s inability to come up with a “new story.” The son’s humble prayer alerts the man of the future of their relationship. One day, the bored son will pack his belongings and go away to find better, “new” stories his father could not tell. He will no longer be in his father’s laps, nodding and being happy with the same old fables of morality. In this way, Lee features the irony of human relationships through the story of a father and son.

Read the full poem “A Story” below:

Lee’s poem “A Story” is about a father who is unable to tell a new story at his son’s request. He feels sad and thoughtful. He rubs his chin and scratches his ear in confusion and agony. The fact that pains him deeply is that he cannot recall one new story. Thus, one day, he thinks, the son will give up on him and leave him all alone. Then he will not wait to listen to the alligator, angel, or spider stories of his father. At last, reverting from future speculations, the narrator describes how the father’s love and the boy’s supplications add up to a prolonged silence.

Structure, Form, & Diction

“A Story” is a free-verse narrative poem, consisting of six stanzas. The line count ranges between two to six. There is no regular rhyme or meter in the poem. It has a conversation flow. Lee writes this poem from the point of view of a third-person, omniscient speaker narrating the story of the father and son. The diction of the poem is clever, simple, and symbolic. Lee begins the poem in the manner of a thesis. He produces an argument at the beginning. Then he elucidates the statement. Finally, he postulates how sadness results in silence. Besides, he uses the characters’ statements in italics in order to differentiate the speaker’s narration from theirs.

Literary Devices & Figurative Language

Lee makes use of the following literary devices in “A Story” in order to make this piece more appealing to readers.

There is a metaphor in the lines “In a room full of books in a world/ of stories”. Here, the library, the room filled with books, is compared to a “world” of multifarious stories. In the last stanza, drawing on the statement in the first couplet, Lee metaphorically says, it is an “emotional,” and “earthly” equation. It seems as if he is drawing a logical deduction of the father-son relationship.

It is one of the important devices used in a number of instances. It occurs in the first, third, fourth, and sixth stanzas. For example, readers can see how the lines of the third stanza spill onto the next in order to form a complete idea:

In a room full of books in a world of stories, he can recall not one, and soon, he thinks, the boy will give up on his father.

Foreshadowing

The father anticipates how the son will leave him in the future in the fourth and fifth stanzas. He thinks then the son will not listen to his old stories and will pack his belongings in search of new ones in the real world:

… Don’t go! Hear the alligator story! The angel story once more! … But the boy is packing his shirts, he is looking for his keys.

Rhetorical Exclamation

This device is used in succession in the second and third lines of the fourth stanza. The father screams in love, “ Don’t go! ” The following exclamations reveal his desperation to stop his son from going away.

Rhetorical Question

Lee uses rhetorical questions or interrogations in the fifth stanza:

Are you a god, the man screams, that I sit mute before you? Am I a god that I should never disappoint?

In the last stanza of “A Story,” Lee uses antithesis. He refers to the father’s sadness caused by his inability to tell a new story as an “emotional rather than logical equation.” Using another antithesis, the narrator says, it is “an earthly rather than heavenly one”.

The main symbol of the poem is the “story.” It stands for the binding factor of humanity, the thread stringing the father and son. Besides, the “ alligator ” and “ angel” (in the fourth stanza) represent two aspects of creation: experience and innocence. The “ spider ” somehow symbolizes the father, trying to web his son in his same old stories. Indeed, the son will laugh at the “ spider” someday.

Lee uses tactile imagery in the line “The man rubs his chin, scratches his ear.” In the next stanza, he uses visual imagery to describe the room. Besides, the poet uses organic imagery in order to convey the inner feelings of the father, such as in the lines, “ Are you a god, / the man screams, that I sit mute before you? ”

Line-by-Line Analysis & Explanation

Sad is the man who is asked for a story and can’t come up with one. … His five-year-old son waits in his lap. Not the same story, Baba. A new one. The man rubs his chin, scratches his ear.

Li-Young Lee’s narrative poem “A Story” begins in the manner of a logical “equation.” The narrator posits a statement: the man, who cannot come up with a story he is asked for, is sad. Then he starts building the narrative around this statement. He presents the story of a father and son.

There is a man and his five-year-old son waiting on his lap. The son is bored listening to the same, old stories his father narrates. Now, he wants something new, not the same story. Humbly addressing his father “ Baba ,” he implores him to tell a new one. Baba is a familiar form of address to one’s father in Asian countries. From the use of the term, it can be assumed that the poet is sharing his own story. His sons also ask him to tell stories and nag to hear new ones as he told at a reading of the poem.

The father in the poem cannot come up with a new story on his son’s devoted request. Therefore, he feels confused and frustrated, inferred from his gestures of rubbing the chin and scratching the ear.

In a room full of books in a world of stories, he can recall not one, and soon, he thinks, the boy will give up on his father. … Already the man lives far ahead, he sees the day this boy will go. Don’t go! Hear the alligator story! The angel story once more! You love the spider story. You laugh at the spider. Let me tell it!

In the third stanza of “A Story,” the narrator describes the room. It is full of books. So, the room is a world of stories in itself, yet the father cannot recall a single, “new” story. Isn’t it frustrating? However, the father thinks about something else rather than his shortcomings as a storyteller. He is of the view that at some point his son is going to give up on him. It is natural and the eternal irony of human relationships.

The man lives far ahead in his thoughts. As one’s son grows up, a father needs to think about his future. The chain of thoughts is not always that satisfying due to the presence of the harsh realities of relationships. He is sure one day his son will go. No matter how badly the father needs his son or how affectionately he requests him to stay a bit longer to listen to the old stories, the son will go out of his clutches seeking newer stories in the real world.

