Dimeter
Trimeter
Tetrameter
Pentameter
Hexameter
Any number above six (hexameter) is heard as a combination of smaller parts; for example, what we might call heptameter (seven feet in a line) is indistinguishable (aurally) from successive lines of tetrameter and trimeter (4-3).
To scan a line is to determine its metrical pattern. Perhaps the best way to begin scanning a line is to mark the natural stresses on the polysyllabic words. Take Shelley’s line:
And walked with inward glory crowned.
Then mark the polysyllabic nouns, verbs, adjectives, and adverbs that are normally stressed:
Then fill in the rest:
Then divide the line into feet:
Then note the sequence:
The line consists of four iambs; therefore, we identify the line as iambic tetrameter.
Rhythm refers particularly to the way a line is voiced, i.e., how one speaks the line. Often, when a reader reads a line of verse, choices of stress and unstress may need to be made. For example, the first line of Keats’ “Ode on Melancholy” presents the reader with a problem:
No, no, go not to Lethe, neither twist
If we determine the regular pattern of beats (the meter) of this line, we will most likely identify the line as iambic pentameter. If we read the line this way, the statement takes on a musing, somewhat disinterested tone. However, because the first five words are monosyllabic, we may choose to read the line differently. In fact, we may be tempted, especially when reading aloud, to stress the first two syllables equally, making the opening an emphatic, directive statement. Note that monosyllabic words allow the meaning of the line to vary according to which words we choose to stress when reading (i.e., the choice of rhythm we make).
The first line of Milton’s Paradise Lost presents a different type of problem.
Of Man’s First Disobedience, and the Fruit
Again, this line is predominantly iambic, but a problem occurs with the word “Disobedience.” If we read strictly by the meter, then we must fuse the last two syllables of the word. However, if we read the word normally, we have a breakage in the line’s metrical structure. In this way, the poet forges a tension between meter and rhythm: does the word remain contained by the structure, or do we choose to stretch the word out of the normal foot, thereby disobeying the structure in which it was made? Such tension adds meaning to the poem by using meter and rhythm to dramatize certain conflicts. In this example, Milton forges such a tension to present immediately the essential conflicts that lead to the fall of Adam and Eve.
The explication should follow the same format as the preparation: begin with the large issues and basic design of the poem and work through each line to the more specific details and patterns.
The first paragraph should present the large issues; it should inform the reader which conflicts are dramatized and should describe the dramatic situation of the speaker. The explication does not require a formal introductory paragraph; the writer should simply start explicating immediately. According to UNC ‘s Professor William Harmon, the foolproof way to begin any explication is with the following sentence:
“This poem dramatizes the conflict between …”
Such a beginning ensures that you will introduce the major conflict or theme in the poem and organize your explication accordingly.
Here is an example. A student’s explication of Wordsworth’s “Composed upon Westminster Bridge” might begin in the following way:
This poem dramatizes the conflict between appearance and reality, particularly as this conflict relates to what the speaker seems to say and what he really says. From Westminster Bridge, the speaker looks at London at sunrise, and he explains that all people should be struck by such a beautiful scene. The speaker notes that the city is silent, and he points to several specific objects, naming them only in general terms: “Ships, towers, domes, theatres, and temples” (6). After describing the “glittering” aspect of these objects, he asserts that these city places are just as beautiful in the morning as country places like “valley, rock, or hill” (8,10). Finally, after describing his deep feeling of calmness, the speaker notes how the “houses seem asleep” and that “all that mighty heart is lying still” (13, 14). In this way, the speaker seems to say simply that London looks beautiful in the morning.
The next paragraphs should expand the discussion of the conflict by focusing on details of form, rhetoric, syntax, and vocabulary. In these paragraphs, the writer should explain the poem line by line in terms of these details, and they should incorporate important elements of rhyme, rhythm, and meter during this discussion.
