short poem about research paper

• Poetry Contests

The Ten Best Poems to Analyze

by Adam Sedia

The Roman poet Horace famously set forth the twofold purpose of poetry: to teach and to delight. The sheer aesthetic and imaginative language of poetry is often on its own enough to delight, but in analyzing the poem teaching and delighting converge. The reader both unearths the deeper, hidden meanings of the poem and at the same time derives an intellectual satisfaction at the discovery.

Not all poems contain the same analytical depth, however. Some are “tougher nuts to crack” to arrive at their analytical core or contain multiple layers or facets of meaning that are equally valid from the face of the text. The list below collects ten of these analytically-intensive poems to provide a basic illustration of this type of poem.

Selecting a poem as analytically “deep” is not meant to disparage other poems. Many fine poems excluded from this list sacrifice analytical depth for directness of message, beauty or innovativeness of language, or narrative drama. All of these legitimate poetic goals justify at times sacrifice of analytical depth, and that does not detract from the poem’s merit. Consequently, this list is not to be construed as a sort of “best poems” compilation. Analytical depth alone is not the “be all and end all” of poetry.

It is also necessary here to set forth three qualifications. First, and most obviously, the poems selected are confined only to those written in English. Textual analysis is serious work, able to be undertaken seriously only in the native language of the text. Many great poems in other languages have at least the same level of analytical depth as those presented here, but doing them justice would require presentation in their native language and discussion of their subtleties in the original, which is far beyond the scope of this compilation.

Second, this list omits epic poems from consideration. The best epics have an analytical richness derived from a combination of the language and the narrative structure, and including them would crowd out lyric poems from the list that often have analytical depth as their primary feature. Accordingly, the list focuses exclusively on lyric and short narrative poems.

And finally, the list is confined only to classical poems—that is, poems written in meter according to form. Modernist works like those of William Butler Yeats, T.S. Eliot, and Ezra Pound are written in a hyper-elusive cubist style that demands exhaustive analysis, usually without any particular meaning intended. It can even be said that in modernist and contemporary poetry, analysis, not aesthetics, serves as the primary poetic end. Including modernist poetry in the list would be to give it an unfair advantage in the field of analytical depth.

In many ways, analytical depth is harder to achieve in a classical poem, where formal strictures demand unity of language and structural coherence, and do not allow for a stream-of-consciousness presentation of images that characterizes modernist poetry. This list, then, presents the best analytically deep poems that achieve their depth within the confines and exquisiteness of classical form.

1. Sonnet 142 by William Shakespeare (1609)

Love is my sin, and thy dear virtue hate, Hate of my sin, grounded on sinful loving: O, but with mine compare thou thine own state, And thou shalt find it merits not reproving; Or, if it do, not from those lips of thine, That have profan’d their scarlet ornaments And seal’d false bonds of love as oft as mine, Robb’d others’ beds’ revenues of their rents. Be it lawful I love thee, as thou lov’st those Whom thine eyes woo as mine importune thee: Root pity in thy heart, that when it grows, Thy pity may deserve to pitied be. ⁠ If thou dost seek to have what thou dost hide, ⁠ By self-example mayst thou be denied!

All of Shakespeare’s 154 sonnets are masterpieces, and many contain many facets and layers of analysis, so selection from among them was difficult. Sonnet 142, though, comes first because of its striking use of contrast and innovative use of form. Shakespeare transforms love into sin and hate into virtue; below the superficial curse is an urging to pity. The structural analysis is also intriguing: although the rhyme scheme is Shakespearian, the presentation of the solution at the beginning of the third quatrain resembles more the Italian form of the sonnet.

2. “A Valediction: Forbidding Mourning” by John Donne (1633)

As virtuous men pass mildly away, And whisper to their souls to go, Whilst some of their sad friends do say, ⁠“Now his breath goes,” and some say, “No.”

So let us melt, and make no noise, ⁠No tear-floods, nor sigh-tempests move; ‘Twere profanation of our joys ⁠To tell the laity our love.

Moving of th’ earth brings harms and fears; ⁠Men reckon what it did, and meant; But trepidation of the spheres, ⁠Though greater far, is innocent.

Dull sublunary lovers’ love ⁠—Whose soul is sense—cannot admit Of absence, ‘cause it doth remove ⁠The thing which elemented it.

But we by a love so much refined, ⁠That ourselves know not what it is, Inter-assurèd of the mind, ⁠Care less, eyes, lips and hands to miss.