Then, his old alligator stories or the angel stories cannot stop him from going. Even if he starts telling the spider story his son was once fond of, he will not stop by. The desperation and agony in the father’s voice can be felt through the repetition of consecutive rhetorical exclamations.

Lines 15-23

But the boy is packing his shirts, he is looking for his keys. Are you a god, the man screams, that I sit mute before you? Am I a god that I should never disappoint? … But the boy is here. Please, Baba, a story? It is an emotional rather than logical equation, an earthly rather than heavenly one, which posits that a boy’s supplications and a father’s love add up to silence.

In the fifth stanza, the narrator describes how the son will pack his belongings and look for his keys in order to go out. This time the father’s desperation will turn into dim anger. The man believes he is not a god, nor his son. So, how can he be a mute listener in the event of his son’s departure? Is he a god, who never disappoints? He is just a father, a human being, who loves his son. When he grows older, he will need his son by his side more than he needs him now.

In the last stanza, the narrator returns to the present moment, where the son requests his father to tell him a story. He is still “here.” The following lines refer back to the opening statement: “Sad is the man who is asked for a story/ and can’t come up with one.” According to the speaker, the statement is an emotional rather than logical one. It revolves around the earthly relationship of a father and son, not the eternal relationship of the divine father and humankind (His children).

Therefore, this situation leads the father to no special discovery. The boy’s humble prayers and the father’s love results in nothing other than a lasting “silence.” This silence is not an outcome of some limitation only. It germinates from the ramification of the father-son relationship.

The theme of “A Story” by Li-Young Lee is the irony of the father-son relationship. This poem also explores the theme of a father’s unending love for his son, his speculations about the future, and his sadness resulting from the possible strain in their relationship. Through this poem, Lee tries to revisit the days when his father used to tell him stories just like his own son does. As a father, he is also nagged to tell new ones. However, when the father fails to come up with one, he thinks, at some point his son will give up on him. Being a father himself, Lee realizes the pain caused by this mere thought.

The overall tone of the poem “A Story” is sad, emotive, and worried. Lee purposefully uses the third-person point of view in order to distance himself from the subjective aspect of the story told in this piece. He wants to see the situation as it is. However, he also uses a subjective tone by presenting direct statements of the father and son in italics. This fusion of objective and personal tones makes the poem more interesting to read. As the speaker narrates the story, he uses a matter-of-fact tone. In the father’s voice, readers can sense pain, sadness, and apprehension. Whereas, the son’s requests reveal eagerness, love, and curiosity.

Historical Context

“A Story” was first published in Li-Young Lee’s second poetry collection The City in Which I Love You (1990). The collection won high praise and the Lamont Poetry Selection (now known as the Laughlin Award). In this piece, Lee remembers his childhood and his father, by weaving a remarkable web of memory and experience. Lee’s poems explore the themes of family history, childhood, and the father-son relationship. Likewise, in “A Story,” Lee shares a simple father-son story, tinged with his personal account. At a reading of the poem, Lee shares how his sons ask him to tell stories and sometimes he runs out of them.

Questions & Answers

“A Story” by Li-Young Lee is a poem about a father, unable to recall one new story at his five-year-old son’s request. He feels sorry for himself thinking one day his son will go away seeking new things. Then he can no longer make him wait as he does now with his same, old stories. This poem explores the irony of the father-son relationship, with particular emphasis on the pain of losing something dear. Lee wrote another poem on a similar theme, “ The Gift .”

Li-Young Lee’s poem “A Story” delves deeper into the nature of human relationships. In every relationship, there is a point when we have to say goodbye to our dear ones. In this poem, a father struggles with reality and will find himself unable to satisfy his son after a certain period. When the son grows up, he cannot make him stay by his side to hear the same stories. This pain not only makes him forget about the task beforehand (to satisfy his son with a new story) but also shushes his senses.

The theme of “A Story” is the irony of human relationships. It also includes the themes of the love between a father and son, pain of separation, reality, and sadness.

“A Story” is a free-verse narrative poem written from the perspective of a third-person speaker. The poem consists of six stanzas with the line count ranging between two to six.

The poem “A Story” is written in the third-person or omniscient point of view. The narrator is none other than the poet Li-Young Lee himself.

The important literary devices used in the poem include metaphor, foreshadowing, rhetorical exclamation, antithesis, symbolism, and imagery.

In this poem, Li-Young Lee explores the parent-child relationship, specifically the father-son relationship. The characters in the poem are a father and his five-year-old son.

One of the important literary techniques used in the poem is foreshadowing. Lee uses this device in anticipation of the probable events that will occur in the father’s life. One day, his son will leave him. No matter how hard he tries to stop him, he won’t. Now, the son nags to hear a new story. But, then he will not give him another chance. In this way, Lee explores the complexity of the father-son relationship through foreshadowing. Besides, he uses some rhetorical exclamations and questions in order to convey the father’s emotions and feelings.

In the poem, the speaker’s tone is sad, emotive, and worried.

Li-Young Lee’s poem “A Story” explores the irony of human relationships with particular emphasis on the theme of growing up. It could be a suitable statement, to begin with. Backed up by the poet’s idea, we can easily reach a logical conclusion. In order to enhance the arguments, Lee’s poems “ The Gift ” and “ Eating Together ” can be referred to.

Similar Poems about Relationships

“ The Writer ” by Richard Wilbur — This poem explores a father’s apprehensions regarding his daughter’s future.
“ The Toys ” by Coventry Patmore — In this poem, a father feels sad for rebuking his son and later repents what he has done.
“ The First Snowfall ” by James Russell Lowell — This piece describes how the snowfall reminds a father of his dead child.
“ Grief Calls Us to the Things of This World ” by Sherman Alexie — In this poem, a son is forgetful and feels agonized by his father’s recent demise.