The student’s explication continues with a topic sentence that directs the discussion of the first five lines:
However, the poem begins with several oddities that suggest the speaker is saying more than what he seems to say initially. For example, the poem is an Italian sonnet and follows the abbaabbacdcdcd rhyme scheme. The fact that the poet chooses to write a sonnet about London in an Italian form suggests that what he says may not be actually praising the city. Also, the rhetoric of the first two lines seems awkward compared to a normal speaking voice: “Earth has not anything to show more fair. / Dull would he be of soul who could pass by” (1-2). The odd syntax continues when the poet personifies the city: “This City now doth, like a garment, wear / The beauty of the morning” (4-5). Here, the city wears the morning’s beauty, so it is not the city but the morning that is beautiful …
The explication has no formal concluding paragraph; do not simply restate the main points of the introduction! The end of the explication should focus on sound effects or visual patterns as the final element of asserting an explanation. Or, as does the undergraduate here, the writer may choose simply to stop writing when they reach the end of the poem:
The poem ends with a vague statement: “And all that mighty heart is lying still!” In this line, the city’s heart could be dead, or it could be simply deceiving the one observing the scene. In this way, the poet reinforces the conflict between the appearance of the city in the morning and what such a scene and his words actually reveal.
Refer to the speaking voice in the poem as the “speaker” or “the poet.” For example, do not write, “In this poem, Wordsworth says that London is beautiful in the morning.” However, you can write,
“In this poem, Wordsworth presents a speaker who…”
We cannot absolutely identify Wordsworth with the speaker of the poem, so it is more accurate to talk about “the speaker” or “the poet” in an explication.
Use the present tense when writing the explication. The poem, as a work of literature, continues to exist!
To avoid unnecessary uses of the verb “to be” in your compositions, the following list suggests some verbs you can use when writing the explication:
dramatizes presents illustrates characterizes underlines | asserts posits enacts connects portrays | contrasts juxtaposes suggests implies shows | addresses emphasizes stresses accentuates enables |
The Fountain
Fountain, fountain, what do you say Singing at night alone? “It is enough to rise and fall Here in my basin of stone.” But are you content as you seem to be So near the freedom and rush of the sea? “I have listened all night to its laboring sound, It heaves and sags, as the moon runs round; Ocean and fountain, shadow and tree, Nothing escapes, nothing is free.”
—Sara Teasdale (American, 1884-1933)
As a direct address to an inanimate object “The Fountain” presents three main conflicts concerning the appearance to the observer and the reality in the poem. First, since the speaker addresses an object usually considered voiceless, the reader may abandon his/her normal perception of the fountain and enter the poet’s imaginative address. Secondly, the speaker not only addresses the fountain but asserts that it speaks and sings, personifying the object with vocal abilities. These acts imply that, not only can the fountain speak in a musical form, but the fountain also has the ability to present some particular meaning (“what do you say” (1)). Finally, the poet gives the fountain a voice to say that its perpetual motion (rising and falling) is “enough” to maintain its sense of existence. This final personification fully dramatizes the conflict between the fountain’s appearance and the poem’s statement of reality by giving the object intelligence and voice.
The first strophe, four lines of alternating 4- and 3-foot lines, takes the form of a ballad stanza. In this way, the poem begins by suggesting that it will be story that will perhaps teach a certain lesson. The opening trochees and repetition stress the address to the fountain, and the iamb which ends line 1 and the trochee that begins line 2 stress the actions of the fountain itself. The response of the fountain illustrates its own rise and fall in the iambic line 3, and the rhyme of “alone” and “stone” emphasizes that the fountain is really a physical object, even though it can speak in this poem.