Our two souls therefore, which are one, ⁠Though I must go, endure not yet A breach, but an expansion, ⁠Like gold to aery thinness beat.

If they be two, they are two so ⁠As stiff twin compasses are two; Thy soul, the fix’d foot, makes no show ⁠To move, but doth, if th’ other do.

And though it in the centre sit, ⁠Yet, when the other far doth roam, It leans, and hearkens after it, ⁠And grows erect, as that comes home.

Such wilt thou be to me, who must, ⁠Like th’ other foot, obliquely run; Thy firmness makes my circle just ⁠And makes me end where I begun.

Donne’s style is labeled “metaphysical” for its philosophical treatment of its subjects, and this “Valediction” is regarded as one of the finest examples of metaphysical poetry. Here, Donne weaves together conceits (extended metaphors), ultimately comparing the union of souls to the ends of a compass, with each soul’s path likened to the infinity of the circle. Along the way, Donne introduces several metaphysical ideas, including a discussion of astronomy (“trepidation of the spheres” and “sublunary”) and the nature of the soul. What is ostensibly a love poem is actually a deep philosophical contemplation of the human soul.

3. “The Sick Rose” by William Blake (1789)

O Rose thou art sick, The invisible worm That flies in the night, In the howling storm,

Has found out thy bed Of crimson joy: And his dark secret love Does thy life destroy.

From Blake’s Songs of Innocence and Experience , this short, eight-line poem has been called “one of the most baffling and enigmatic in the English language.” It lends itself to myriad interpretations, from the ravages of syphilis on the eighteenth-century nobility to the effect of experience on the human condition. Its open metaphors and laconic tone make the interpretive possibilities endless.

4. “Ode: Intimations of Immortality from Recollections of Early Childhood” by William Wordsworth (1815)

The Child is father of the Man; And I could wish my days to be Bound each to each by natural piety.

I. There was a time when meadow, grove, and stream, The earth, and every common sight, To me did seem Apparelled in celestial light, The glory and the freshness of a dream. It is not now as it hath been of yore;— Turn wheresoe’er I may, By night or day, The things which I have seen I now can see no more.

II. The rainbow comes and goes, And lovely is the rose; The moon doth with delight Look round her when the heavens are bare; Waters on a starry night Are beautiful and fair; The sunshine is a glorious birth; But yet I know, where’er I go, That there hath passed away a glory from the earth.

III. Now, while the birds thus sing a joyous song, And while the young lambs bound As to the tabor’s sound, To me alone there came a thought of grief: A timely utterance gave that thought relief, And I again am strong. The cataracts blow their trumpets from the steep; No more shall grief of mine the season wrong; I hear the echoes through the mountains throng; The winds come to me from the fields of sleep, And all the earth is gay; Land and sea Give themselves up to jollity, And with the heart of May Doth every beast keep holiday. Thou child of joy, Shout round me, let me hear thy shouts, thou happy shepherd-boy!

IV. Ye blessed creatures, I have heard the call Ye to each other make; I see The heavens laugh with you in your jubilee; My heart is at your festival. My head hath its coronal, The fulness of your bliss, I feel—I feel it all. Oh evil day if I were sullen While Earth herself is adorning This sweet May morning, And the children are culling On every side, In a thousand valleys far and wide, Fresh flowers, while the sun shines warm, And the babe leaps up on his mother’s arm: I hear, I hear, with joy I hear! —But there’s a tree, of many, one, A single field which I have looked upon, Both of them speak of something that is gone: The pansy at my feet Doth the same tale repeat. Whither is fled the visionary gleam? Where is it now, the glory and the dream?

V. Our birth is but a sleep and a forgetting: The soul that rises with us, our life’s star, Hath had elsewhere its setting, And cometh from afar; Not in entire forgetfulness, And not in utter nakedness, But trailing clouds of glory do we come From God, who is our home. Heaven lies about us in our infancy! Shades of the prison-house begin to close Upon the growing boy, But he beholds the light, and whence it flows, He sees it in his joy; The youth, who daily farther from the East Must travel, still is nature’s priest, And by the vision splendid Is on his way attended; At length the man perceives it die away, And fade into the light of common day.

VI. Earth fills her lap with pleasures of her own; Yearnings she hath in her own natural kind, And even with something of a mother’s mind, And no unworthy aim, The homely nurse doth all she can To make her foster-child, her inmate man, Forget the glories he hath known, And that imperial palace whence he came.