Useful Resources

Check out Breaking the Alabaster Jar: Conversations with Li-Young Lee (2006) — It’s a collection of the best interviews by Li-Young Lee, capturing the transition of a twenty-nine-year-old poet prodigy to a seasoned veteran in high demand across the US and abroad.
The Poem Aloud — Listen to Li-Young Lee reading “A Story,” along with an interesting personal account.
A Conversation of Poetry and Consciousness — In this interview, Lee talks about poetry, prayerful attitudes, and unconscious states, and reads some of his poems.
About Li-Young Lee — Read about the poet’s life and works.

The Gift by Li-Young Lee

“The Gift” is about a childhood memory of poet Li-Young Lee concerning his father dexterously pulling out a metal blade from his soft, little hand.

Persimmons by Li-Young Lee

“Persimmons” by Li-Young Lee is an autobiographical poem revolving around the poet’s childhood memories concerning the titular fruit.

Eating Together by Li-Young Lee

Li-Young Lee’s “Eating Together” is about how a speaker misses his deceased father at the time of having lunch with his family.

College admissions

Course: college admissions > unit 4.

Writing a strong college admissions essay
Avoiding common admissions essay mistakes
Brainstorming tips for your college essay
How formal should the tone of your college essay be?
Taking your college essay to the next level
Sample essay 1 with admissions feedback
Sample essay 2 with admissions feedback
Student story: Admissions essay about a formative experience
Student story: Admissions essay about personal identity
Student story: Admissions essay about community impact
Student story: Admissions essay about a past mistake

Student story: Admissions essay about a meaningful poem

Writing tips and techniques for your college essay

Want to join the conversation?

Upvote Button navigates to signup page
Downvote Button navigates to signup page
Flag Button navigates to signup page

Video transcript

Craft and Criticism
Fiction and Poetry
News and Culture
Lit Hub Radio
Reading Lists

Literary Criticism
Craft and Advice
In Conversation
On Translation
Short Story
From the Novel
Bookstores and Libraries
Film and TV
Art and Photography
Freeman’s
The Virtual Book Channel
Behind the Mic
Beyond the Page
The Cosmic Library
The Critic and Her Publics
Emergence Magazine
Fiction/Non/Fiction
First Draft: A Dialogue on Writing
Future Fables
The History of Literature
I’m a Writer But
Just the Right Book
Lit Century
The Literary Life with Mitchell Kaplan
New Books Network
Tor Presents: Voyage Into Genre
Windham-Campbell Prizes Podcast
Write-minded
The Best of the Decade
Best Reviewed Books
BookMarks Daily Giveaway
The Daily Thrill
CrimeReads Daily Giveaway

50 Ways to End a Poem

Emily Skaja Has Some Recommendations for Making a Strong Exit

This first appeared in Lit Hub’s Craft of Writing newsletter— sign up here .

When T.S. Eliot wrote, “April is the cruelest month,” he was not talking about trying and failing to meet the 30 poems in 30 days National Poetry Month challenge. But you could be forgiven for repeating this phrase ominously to yourself as you start to lose your stride around day 6, staring into your Notes app as you try to decipher what “death as a wall of cornflakes!!!” meant to the 3 AM self who urgently transcribed this line straight from the muse.

As National Poetry Month challenges go, I recommend following Taylor Byas, who publishes a calendar of formal challenges every April. If 30 poems in 30 days still sounds a little daunting, that’s because it is. But to quote Karyna McGlynn in her craft essay from Marbles on the Floor , “You LIKE writing poems, remember??”

As a teacher, I want my students to appreciate that you can find inspiration for a poem anywhere, but giving yourself a few obstacles to work around will help you write this ONE poem rather than every conceivable poem there is. That’s why I created the Poetry Prompt Generator , an online resource for poets that randomizes potential features for a poem. Using a prompt—even if you stray from it—is a great way to kickstart a poem. But how do you finish a poem, especially a problem poem that needs something you can’t yet see?

Ending a poem was something of a mystery to me as an MFA student. My poetic instincts, whatever they were, could not be relied upon to deliver solid gold, and this was distressing to me. I am a Gemini and my rising sign is Scorpio, so I volunteer this as context for my appetite for sustained intensity in poetry. To my dismay, however, I would often start a poem strong and then just peter out at the end, as if awkwardly backing offstage. I remember my former MFA professor Marianne Boruch crossing out the ends of several of my poems and telling me in workshop that I’d overshot my landing. “This part down here is just tacked on, like ‘P.S., Don’t forget the mayonnaise,’” she said.

I became curious about all the possible ways to end a poem. What is the right ending for this particular poem, and how will I know it when I see it? In Adrienne Rich’s tradition of revision as “re-seeing,” I invite the poets I teach to try out as many alternate variations of a poem as possible, to think of revision not as correction but as a remix, a companion to the original.

Presumably, just as there are infinite ways to start a poem, there are infinite ways to finish it and get the hell out of dodge.

These 50 are just the start.