The second strophe expands the conflicts as the speaker questions the fountain. The first couplet connects the rhyming words “be” and “sea” these connections stress the question, “Is the fountain content when it exists so close to a large, open body of water like the ocean?” The fountain responds to the tempting “rush of the sea” with much wisdom (6). The fountain’s reply posits the sea as “laboring” versus the speaker’s assertion of its freedom; the sea becomes characterized by heavily accented “heaves and sags” and not open rushing (7, 8). In this way, the fountain suggests that the sea’s waters may be described in images of labor, work, and fatigue; governed by the moon, these waters are not free at all. The “as” of line 8 becomes a key word, illustrating that the sea’s waters are not free but commanded by the moon, which is itself governed by gravity in its orbit around Earth. Since the moon, an object far away in the heavens, controls the ocean, the sea cannot be free as the speaker asserts.
The poet reveals the fountain’s intelligence in rhyming couplets which present closed-in, epigrammatic statements. These couplets draw attention to the contained nature of the all objects in the poem, and they draw attention to the final line’s lesson. This last line works on several levels to address the poem’s conflicts. First, the line refers to the fountain itself; in this final rhymed couplet is the illustration of the water’s perpetual motion in the fountain, its continually recycled movement rising and falling. Second, the line refers to the ocean; in this respect the water cannot escape its boundary or control its own motions. The ocean itself is trapped between landmasses and is controlled by a distant object’s gravitational pull. Finally, the line addresses the speaker, leaving him/her with an overriding sense of fate and fallacy. The fallacy here is that the fountain presents this wisdom of reality to defy the speaker’s original idea that the fountain and the ocean appear to be trapped and free. Also, the direct statement of the last line certainly addresses the human speaker as well as the human reader. This statement implies that we are all trapped or controlled by some remote object or entity. At the same time, the assertion that “Nothing escapes” reflects the limitations of life in the world and the death that no person can escape. Our own thoughts are restricted by our mortality as well as by our limits of relying on appearances. By personifying a voiceless object, the poem presents a different perception of reality, placing the reader in the same position of the speaker and inviting the reader to question the conflict between appearance and reality, between what we see and what we can know.
The writer observes and presents many of the most salient points of the short poem, but they could indeed organize the explication more coherently. To improve this explication, the writer could focus more on the speaker’s state of mind. In this way, the writer could explore the implications of the dramatic situation even further: why does the speaker ask a question of a mute object? With this line of thought, the writer could also examine more closely the speaker’s movement from perplexity (I am trapped but the waters are free) to a kind of resolution (the fountain and the sea are as trapped as I am). Finally, the writer could include a more detailed consideration of rhythm, meter, and rhyme.
You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill
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Poetry & Poets
Explore the beauty of poetry – discover the poet within
Comparing two poems typically involves analyzing the content and structure of the poetry, as well as its universal themes, language, and the imagery used. Writing a poetry comparison essay is considered a formidable task for many because determining the similarities and differences between two pieces of poetry can be quite difficult. With the right approach, however, it’s quite possible to produce an impressive essay. For example, It’s essential to understand that it doesn’t suffice to point out the differences and similarities between two pieces of poetry, explain how they compare and contrast, and then summarize the findings. To write a successful paper, one needs to apply higher-level thinking to structure information gathered from researching the poems. This article provides useful tips on how to compare two poems and structure a successful poetry comparison essay.
The first step to writing a successful poetry comparison essay is finding two poems to compare. To facilitate this process, one can choose two poems by the same author or two poems on the same subject or theme. Alternatively, one can compare or contrast poems from different authors with content that explores the same themes, such as love, war, etc. Alternatively, one can go through existing literary criticism material or search in literary databases to find poets/poems to compare.
Next, it’s essential to put together a persuasive thesis statement that explains how two poems are related in terms of a specific literary element or idea. A thesis statement should make a direct, clear, and concise point. It’s also important to back up points made with direct citations or reference to the poems. Depending on the topic of the essay, the thesis statement may contain a number of concepts discussed in the body of the essay.