VII. Behold the child among his new-born blisses, A six years’ darling of a pigmy size! See, where ‘mid work of his own hand he lies, Fretted by sallies of his mother’s kisses, With light upon him from his father’s eyes! See at his feet some little plan or chart, Some fragment from his dream of human life, Shaped by himself with newly-learned art— A wedding or a festival, A mourning or a funeral; And this hath now his heart, And unto this he frames his song. Then will he fit his tongue To dialogues of business, love, or strife: But it will not be long Ere this be thrown aside, And with new joy and pride The little actor cons another part, Filling from time to time his ‘humorous stage’ With all the persons, down to palsied age, That Life brings with her in her equipage, As if his whole vocation Were endless imitation.

VIII. Thou, whose exterior semblance doth belie Thy soul’s immensity; Thou, best philosopher, who yet dost keep Thy heritage, thou eye among the blind, That, deaf and silent, read’st the eternal deep, Haunted for ever by the eternal mind,— Mighty prophet! seer blest! On whom those truths do rest, Which we are toiling all our lives to find, In darkness lost, the darkness of the grave; Thou, over whom thy immortality Broods like the day, a master o’er a slave, A presence which is not to be put by; Thou little child, yet glorious in the might Of heaven-born freedom on thy being’s height, Why with such earnest pains dost thou provoke The years to bring the inevitable yoke, Thus blindly with thy blessedness at strife? Full soon thy soul shall have her earthly freight, And custom lie upon thee with a weight, Heavy as frost, and deep almost as life!

IX. O joy, that in our embers Is something that doth live, That nature yet remembers What was so fugitive! The thought of our past years in me doth breed Perpetual benediction: not indeed For that which is most worthy to be blest— Delight and liberty, the simple creed Of childhood, whether busy or at rest, With new-fledged hope still fluttering in his breast:— Not for these I raise The song of thanks and praise; But for those obstinate questionings Of sense and outward things, Fallings from us, vanishings; Blank misgivings of a creature Moving about in worlds not realized, High instincts before which our mortal nature Did tremble like a guilty thing surprised: But for those first affections, Those shadowy recollections, Which, be they what they may, Are yet the fountain light of all our day, Are yet a master light of all our seeing; Uphold us, cherish, and have power to make Our noisy years seem moments in the being Of the eternal silence: truths that wake, To perish never; Which neither listlessness, nor mad endeavor, Nor man nor boy, Nor all that is at enmity with joy, Can utterly abolish or destroy! Hence in a season of calm weather, Though inland far we be, Our souls have sight of that immortal sea Which brought us hither, Can in a moment travel thither, And see the children sport upon the shore, And hear the mighty waters rolling evermore.

X. Then sing, ye birds! sing, sing a joyous song! And let the young lambs bound As to the tabor’s sound! We in thought will join your throng, Ye that pipe and ye that play, Ye that through your hearts to-day Feel the gladness of the May! What though the radiance which was once so bright Be now forever taken from my sight, Though nothing can bring back the hour Of splendor in the grass, of glory in the flower? We will grieve not, rather find Strength in what remains behind; In the primal sympathy Which, having been, must ever be; In the soothing thoughts that spring Out of human suffering; In the faith that looks through death, In years that bring the philosophic mind.

XI. And O ye fountains, meadows, hills, and groves, Forebode not any severing of our loves! Yet in my heart of hearts I feel your might; I only have relinquished one delight To live beneath your more habitual sway. I love the brooks, which down their channels fret, Even more than when I tripped lightly as they: The innocent brightness of a new-born day Is lovely yet: The clouds that gather round the setting sun Do take a sober coloring from an eye That hath kept watch o’er man’s mortality; Another race hath been, and other palms are won. Thanks to the human heart by which we live, Thanks to its tenderness, its joys, and fears, To me the meanest flower that blows can give Thoughts that do often lie too deep for tears.

Typically Wordsworth’s poetry is clear and direct, easily understandable on a first reading. Highly atypical of Wordsworth, the “Ode: Intimations of Immortality from Recollections of Early Childhood” is a discursive, deeply philosophical poem that requires an understanding of Platonism to grasp fully. At its core, the poem views the human soul as originating in the realm of the ideal, and the conflict of life is to return to that ideal despite its loss as the world makes its impressions on the developing mind. The poem’s length allows for several detailed elaborations of this idea.