1. End on an image (the classic choice)

2. Use a two-part ending: set yourself up in one line and then kick the door in with the other

3. End with a question, like Hayden : What did I know, what did I know / of love’s austere and lonely offices?

4. End with a dramatic shift in dynamics. Move from run-on to fragment, from concrete to abstract. Turn the volume knob. Introduce yourself to the other margin. Disturb your punctuation. Get breathless or let more air into the poem

5. End with a punchline

6. End with epiphanic closure—suddenly now you see it, lightning strikes the tower of the self, etc.

7. Name something that previously felt difficult to name; call it up out of the darkness

8. End by going back to the beginning (circle back to an image, replicate your syntax, repeat a thesis, return to the start of the story)

9. Leave something out, end mysteriously, or give a little hint and invite the reader to figure it out

10. Find what you said you were looking for, say you’ll keep looking, or announce that you’ve given up looking

11. End with a remix, like the envoi of a sestina —condense and reconfigure your key ideas in a new order

12. End with a reversal: invert the story, flip the power ratio, change the point of view, or literally reverse the poem’s order from the bottom up

13. End with a prophecy or by fulfilling a prophecy

14. Write two endings and let the reader pick their favorite

15. Use a refrain—like the pantoum or duplex , begin and end with the same line

16. End with a non sequitur and make your reader really wonder about you

17. Cut yourself off—perhaps you’ve already written the real ending and it’s a few lines up

18. End with a pattern of three, which makes everything sound lyrical and profound (looking at you, Bob Hass : blackberry, blackberry, blackberry)

19. End in the style of a cento : borrow (but also cite) lines by other poets arranged in a new order

20. Distill your imagery into its essential parts and close out the poem in the compressed style of haiku

21. End with a litany or prayer

22. In a tribute to Márquez , have the last line of the poem carried away by ants

23. Take a look at your first and last lines—are they in the right places? Is your end really your beginning and your beginning really your end (not to get too philosophical or too # Semisonic )?

24. End in the style of a ghazal : refer to yourself by name and end with a patterned rhyme and refrain

25. Try a Hercule Poirot ending: gather all the suspects in the drawing room & rule them out one by one until the least likely ending is left

26. Change the direction of the poem’s gesture—if it’s an internal kind of poem, then gesture outward at the world, or vice versa: go introspective at the end

27. Summarize what has come before, “And so…” or “In short…” or “In other words” or “I said what I said”

28. Change your tone—for example, by making fun of something you may have taken very seriously until now

29. Write an imitation of The Monster at the End of This Book and, like Grover, beg your reader to stop turning pages; promise them they don’t want to know how this ends

30. Let AI, dice, or the n+7 method decide how to end your poem

31. Go ekphrastic —end with the description of a work of art

32. End with the revelation of an important secret

33. End with a pithy piece of wisdom or even (borrowing from Shakespeare) with a smug little proverb in a rhyming couplet

34. Outsource your metaphors and involve dreams, fairy tales, fables, or myths

35. End with an erasure of your own words

36. “Maybe the real treasure was the friends we made along the way”

37. Shape your poem like a monologue in a Shonda Rimes show: first state your metaphor, then fully explain it, then repeat it again vehemently while crying

38. End with existential dread, death, the sun swallowing the earth, other cheerful topics

39. End with a second turn—surprise! Your reader thought they knew where this was going

40. End with rebirth, like Plath’s bees who “ taste the spring ”

41. Disagree with your own conclusions, change your mind, refute what has come before, reject your epiphany

42. Be like Rilke and suddenly confront your reader with “You must change your life”

43. Argue with someone: yourself, someone in the poem already, a new person, a famous person, a secret person, a loved one, a critic, the reader, the world, God, the moon, history

44. Issue an elaborately detailed thousand-year curse upon your enemies

45. Undermine yourself, go Prufrock and say that wasn’t what you meant at all

46. If the poem has been primarily narrative in mode (scene, character, plot, dialogue), end with a lyric strategy (repetition, music, imagery, figurative language)

47. Suggest that your lawyer has redacted your real ending to protect you from going to jail

48. If the poem has been sure of itself up until this point, concede the limits of the speaker and switch it up by introducing the unknown, the unanswerable question or ongoing worry

49. If the poem has been working in unanswerable worries already, switch it up by making the speaker more certain of some insight

50. Refuse to end, resist closure, tell your reader it’s a lifelong poem project and threaten that you’ll see them around

Share on Facebook (Opens in new window)
Click to share on Twitter (Opens in new window)
Click to share on Google+ (Opens in new window)
Click to share on LinkedIn (Opens in new window)
Click to share on Reddit (Opens in new window)
Click to share on Tumblr (Opens in new window)
Click to share on Pinterest (Opens in new window)
Click to share on Pocket (Opens in new window)

Emily Skaja

Previous article, next article, support lit hub..

Join our community of readers.

to the Lithub Daily

Follow us on Twitter

Yes, But Can You Really Explain the Difference Between Morals and Ethics?

RSS - Posts

Literary Hub

Created by Grove Atlantic and Electric Literature

How to Pitch Lit Hub

Advertisers: Contact Us

Support Lit Hub - Become A Member

Become a Lit Hub Supporting Member : Because Books Matter

For the past decade, Literary Hub has brought you the best of the book world for free—no paywall. But our future relies on you. In return for a donation, you’ll get an ad-free reading experience , exclusive editors’ picks, book giveaways, and our coveted Joan Didion Lit Hub tote bag . Most importantly, you’ll keep independent book coverage alive and thriving on the internet.

Become a member for as low as $5/month

APA 7th Edition Citations Guide - Maple Woods

APA 7th Edition: Guiding Principles
Reference List
Books- Multiple or Group Authors
Books - with Editors or Translators
Books- Essay, Short Story, Poem, etc.
Books- Later Editions
Articles- Scholarly Journals
Articles- Newspapers
Articles- Magazines
YouTube Video
Television Shows
Podcasts/ Audio Books
References: Websites
References: Social Media
Personal Communications (Email, Interview, etc.)
Annotated Bibliography
Don't See an Example for Your Source?
Plagiarism and Copyright This link opens in a new window
Workshop Recording
Contact and Hours

A Work (e.g., essay, short story) in an Anthology or Compilation

When you are citing a work from an anthology, you will treat the work as being republished and not reprinted. Consult section 9.40 in the APA Style Guide for more information.