The structure of the paper should include an introduction with a thesis statement, a body, and a conclusion. A great example of an outline for this type of paper would be as follows: 1. Introduction with a thesis statement 2. Explain the first poem 3. Explain the second poem 4. Discussion of the differences and similarities between the two poems 5. Conclusion Moreover, it’s important to clearly point out how the comparison of the two poems relates back to the thesis statement. If the paper is more than 5 paragraphs, one may consider adding a paragraph discussing how each poem imparts a certain meaning or provides insight into a larger idea, such as how two poets view a single subject differently.
When discussing the structure of two poems, one must look at how both poems are organized. This includes paying attention to the titles of the poems, the length of the lines, and the use of words. Perhaps, one poem has a traditional structure and rhythm, while the other is more flexible in terms of structure. Maybe the two poems have a similar tone or mood, yet have different ideas about a particular topic. How the poems use language to provide perspective or build an idea is also essential to consider.
For this section, it’s important to focus on comparing the content and ideas of both poems. This includes looking at the themes, imagery, and characters in the poems, as well as the symbols, metaphors, and figurative language used by the characters. Likewise, one can analyze the type of diction and syntax that is used to create a certain tone or mood. Moreover, it’s important to consider how the message or meaning of a poem changes when it is viewed as part of a larger context. For example, is the author expressing a particular point of view, or is the poem a response to a previous poem?
The final element to consider when writing a poetry comparison essay is the universal themes that are evident in each poem. Universal themes are the underlying messages that give shape to the poem and can be found in most poems. Examples of universal themes include love, loss, mortality, loneliness, joy, and growth. It’s important to examine how the poets explore these universal themes in each poem and consider how the themes work together to create a unique perspective. Additionally, one can consider how a poem might be interpreted differently by different readers due to their personal experiences.
In conclusion, writing a successful poetry comparison essay requires an in-depth analysis of two poems and the development of an overall argument or point of view. It’s essential to pick two poems to compare, create a thesis statement, develop an organized outline, and analyze the structure, content, and universal themes of both poems. With the right attention to detail and strategy, it is possible to write a successful, impactful, and well-structured poetry comparison essay.
When evaluating the structure of both poems, one should focus on the title, length of lines, and the words used. For instance, one poem may have a traditional structure and rhythm, while the other might have a looser structure with irregular recurring patterns. On top of that, the two poems may or may not have the same tone or mood. It may be worth noting the difference in how the authors use words to help build their ideas.
When it comes to the content of both poems, consider to analyse the themes, characters, and symbols in each work. For example, what type of metaphors are used? What kind of diction and syntax help to create the mood and tone? Also, try to look at how the idea of each poem works within a larger context. For instance, is the poem a response to another poem or is it a stand-alone work?
The core messages in both pieces of poetry are known as the universal themes. These themes could be something like love, loss, or mortality. Look for these themes and analyse how each author explores those universal themes. Additionally, consider how the poem might be interpreted differently based upon different reader’s individual experiences.
When it comes to putting the paper together, you will need to create an outline. A great outline would be something like: Introduction, explanation of each poem, comparison of differences and similarities, and conclusion. Remind yourself of the thesis statement and make sure the comparison of both poems relates back to it. If the paper is more than 5 paragraphs, consider adding a section discussing how each poem imparts a certain meaning or provides insight into a larger idea.
Minnie Walters is a passionate writer and lover of poetry. She has a deep knowledge and appreciation for the work of famous poets such as William Wordsworth, Emily Dickinson, Robert Frost, and many more. She hopes you will also fall in love with poetry!
How to get a 9 on poetry analysis frq in ap® english literature.
Are you taking the AP® English Literature and Composition exam? If you’re taking the course or self-studying, you know the exam is going to be tough. Of course, you want to do your best and score a five on the exam. To do well on the AP® English Literature and Composition exam, you’ll need to score high on the essays. For that, you’ll need to write a complete, efficient essay that argues an accurate interpretation of the work under examination in the Free Response Question section.