5. “Ozymandias” by Percy Bysshe Shelley (1818)

This sonnet packs in multiple layers of meaning. The most obvious reading addresses the futility of human grandeur, but closer reading reveals a message about art and artists, and how artistic portrayal turns perception into reality. Combine this with a complex, double-layered narrative structure and historical allusions to Napoleon, and the reader has a deep and multidimensional work to enjoy.

6. “My Last Duchess” by Robert Browning (1842)

That’s my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now; Fra Pandolf’s hands Worked busily a day, and there she stands. Will’t please you sit and look at her? I said “Fra Pandolf” by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, ’twas not Her husband’s presence only, called that spot Of joy into the Duchess’ cheek; perhaps Fra Pandolf chanced to say, “Her mantle laps Over my lady’s wrist too much,” or “Paint Must never hope to reproduce the faint Half-flush that dies along her throat.” Such stuff Was courtesy, she thought, and cause enough For calling up that spot of joy. She had A heart—how shall I say?— too soon made glad, Too easily impressed; she liked whate’er She looked on, and her looks went everywhere. Sir, ’twas all one! My favour at her breast, The dropping of the daylight in the West, The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace—all and each Would draw from her alike the approving speech, Or blush, at least. She thanked men—good! but thanked Somehow—I know not how—as if she ranked My gift of a nine-hundred-years-old name With anybody’s gift. Who’d stoop to blame This sort of trifling? Even had you skill In speech—which I have not—to make your will Quite clear to such an one, and say, “Just this Or that in you disgusts me; here you miss, Or there exceed the mark”—and if she let Herself be lessoned so, nor plainly set Her wits to yours, forsooth, and made excuse— E’en then would be some stooping; and I choose Never to stoop. Oh, sir, she smiled, no doubt, Whene’er I passed her; but who passed without Much the same smile? This grew; I gave commands; Then all smiles stopped together. There she stands As if alive. Will’t please you rise? We’ll meet The company below, then. I repeat, The Count your master’s known munificence Is ample warrant that no just pretense Of mine for dowry will be disallowed; Though his fair daughter’s self, as I avowed At starting, is my object. Nay, we’ll go Together down, sir. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me!

Along with “Porphyria’s Lover,” this is one of Browning’s most well-known dramatic monologues. The speaker is an actual historical figure, Alfonso II, Duke of Ferrara (1533-1598), describing his deceased last wife, Lucrezia de’ Medici (1545-1561), to the ambassador of the Austrian emperor, whose daughter he plans to marry next (see images above of Alfonso and Lucrezia). The duke’s monologue offers a psychologically rich profile of paranoia and narcissism, all of which must be considered in light of the audience to whom Browning has him speaking. This short monologue provides one of the best examples of psychological analysis in literature.

7. “The Raven” by Edgar Allan Poe (1845)

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 visiter,” I muttered, “tapping at my chamber door — Only this and nothing more.”

Ah, distinctly I remember it was in the bleak December; And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow; — vainly I had sought to borrow From my books surcease of sorrow — sorrow for the lost Lenore — For the rare and radiant maiden whom the angels name Lenore — Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain Thrilled me — filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, I stood repeating “ ’Tis some visiter entreating entrance at my chamber door — Some late visiter entreating entrance at my chamber door; — This it is and nothing more.”

Presently my soul grew stronger; hesitating then no longer, “Sir,” said I, “or Madam, truly your forgiveness I implore; But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you” — here I opened wide the door; —— Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before; But the silence was unbroken, and the stillness gave no token, And the only word there spoken was the whispered word, “Lenore?” This I whispered, and an echo murmured back the word, “Lenore!” — Merely this and nothing more.

Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping somewhat louder than before. “Surely,” said I, “surely that is something at my window lattice; Let me see, then, what thereat is, and this mystery explore — Let my heart be still a moment and this mystery explore;— ‘Tis the wind and nothing more!”

Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately Raven of the saintly days of yore; Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door — Perched upon a bust of Pallas just above my chamber door — Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore, “Though thy crest be shorn and shaven, thou,” I said, “art sure no craven, Ghastly grim and ancient Raven wandering from the Nightly shore — Tell me what thy lordly name is on the Night’s Plutonian shore!” Quoth the Raven “Nevermore.”

Much I marvelled this ungainly fowl to hear discourse so plainly, Though its answer little meaning — little relevancy bore; For we cannot help agreeing that no living human being Ever yet was blessed with seeing bird above his chamber door — Bird or beast upon the sculptured bust above his chamber door, With such name as “Nevermore.”