Author of Work Within Book Last Name, First initial. (Publication year of the anthology). Title of the particular story/chapter/essay/poem. In Editor first initial. Last name (Ed.), Title of the anthology ( pp. of chapter/essay/poem). Publisher. URL or DOI, if available (Original work published XXXX)

Note: The reference list entry for a republished or reissued work should contain information about the new publication that was used. Follow the new publication information with the year the work was originally published in parentheses using the following format: (Original work published XXXX)

Frost, R. (2006).The road not taken. In J. Parini (Ed.), T he Wadsworth anthology of poetry ( p. 598). Cengage Learning. (Original work published 1916)

Parenthetical Citation: (Frost, 1916/2006)

Narrative Citation: Frost (1916/2006)

<< Previous: Books - with Editors or Translators
Next: Books- Later Editions >>
Last Updated: Dec 18, 2023 8:59 AM
URL: https://libguides.mcckc.edu/apa

Jump to navigation Skip to content

Search form

P&W on Facebook
P&W on Twitter
P&W on Instagram

Find details about every creative writing competition—including poetry contests, short story competitions, essay contests, awards for novels, grants for translators, and more—that we’ve published in the Grants & Awards section of Poets & Writers Magazine during the past year. We carefully review the practices and policies of each contest before including it in the Writing Contests database, the most trusted resource for legitimate writing contests available anywhere.

Find a home for your poems, stories, essays, and reviews by researching the publications vetted by our editorial staff. In the Literary Magazines database you’ll find editorial policies, submission guidelines, contact information—everything you need to know before submitting your work to the publications that share your vision for your work.

Whether you’re pursuing the publication of your first book or your fifth, use the Small Presses database to research potential publishers, including submission guidelines, tips from the editors, contact information, and more.

Research more than one hundred agents who represent poets, fiction writers, and creative nonfiction writers, plus details about the kinds of books they’re interested in representing, their clients, and the best way to contact them.

Every week a new publishing professional shares advice, anecdotes, insights, and new ways of thinking about writing and the business of books.

Find publishers ready to read your work now with our Open Reading Periods page, a continually updated resource listing all the literary magazines and small presses currently open for submissions.

Since our founding in 1970, Poets & Writers has served as an information clearinghouse of all matters related to writing. While the range of inquiries has been broad, common themes have emerged over time. Our Top Topics for Writers addresses the most popular and pressing issues, including literary agents, copyright, MFA programs, and self-publishing.

Our series of subject-based handbooks (PDF format; $4.99 each) provide information and advice from authors, literary agents, editors, and publishers. Now available: The Poets & Writers Guide to Publicity and Promotion, The Poets & Writers Guide to the Book Deal, The Poets & Writers Guide to Literary Agents, The Poets & Writers Guide to MFA Programs, and The Poets & Writers Guide to Writing Contests.

Find a home for your work by consulting our searchable databases of writing contests, literary magazines, small presses, literary agents, and more.

Poets & Writers lists readings, workshops, and other literary events held in cities across the country. Whether you are an author on book tour or the curator of a reading series, the Literary Events Calendar can help you find your audience.

Get the Word Out is a new publicity incubator for debut fiction writers and poets.

Research newspapers, magazines, websites, and other publications that consistently publish book reviews using the Review Outlets database, which includes information about publishing schedules, submission guidelines, fees, and more.

Well over ten thousand poets and writers maintain listings in this essential resource for writers interested in connecting with their peers, as well as editors, agents, and reading series coordinators looking for authors. Apply today to join the growing community of writers who stay in touch and informed using the Poets & Writers Directory.

Let the world know about your work by posting your events on our literary events calendar, apply to be included in our directory of writers, and more.

Find a writers group to join or create your own with Poets & Writers Groups. Everything you need to connect, communicate, and collaborate with other poets and writers—all in one place.

Find information about more than two hundred full- and low-residency programs in creative writing in our MFA Programs database, which includes details about deadlines, funding, class size, core faculty, and more. Also included is information about more than fifty MA and PhD programs.

Whether you are looking to meet up with fellow writers, agents, and editors, or trying to find the perfect environment to fuel your writing practice, the Conferences & Residencies is the essential resource for information about well over three hundred writing conferences, writers residencies, and literary festivals around the world.

Discover historical sites, independent bookstores, literary archives, writing centers, and writers spaces in cities across the country using the Literary Places database—the best starting point for any literary journey, whether it’s for research or inspiration.

Search for jobs in education, publishing, the arts, and more within our free, frequently updated job listings for writers and poets.

Establish new connections and enjoy the company of your peers using our searchable databases of MFA programs and writers retreats, apply to be included in our directory of writers, and more.

Each year the Readings & Workshops program provides support to hundreds of writers participating in literary readings and conducting writing workshops. Learn more about this program, our special events, projects, and supporters, and how to contact us.

The Maureen Egen Writers Exchange Award introduces emerging writers to the New York City literary community, providing them with a network for professional advancement.

Find information about how Poets & Writers provides support to hundreds of writers participating in literary readings and conducting writing workshops.

Bring the literary world to your door—at half the newsstand price. Available in print and digital editions, Poets & Writers Magazine is a must-have for writers who are serious about their craft.

View the contents and read select essays, articles, interviews, and profiles from the current issue of the award-winning Poets & Writers Magazine .

Read essays, articles, interviews, profiles, and other select content from Poets & Writers Magazine as well as Online Exclusives.

View the covers and contents of every issue of Poets & Writers Magazine , from the current edition all the way back to the first black-and-white issue in 1987.