The AP® English Literature and Composition exam consists of two sections, the first being a 55-question multiple choice portion worth 45% of the total test grade. This section tests your ability to read drama, verse, or prose fiction excerpts and answer questions about them. The second section worth 55% of the total score requires essay responses to three questions, demonstrating your ability to analyze literary works: a poem analysis, a prose fiction passage analysis, and a concept, issue, or element analysis of a literary work.
From your course or review practices, you should know how to construct a clear, organized essay that defends a focused claim about the work under analysis. Your should structure your essay with a brief introduction that includes the thesis statement, followed by body paragraphs that further the thesis statement with detailed, well-discussed support, and a short concluding paragraph that reiterates and reinforces the thesis statement without repeating it. Clear organization, specific support, and full explanations or discussions are three critical components of high-scoring essays.
Your teacher may have already told you how to approach the poetry analysis, but for the poetry essay, it’s important to keep the following in mind coming into the exam:
The newly-released 2016 sample AP® English Literature and Composition exam questions, sample responses, and grading rubrics provide a valuable opportunity to analyze how to achieve high scores on each of the three Section II FRQ responses. However, for purposes of this examination, the Poetry Analysis strategies will be the focus. The poem for analysis in last year’s exam was “The Juggler” by Richard Wilbur, a modern American poet. Exam takers were asked to analyze the following:
When you analyze the components of an influential essay, it’s helpful to compare all three sample answers provided by the CollegeBoard: the high scoring (A) essay, the mid-range scoring (B) essay, and the low scoring (C) essay. All three provide a teaching opportunity for achieving a nine on the poetry analysis essay.
The first sample essay, the A essay, quickly and succinctly introduces the author, title, thesis, elements, and devices. The writer’s introduction sentences are efficient: they contain no waste and give the reader a sense of the cohesiveness of the argument, including the role of each of the analyzed components in proving the thesis. The specificity of the details in the introduction shows that the writer is in control, with phrases like “frequent alliteration,” “off-kilter rhyme”, and “diction evoking an almost spiritual level of power”. The writer leaves nothing to guesswork.
The mid-range B essay introduction also cites some specific details in the poem, like “visual imagery (of the juggler and his balls), figurative language (the personification of the balls interacting with the juggler), and tone (the playful mood of the first two stanza)”. However, the writer wastes space and precious time (five whole lines!) with a vague and banal recitation of the prompt. The mid-range answer also doesn’t give the reader an understanding of an overarching thesis that he or she will use the elements and devices to support, merely a reference to the speaker’s “attitude”.
The third sample lacks cohesiveness, a thesis statement, and organization. The sentences read like a shotgun spray of facts and descriptions that give no direction to the reader of the writer’s approach: how he or she will use the elements and details listed to prove a thesis. The short, choppy sentences don’t connect, and the upshot is something so commonplace as Wilbur describes a talented juggler, who is also a powerful teacher. That doesn’t respond to the prompt, which requires an argument about what the juggler’s description reveals about the speaker.
To sum up, make introductions brief and compact, using specific details from the poem and a clear direction that address the call of the prompt. Writing counts. Short, choppy, disconnected sentences make an incoherent, unclear paragraph. Don’t waste time on sentences that don’t do the work ahead for you. Cut to the chase; be specific.
The A answer first supports the thesis by pointing out that alliteration and rhyme scheme depict the mood and disconnection of both the speaker and the crowd. The writer does this by noting how alliteration appears when the juggler performs, but not before. The student also notes how the mood and connection to the crowd cohere when the juggler juggles, the balls defying gravity and uplifting the crowd with the balls. Then, the writer wraps up the first point about description, devices, and elements by concluding that the unusual rhyme scheme echoes the unusual feat of juggling and controlling the mood of the crowd.
With a clear focus on attaching devices to individually quoted phrases and poem details, the student leads the reader through the first pass at proving the attitude of the poem’s speaker while commenting on possible meanings the tone, attitude, and devices suggest. Again, the student uses clear, logical, and precise quotes and references to the poem without wasting time on unsupported statements. Specific illustrations anchor each point.