But the Raven, sitting lonely on the placid bust, spoke only That one word, as if his soul in that one word he did outpour. Nothing farther then he uttered — not a feather then he fluttered — Till I scarcely more than muttered “Other friends have flown before — On the morrow he will leave me, as my Hopes have flown before.” Then the bird said “Nevermore.”

Startled at the stillness broken by reply so aptly spoken, “Doubtless,” said I, “what it utters is its only stock and store Caught from some unhappy master whom unmerciful Disaster Followed fast and followed faster till his songs one burden bore — Till the dirges of his Hope that melancholy burden bore Of ‘Never — nevermore’.”

But the Raven still beguiling my sad fancy into smiling, Straight I wheeled a cushioned seat in front of bird, and bust and door; Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking what this ominous bird of yore — What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking “Nevermore.”

This I sat engaged in guessing, but no syllable expressing To the fowl whose fiery eyes now burned into my bosom’s core; This and more I sat divining, with my head at ease reclining On the cushion’s velvet lining that the lamp-light gloated o’er, But whose velvet-violet lining with the lamp-light gloating o’er, She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer Swung by seraphim whose foot-falls tinkled on the tufted floor. “Wretch,” I cried, “thy God hath lent thee — by these angels he hath sent thee Respite — respite and nepenthe, from thy memories of Lenore; Quaff, oh quaff this kind nepenthe and forget this lost Lenore!” Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil! — prophet still, if bird or devil! — Whether Tempter sent, or whether tempest tossed thee here ashore, Desolate yet all undaunted, on this desert land enchanted — On this home by Horror haunted — tell me truly, I implore — Is there — is there balm in Gilead? — tell me — tell me, I implore!” Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil! — prophet still, if bird or devil! By that Heaven that bends above us — by that God we both adore — Tell this soul with sorrow laden if, within the distant Aidenn, It shall clasp a sainted maiden whom the angels name Lenore — Clasp a rare and radiant maiden whom the angels name Lenore.” Quoth the Raven “Nevermore.”

“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting — “Get thee back into the tempest and the Night’s Plutonian shore! Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken! — quit the bust above my door! Take thy beak from out my heart, and take thy form from off my door!” Quoth the Raven “Nevermore.”

And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon’s that is dreaming, And the lamp-light o’er him streaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor Shall be lifted — nevermore!

Poe’s reputation as a master of the macabre does this poem serious injustice. Far more than just a creepy tale, “The Raven” represents the inward battle with nihilism as hinted in the raven’s mantra, “nevermore.” The raven itself presents a masterful use of personification of an idea, and Poe draws the reader into the inward psychological battle raging in the speaker as he confronts nihilism personified.

8. “Dover Beach” by Matthew Arnold (1867)

The sea is calm tonight. The tide is full, the moon lies fair Upon the straits; on the French coast the light Gleams and is gone; the cliffs of England stand, Glimmering and vast, out in the tranquil bay. Come to the window, sweet is the night-air! Only, from the long line of spray Where the sea meets the moon-blanched land, Listen! you hear the grating roar Of pebbles which the waves draw back, and fling, At their return, up the high strand, Begin, and cease, and then again begin, With tremulous cadence slow, and bring The eternal note of sadness in.

Sophocles long ago Heard it on the Ægean, and it brought Into his mind the turbid ebb and flow Of human misery; we Find also in the sound a thought, Hearing it by this distant northern sea.

The Sea of Faith Was once, too, at the full, and round earth’s shore Lay like the folds of a bright girdle furled. But now I only hear Its melancholy, long, withdrawing roar, Retreating, to the breath Of the night-wind, down the vast edges drear And naked shingles of the world.

Ah, love, let us be true To one another! for the world, which seems To lie before us like a land of dreams, So various, so beautiful, so new, Hath really neither joy, nor love, nor light, Nor certitude, nor peace, nor help for pain; And we are here as on a darkling plain Swept with confused alarms of struggle and flight, Where ignorant armies clash by night.

As with Browning, Arnold offers a poem of psychological depth by presenting a monologue with an identified speaker (a woman, the object of the speaker’s professed love). And like “The Raven,” the poem offers an analysis of the individual reaction to nihilism. The speaker quite literally “stares into the abyss” and ponders what remains when faith and the certitude it gives have been lost. Along the way the poem presents several complex metaphors and Classical allusions. Ostensibly the poem ends by seeking solace in love, but the resolution—likely intentionally—seems an inadequate self-delusion.