Every day the editors of Poets & Writers Magazine scan the headlines—publishing reports, literary dispatches, academic announcements, and more—for all the news that creative writers need to know.

In our weekly series of craft essays, some of the best and brightest minds in contemporary literature explore their craft in compact form, articulating their thoughts about creative obsessions and curiosities in a working notebook of lessons about the art of writing.

The Time Is Now offers weekly writing prompts in poetry, fiction, and creative nonfiction to help you stay committed to your writing practice throughout the year. Sign up to get The Time Is Now, as well as a weekly book recommendation for guidance and inspiration, delivered to your inbox.

Every week a new author shares books, art, music, writing prompts, films—anything and everything—that has inspired and shaped the creative process.

Listen to original audio recordings of authors featured in Poets & Writers Magazine . Browse the archive of more than 400 author readings.

Ads in Poets & Writers Magazine and on pw.org are the best ways to reach a readership of serious poets and literary prose writers. Our audience trusts our editorial content and looks to it, and to relevant advertising, for information and guidance.

Start, renew, or give a subscription to Poets & Writers Magazine ; change your address; check your account; pay your bill; report a missed issue; contact us.

Peruse paid listings of writing contests, conferences, workshops, editing services, calls for submissions, and more.

Poets & Writers is pleased to provide free subscriptions to Poets & Writers Magazine to award-winning young writers and to high school creative writing teachers for use in their classrooms.

Read select articles from the award-winning magazine and consult the most comprehensive listing of literary grants and awards, deadlines, and prizewinners available in print.

Subscribe Now

Writing Contests, Grants & Awards

See Recent Winners
View the Submission Calendar

The Writing Contests, Grants & Awards database includes details about the creative writing contests—including poetry contests, short story competitions, essay contests, awards for novels, and more—that we’ve published in Poets & Writers Magazine during the past year. We carefully review the practices and policies of each contest before including it. Ours is the most trusted resource for legitimate writing contests available anywhere.

Desperate Literature

Short fiction prize.

A prize of €1,500 (approximately $1,628), publication in the Desperate Literature prize anthology, and a weeklong residency at the Civitella Ranieri Foundation’s castle in the...

New Ohio Review

Literary prizes.

Three prizes of $1,500 each and publication in New Ohio Review are given annually for a poem or group of poems, a short story, and an essay. Submit a poem or group of...

Poetry Foundation

Ruth lilly and dorothy sargent rosenberg poetry fellowships.

Five fellowships of $27,000 each are given annually to U.S. poets between the ages of 21 and 31. Using only the online submission system, submit 10 pages of poetry and an...

Florida Review

Editor’s prizes.

Three prizes of $1,000 each and publication in Florida Review are given annually for a poem or group of poems, a short story, and an essay. The editors will judge....

University of Arkansas Press

Etel adnan poetry prize.

A prize of $1,000 and publication by University of Arkansas Press is given annually for a first or second poetry collection by a writer of Arab heritage. Series editors Hayan...

Pen Parentis

Writing fellowship for new parents.

A prize of $2,000, a year of mentorship, and publication in Dreamers Creative Writing Magazine is given annually to a fiction writer who is the parent of a child under...

Poetry and Short Story Awards

Two prizes of $1,000 each and publication in Sixfold are given quarterly for a group of poems and a short story. Using only the online submission system, submit up to...

Whiting Foundation

Creative nonfiction grants.

Up to 10 grants of $40,000 each are given annually for creative nonfiction works-in-progress to enable writers to complete their books. Creative nonfiction writers under...

Australian Book Review

Elizabeth jolley short story prize.

A prize of $6,000 AUD (approximately $3,931) is given annually for a short story. A second-place prize of $4,000 AUD (approximately $2,621) and a third-place prize of $2,500...

Autumn House Press

Nonfiction prize.

A prize of $1,000 and publication by Autumn House Press is given annually for a book of nonfiction. The winner also receives a $1,500 travel and publicity grant. Clifford...

Short Story Contest

A prize of $1,000 is given biannually for a short story. Using only the online submission system, submit a story of 1,001 to 7,500 words with a $15 entry fee...

Chapbook Prize

A prize of $1,000, publication by Oversound , and 50 author copies is given annually for a poetry chapbook. Diana Khoi Nguyen will judge. Using only the online submission...

University of Iowa Press

Iowa poetry prize.

Publication by University of Iowa Press is given annually for a poetry collection. Using only the online submission system, submit a manuscript of 50 to 150 pages with a $20...

Marsh Hawk Press

Poetry prize.

A prize of $1,000 and publication by Marsh Hawk Press is given annually for a poetry collection. John Keene will judge. Using only the online submission system, submit a...

University of Pittsburgh Press

Agnes lynch starrett poetry prize.

A prize of $5,000 and publication by University of Pittsburgh Press is given annually for a debut poetry collection. Using only the online submission system, submit a...

Poetry International

Poetry international prize.

A prize of $1,000 and publication in Poetry International is given annually for a single poem. Using only the online submission system, submit up to three poems of any...

Inlandia Institute

Hillary gravendyk prizes.

Two prizes of $1,000 each, publication by the Inlandia Institute, and 20 author copies are given annually for a poetry collection by a U.S. resident and a poetry collection by...

Tadpole Press

100-word writing contest.

A prize of $2,000 is given biannually for a work of flash poetry or prose. Manuscripts written in a language other than English are accepted when accompanied by an English...

Ghost Story

Supernatural fiction award.

A prize of $1,500 and publication on the Ghost Story website and in the 21st Century Ghost Stories anthology series is given biannually for a short story with a...

Tupelo Press

Berkshire prize.