For example, the student identifies the end rhyme as an unusual effect that mimics the unusual and gravity-defiant balls. Tying up the first paragraph, the student then goes on to thoroughly explain the connection between the cited rhyme scheme, the unique defiance of gravity, and the effect on the speaker. The organizational plan is as follows: point (assertion), illustration, and explanation.
The mid-range sample also cites specific details of the poem, such as the “sky-blue” juggler, a color that suggests playfulness, but then only concludes that euphony shows the speaker’s attitude toward the juggler without making that connection clear with an explanation. The writer simply concludes without proving that assertion. Without further explanation or exemplification, the author demonstrates no knowledge of the term “euphony”.
Sample C also alludes to the “sky-blue” juggler but doesn’t explain the significance. In fact, the writer makes a string of details from the poem appear significant without actually revealing anything about the details the writer notes. They’re merely a string of details.
Rather than merely noting quoted phrases and lines without explanation, the A response takes the time to thoroughly discuss the meaning of the quoted words, phrases, and sentences used to exemplify his or her assertions. For example, the second paragraph begins with an assertion that the speaker’s view of the world is evident through the diction used when describing the juggler and the juggler’s act. Immediately, the writer supplies proof by directing the reader to the first and last stanzas to find “lens,” “dusk”, and “daily dark”.
The selection of these particular diction choices demonstrates the writer’s knowledge of the term “diction” and how to support a conclusion the student will make by the end of the sentence that the speaker’s attitude toward the world around him is “not the brightest”. The writer gives a follow-up sentence to further convince the reader of the previous point about the speaker’s dim view by adding, “All the words and phrases used just fall flat, filled with connotations of dullness…”
Using the transition, “however”, the A response goes on to further explain that the juggler’s description contrasts with that of the speaker’s in its lightness, by again providing both specifically-quoted words and complete one or two full sentence follow-ups to the examples. In that way, the writer clarifies the connection between the examples and their use and meaning. Nothing is left unexplained–unlike the B response, which claims Wilbur uses personification, then gives a case of a quoted passage about the balls not being “lighthearted”.
After mentioning the term, the B essay writer merely concludes that Wilbur used personification without making the connection between “lighthearted” and personification. The writer might have written one additional sentence to show that balls as inanimate objects don’t have the emotions to be cheery nor lighthearted, only humans do. Thus, Wilbur personifies the balls. Likewise short of support, the writer concludes that the “life” of the balls through personification adds to the mystery and wonder–without further identifying the wonder or whose wonder and how that wonder results from the life of the balls.
While it’s more important to provide a substantive, organized, and clear argument throughout the body paragraphs than it is to conclude, a conclusion provides a satisfying rounding out of the essay and last opportunity to hammer home the content of the preceding paragraphs. If you run out of time for a conclusion because of the thorough preceding paragraphs, that is not as fatal to your score as not concluding or not concluding as robustly as the A essay sample (See the B essay conclusion).
The A response not only provides a quick but sturdy recap of all the points made throughout the body paragraphs (without repeating the thesis statement) but also reinforces those points by repeating them as the final parting remarks to the reader. The writer demonstrates not only the points made but the order of their appearance, which also showcases the overall structure of the essay.
Finally, a conclusion compositionally rounds out a gracious essay–polite because it considers the reader. You don’t want your reader to have to work hard to understand any part of your essay. By repeating recapped points, you help the reader pull the argument together and wrap up.
Though pressed for time, it’s important to write an essay with clear, correctly punctuated sentences and properly spelled words. Strong compositional skills create a favorable impression to the reader, like using appropriate transitions or signals (however, therefore) to tie sentences and paragraphs together, making the relationships between sentences clear (“also”–adding information, “however”–contrasting an idea in the preceding sentence).
Starting each paragraph with a clear topic sentence that previews the main idea or focus of the paragraph helps you the writer and the reader keep track of each part of your argument. Each section furthers your points on the way to convincing your reader of your argument. If one point is unclear, unfocused, or grammatically unintelligible, like a house of cards, the entire argument crumbles. Good compositional skills help you lay it all out orderly, clearly, and fully.
For example, the A response begins the first body paragraph with “In the first and last stanzas, no alliteration beyond ‘daily dark’ appears, evoking a tone that could hardly be described as cheerful”. The sentence, with grammatically-correct commas inserted to section off the lead-in phrase, “In the first and last stanzas,” as well as the dependent clause at the sentence’s end, “evoking a tone that…,” gives a road map to the reader as to the paragraph’s design: alliteration, tone, darkness. Then the writer hits all three of those with a complete explanation.
The next paragraph begins with a rather clunky, unwieldy sentence that nevertheless does the same as the first–keys the reader to the first point regarding the speaker’s view of the world and the devices and elements used to do so. It’s clear the writer tackles the speaker’s view, the juggler’s depiction, and diction choice–both as promised from the beginning in the thesis statement of the introductory paragraph and per the prompt. The writer uses the transition “In the first and last stanzas”, to tie the topic sentence to the examples he or she will use to prove the topic sentence; then the writer is off to do the same in the next paragraph.
So by the time the conclusion takes the reader home, the writer has done all of the following:
It’s easier than it sounds. To get a 9 on the poetry analysis essay in the AP® Literature and Composition exam, practice planning a response under strict time deadlines. Write as many practice essays as you can. Follow the same procedure each time.
First, be sure to read the instructions carefully, highlighting the parts of the prompt you absolutely must cover. Then map out a scratch outline of the order you intend to cover each point in support of your argument. Try and include not only a clear thesis statement, written as a complete sentence but the topic sentences to each paragraph followed by the quotes and details you’ll use to support the topic sentences. Then follow your map faithfully.
Be sure to give yourself enough time to give your essay a brief re-read to catch mechanical errors, missing words, or necessary insertions to clarify an incomplete or unclear thought. With time, an organized approach, and plenty of practice, earning a nine on the poetry analysis is manageable. Be sure to ask your teacher or consult other resources, like albert.io’s Poetic Analysis practice essays, if you’re unsure how to identify poetic devices and elements in poetry, or need more practice writing a poetry analysis.
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Main Paragraphs. Now, we come to the main body of the essay, the quality of which will ultimately determine the strength of our essay. This section should comprise of 4-5 paragraphs, and each of these should analyze an aspect of the poem and then link the effect that aspect creates to the poem's themes or message.
Poem Analysis Essay Outline. A well-defined structure is a solid framework for your writing. Sometimes our thoughts come quite chaotically, or vice versa, you spend many hours having no idea where to start writing. In both cases, a poem analysis outline will come to your aid. Many students feel that writing an essay plan is a waste of time.
A summary of the poetry analysis essay provides a concise overview of its content and structure. It helps the reader grasp the key elements of the poem before delving into the analysis. You need to: Summarize the content and structure of the poem. Highlight key events, images, or ideas presented in the poem.
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 ...
Poetry Analysis Essay Outline. An outline for a poetry analysis essay can be very simple. It is merely a guideline for the writer to build upon. Put the title of the paper at the top of the page, then place the number one (1) underneath, just before the word "Introduction." Under this, you can list brainstormed ideas for the introduction ...
Writing About Poetry. Writing about poetry can be one of the most demanding tasks that many students face in a literature class. Poetry, by its very nature, makes demands on a writer who attempts to analyze it that other forms of literature do not. So how can you write a clear, confident, well-supported essay about poetry?
Poetry Analysis Essay Outline. An outline for a poetry analysis essay can be very simple, as it is just a guideline for the writer to build upon as the first draft is written. When starting your introductions it would probably be best to put the essays title at the top of a page, then place a Roman numeral one (I) underneath, preceding the word ...