A prize of $3,000, publication by Tupelo Press, and 20 author copies is given annually for a first or second poetry collection. English translations of works originally written...

Backwaters Press

Backwaters prize in poetry.

A prize of $2,000 and publication by Backwaters Press, an imprint of University of Nebraska Press, is given annually for a poetry collection. An honorable...

High Desert Museum

Waterston desert writing prize.

A prize of $3,000 is given annually for a work of nonfiction that recognizes “the vital role deserts play worldwide in the ecosystem and the human narrative...

Ashland Poetry Press

Richard snyder memorial publication prize.

A prize of $1,000, publication by Ashland Poetry Press, and 25 author copies is given annually for a poetry collection. Matthew Rohrer will judge. Using only the online...

Noemi Press

A prize of $2,000 and publication by Noemi Press is given annually for a book of poetry. The editors will judge. Using only the online submission system, submit a manuscript of...

McGill University

Montreal international poetry prize.

A prize of $20,000 Canadian (approximately $14,807) and publication in the Montreal Poetry Prize anthology is given biennially for a poem. A.E. Stallings will judge, and...

IMAGES

How to Write a Poem Analysis Essay: Full Guide by Handmadewriting
Literary Essay
😱 How to write a poem analysis. How To Write A Poem Analysis Essay with
011 Story2 Essay Example Short Story ~ Thatsnotus
STORY POEM ESSAY
(PDF) Short Story Essay

VIDEO

Mayor's Writing Competition 2023
Highlight 0:00
somnath guru jii
somnath guru jii
somnath guru jii
mero naati ghara jadai !!! live

COMMENTS

How to Write a Poetry Essay (Complete Guide)
Main Paragraphs. Now, we come to the main body of the essay, the quality of which will ultimately determine the strength of our essay. This section should comprise of 4-5 paragraphs, and each of these should analyze an aspect of the poem and then link the effect that aspect creates to the poem's themes or message.
How to Write a Literary Analysis Essay
Table of contents. Step 1: Reading the text and identifying literary devices. Step 2: Coming up with a thesis. Step 3: Writing a title and introduction. Step 4: Writing the body of the essay. Step 5: Writing a conclusion. Other interesting articles.
The Lyric Essay: Examples and Writing Techniques
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.
Writing a Narrative Poem (A Step by Step Guide for Newbies)
A narrative poem is a form of poetry, which involves telling a story. The poet will use various elements of storytelling to create a plot, introduce characters, and set a certain scene-while using elements of poetry like rhyme, form and other devices. We find narrative poems to be the oldest form of poetry, dating all the way back to 2000 B.C.
A Full Guide to Writing a Perfect Poem Analysis Essay
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.
Famous Poems About Storytelling: Capturing the Essence of Narratives
Alfred, Lord Tennyson's "The Lady of Shalott" tells the tragic story of a young woman cursed to view the world only through a mirror, forbidden from directly witnessing reality. This narrative poem beautifully weaves themes of isolation, longing, and the consequences of breaking societal norms. Tennyson's lyrical and evocative verses bring the ...
Writing an Analysis of a Poem, Story, or Play
The Body of a Literary Analysis. In the body of your literary analysis, you want to guide your readers through a tour of the poem, story, or play, pausing along the way to comment on, analyze, interpret, and explain key incidents, descriptions, dialogue, symbols, the writer's use of figurative language—any of the elements of literature that are relevant to a sound analysis of this ...
Appendix 5: Writing an Analysis of a Poem, Story, or Play
After reading the poem three times (you should print a copy of the poem from Project Bartleby), have a look at the following student essay on diction in "Base Details." The Diction of "Base Details" (Student Essay adapted from Edward J. Gordon, Writing About Imaginative Literature, Harbrace: 1973).
The Philosophy of Composition
The Philosophy of Composition. Edgar Allan Poe was an editor, journalist, poet, literary critic, and short story writer. Known for his gothic tales and psychological dramas, his stories include "The Cask of Amontillado," "The Fall of the House of Usher," and "The Tell-Tale Heart.". In 1845 he published The Raven and Other Poems.
Writing an Analysis of a Poem, Story, or Play
The concluding paragraph of your analysis should realize two goals. First, it should present your own opinion on the quality of the poem or story or play about which you have been writing. And, second, it should comment on the current relevance of the work. You should certainly comment on the enduring social relevance of the work you are ...
Storytelling in Poetry
This is no. 154. Poetry is a form of storytelling, particularly in the case of narrative poetry. Narrative poems contain all the parts of a story, but it is within the line that narrative poetry unfolds: through its use of diction, syntax, and line breaks. Tyehimba Jess's leadbelly (Wave Books, 2005) is a historical narrative, a doorway into ...
How to Write a Poem: A Step-by-Step Guide
Elegies are poems that, like odes, pay tribute to specific subjects. However, rather than being purely celebratory, an elegy is generally a reflection on its subject's death and includes themes of mourning and loss. How to write a poem. Writing a poem isn't the same as writing a short story, an essay, an email, or any other type of writing ...
What is difference Between Essay, Story, Poem And Drama
Unlike poetry and essay the Play/ Drama genre are similar to the short story. In the sense that dramas are work of fiction, regardless how much it is based on facts. Drama is similar to short story because drama/ play has the same literary devices. 1) Characterization. 2) Setting.
13.4: Sample essay on a poem
Example: Sample essay written on a Langston Hughes' poem. The following essay is a student's analysis of Langston Hughes' poem "I, Too" (poem published in 1926) I, too, sing America. I am the darker brother. They send me to eat in the kitchen. When company comes, But I laugh, And eat well, And grow strong.
Essays on Poetic Theory
Essays on Poetic Theory. This section collects famous historical essays about poetry that have greatly influenced the art. Written by poets and critics from a wide range of historical, cultural, and aesthetic perspectives, the essays address the purpose of poetry, the possibilities of language, and the role of the poet in the world.
12.14: Sample Student Literary Analysis Essays
Heather Ringo & Athena Kashyap. City College of San Francisco via ASCCC Open Educational Resources Initiative. Table of contents. Example 1: Poetry. Example 2: Fiction. Example 3: Poetry. Attribution. The following examples are essays where student writers focused on close-reading a literary work.
100+ Poems about Writing, Ranked by Poetry Experts
L'Envoi (1881) by Rudyard Kipling. 'L'Envoi' by Rudyard Kipling reflects on the nature and purpose of poetry and considers the poet's legacy. This poem is fundamentally about writing and the act of creation. The poem speaks to the process of writing poetry and the desire for recognition and fame.
Top 20 Famous Poems: Inspiring Poems For Your Next Essay
9. "The Waste Land" by T.S. Eliot. Considered one of the most influential poems of the 20th century, this poem has dissonance that mirrors what Eliot felt was the fracture of his time. Even though it was written for the 20th century, it still holds value in modern society when society still feels quite disjointed.
Analysis of A Story by Li-Young Lee
Li-Young Lee's narrative poem "A Story" begins in the manner of a logical "equation.". The narrator posits a statement: the man, who cannot come up with a story he is asked for, is sad. Then he starts building the narrative around this statement. He presents the story of a father and son.
Student story: Admissions essay about a meaningful poem
Student story: Admissions essay about a meaningful poem. Hear from an applicant about how they addressed a supplemental essay prompt by describing the impact that the Langston Hughes play "A Raisin in the Sun" had on them. They relate to the story of an African American family striving for a better life to their own childhood experience of ...
50 Ways to End a Poem ‹ Literary Hub
2. Use a two-part ending: set yourself up in one line and then kick the door in with the other. 3. End with a question, like Hayden: What did I know, what did I know / of love's austere and lonely offices?. 4. End with a dramatic shift in dynamics.
Books- Essay, Short Story, Poem, etc.
A Work (e.g., essay, short story) in an Anthology or Compilation When you are citing a work from an anthology, you will treat the work as being republished and not reprinted. Consult section 9.40 in the APA Style Guide for more information.
Online Poem Generator
Make creative poems effortlessly for any theme or topic, from haikus and sonnets to free verses and rhymes, with our AI Poem Generator. ... Generate catchy headlines, titles, and taglines fit for your blog, article, essay, story, or more with the keywords you specify. Paragraph generator. Generate complete paragraphs for articles, essays ...
Writing Contests, Grants & Awards May/June 2024
Find details about every creative writing competition—including poetry contests, short story competitions, essay contests, awards for novels, grants for translators, and more—that we've published in the Grants & Awards section of Poets & Writers Magazine during the past year. We carefully review the practices and policies of each contest before including it in the Writing Contests ...