Analyzing Poetry. To analyze a poem, you must break it down into all its important elements and explain how they work together to create an effect or reinforce a meaning. Read your assignment carefully to find out what you're being asked to do, since there are many ways to present an analysis. You may, for example, be required to do research ...
Step 4: Consider Poetic Techniques. Read the poem several times, considering a single poetic technique at a time. For example, free verse and formal poems use line breaks. Read through the poem once, focusing on how the poet has broken lines, and the impact of those decisions. If the poem contains stanzas, do the same for stanzas.
Before writing your actual poem analysis essay, it is important to create an outline. This ensures that your essay flows smoothly, is easy to follow, and all of your arguments are tightly organized. Additionally, an outline also allows you to quickly identify areas that need further evidence or elaboration. Presenting Your Argument. Now that ...
Here is an outline of a poem analysis essay to use: Opening paragraph - Introduce the Poem, title, author and background.. Body of text - Make most of the analysis, linking ideas and referencing to the poem.. Conclusion - State one main idea, feelings and meanings.. Poem Analysis Essay Introduction. To start an introduction to a poem analysis essay, include the name of the poem and the author.
2. Write a conclusion that ties together everything that you have said about the poem. 3. This section may include some researched background on the poet or and the poem, if you so desire. Outline for an Explication of a Poem . I. Introduction A. Lead-in B. Identify the poem, the poet, the speaker and the situation
Key Strategies for Writing a Successful Poetry Essay. 1. Close Reading: Begin by closely reading the poem multiple times to understand its structure, themes, and language use. 2. Analysis: Analyze the poem's meaning, symbolism, and poetic devices such as metaphors, similes, and imagery. 3.
Poem Analysis Essay Outline. Every student knows that a well-detailed structure is the framework for your writing. While the smart way would be to seek professional help writing your essays, let's explore the key features of crafting a poem analysis yourself. Let's explore the key elements of a poem analysis essay structure, and how you can ...
The Poetry Essay counts for one-third of the total essay section score, so it's important to know how to approach this section. You'll want to plan for about 40 minutes on this question, which is plenty of time to read and dissect the prompt, read and markup the poem, write a brief outline, and write a concise, well-thought out essay with a ...
Create an Outline. With a strong understanding of the poem and the thesis in mind, begin to craft an outline for the essay. An outline allows for a clear structure and will make organizing all the information and evidence much easier. The outline should include the introduction, body, and conclusion, with each section further divided into ...
Poetry Explications. line Writing CenterWhat are. oetry explications?A poetry explication is an analytical essay that comments on a poem's elements an. possible meanings. In other words, writers make connections between the narrative of the poem and the literary choices the poet uses to convey that narrative such as imagery, tone, rhythm and met.
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.
An example of a thesis might be: "In his poem, 'Daffodils,' Wordsworth uses daffodils as a metaphor for a happy life." How to Write Outline. In order to outline your poetry essay, break up the outline into three main parts: introduction, argument, and conclusion. The introduction will introduce the poem and the poet and state your thesis.
Nonetheless, if you're new to writing poetry or want to explore a different writing process, try your hand at our approach. Here's how to write a poem step by step! 1. Devise a Topic. The easiest way to start writing a poem is to begin with a topic. However, devising a topic is often the hardest part.
A poetry explication is a relatively short analysis which describes the possible meanings and relationships of the words, images, and other small units that make up a poem. Writing an explication is an effective way for a reader to connect a poem's subject matter with its structural features. This handout reviews some of the important ...
10. Activity: Describing Content of each poem. 11. Examining universal themes. 12. Structuring the paper. Comparing two poems typically involves analyzing the content and structure of the poetry, as well as its universal themes, language, and the imagery used. Writing a poetry comparison essay is considered a formidable task for many because ...
To get a 9 on the poetry analysis essay in the AP® Literature and Composition exam, practice planning a response under strict time deadlines. Write as many practice essays as you can. Follow the same procedure each time. First, be sure to read the instructions carefully, highlighting the parts of the prompt you absolutely must cover.