Have a language expert improve your writing

How to Write a Literary Analysis Essay | A Step-by-Step Guide

Instantly correct all language mistakes in your text

Table of contents

Language choices

Narrative voice

Here's why students love Scribbr's proofreading services

Essay question example

Thesis statement example

Finding textual evidence

The introduction

Paragraph structure

Topic sentences

Using textual evidence

Prevent plagiarism. Run a free check.

Cite this Scribbr article

Is this article helpful?

Jack Caulfield

What is a lyric essay?

Personal essay vs. lyric essay: An example of each

Personal essay example

Lyric essay example

Lyric Essay Vs Prose Poem

Lyric Essay Examples

“Lodge: A Lyric Essay” by Emilia Phillips

“Spiral” by Nicole Callihan

“Star Stuff” by Jessica Franken

5 approaches to writing the lyric essay

1. Start with your narrative

2. Identify moments of metaphor and figurative language

3. Investigate and braid different threads

4. Revise an existing piece into a lyric essay

5. Write stream-of-conscious

Closing thoughts on the lyric essay form

Leave a Comment Cancel Reply

A Full Guide to Writing a Perfect Poem Analysis Essay

What Is a Poetry Analysis Essay?

Preparing for the Poetry Analysis Writing

Thoroughly read the poem several times

Find out more about the poem background

Define a subject matter of the poem

Choose poem theories you will support

How to Choose a Poem to Analyze?

Best Poem Analysis Essay Topics

Poem Analysis Essay Outline

Introduction

Body Paragraphs

Poem Analysis Essay Examples

Writing Tips for a Poetry Analysis Essay

Write a Poetry Analysis Essay with HandmadeWriting

A life lesson in Romeo and Juliet taught by death

Ethical Research Paper Topics

Art Research Paper Topics

The Power of Poetry: Telling Stories in Rhythmic Beauty

18 Writing an Analysis of a Poem, Story, or Play

How to Write a Literary Analysis

The Beginning of a Literary Analysis

The Body of a Literary Analysis

The Conclusion of a Literary Analysis

Share This Book

Writing an Analysis of a Poem, Story, or Play

A Model Analysis

Student Essay: The Diction of “Base Details”

Text Attributions

Share This Book

12.14: Sample Student Literary Analysis Essays

Example 1: Poetry

Example 2: Fiction

Example 3: Poetry

Attribution

Top 20 Famous Poems: Inspiring Poems For Your Next Essay

1.“Still I Rise” by Maya Angelou

A Story by Li-Young Lee

Structure, Form, & Diction

Literary Devices & Figurative Language

Foreshadowing

Rhetorical Exclamation

Rhetorical Question

Line-by-Line Analysis & Explanation

Lines 15-23