9. “Stopping by the Woods on a Snowy Evening” by Robert Frost (1923)

My little horse must think it queer To stop without a farmhouse near Between the woods and frozen lake The darkest evening of the year.

He gives his harness bells a shake To ask if there is some mistake. The only other sound’s the sweep Of easy wind and downy flake.

The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.

Stylistically, this poem is classic Frost: direct in its description, with simple, almost laconic language. But the simple surface presents a rich series of metaphors: the woods, the horse’s presumed thoughts, and the “sleep” referenced at the end. On one level, the speaker is transfixed by the beauty of the scene, but on another, like “Dover Beach,” the speaker here stares into the abyss and confronts the mystery its darkness presents.

10. “We Real Cool” by Gwendolyn Brooks (1959)

The Pool Players. Seven at the Golden Shovel.

We real cool. We Left school. We

Lurk late. We Strike straight. We

Sing sin. We Thin gin. We

Jazz June. We Die soon.

At a mere eight lines and twenty-four syllables (all of monosyllabic words), this poem packs the most punch into its sparse form with an explosion of rhyme, alliteration, anaphora, and staccato-like meter. The poem imagines pool players at a bar making various boasts, each one alluding to the Seven Deadly Sins, and offers a Biblical warning at the end: “The wages of sin is death.” Who are the cool-seeming “Pool Players” today and what do they do? What may be their end? The poem naturally leads to a host of ominous reflections and avenues for analysis.

Adam Sedia  (b. 1984) lives in his native Northwest Indiana and practices law as a civil and appellate litigator. In addition to the Society’s publications, his poems and prose works have appeared in The Chained Muse Review, Indiana Voice Journal, and other literary journals. He is also a composer, and his musical works may be heard on his YouTube channel.

NOTE TO READERS: If you enjoyed this poem or other content, please consider making a donation to the Society of Classical Poets.

The Society of Classical Poets does not endorse any views expressed in individual poems or commentary.

CODEC Stories:

Share this:.

• Click to share on Twitter (Opens in new window)
• Click to share on Facebook (Opens in new window)
• Click to print (Opens in new window)
• Click to share on LinkedIn (Opens in new window)
• Click to share on WhatsApp (Opens in new window)
• Click to email a link to a friend (Opens in new window)
• Click to share on Pinterest (Opens in new window)

11 Responses

Wow! Adam. Grand slam. Great selections and terse, cogent, summary analyses that could serve as an introduction to a master class on poetry for college level students and even high school if the teacher were as enthusiastic about the subject as you are! Ask, “Choose one of the described poems and write a three-page reflection on its possible meaning(s) and how it might relate to your own life, thoughts and experience.”

If I were to suggest an additional poem it would be any number of those written by Emily Dickerson, many of which are provocativly enigmatic and multi-layered in meaning.

Excellent and eloquent as always, Adam.

Thank you! I thought it best to keep my summaries terse. Providing too much of my analysis would ruin the fun of analyzing the poems on one’s own.

I agonized over this list. I wanted to provide a nice array of styles and time periods, so I had to omit some poets and poems that would have fit well in this list.

I liked this compilation a lot, Adam. “Dover Beach is one of my all-time favorite poems, which I never tire of re-reading. Another favorite of mine is Dylan Thomas’ “A Refusal to Mourn…,” which also lends itself to deep analysis, Robert Frost’s dictum that to much explaining can ruin a poem notwithstanding.

This articulate, informative, and straightforward post by Adam is one of the reasons why the SCP is growing in popularity every single day. The teaching of good literature in the American public schools is now virtually dead or corrupted by left-liberalism and wokeism. Adam shows what real education in literature is supposed to do.

If any English teacher were to attempt to put together a syllabus for a poetry class using these ten excellent poems, and to explicate them with Adam’s succinct clarity, he would be chastised and dismissed by his supervisors. Even Brooks’s excellent “We Real Cool” would be off-limits as subject matter, because it presents “a negative, racist, and stereotypical picture of black ghetto life.” (No kidding — that’s the kind of thinking that dominates English departments today.)

You touch on an important point. Pedagogy is crucial, and our children are being deliberately kept from civilization’s greatest works. How is intellectual starvation any less a crime than physical starvation?

Once upon a time I wanted to be an academic but knew I would never survive in academia. Turns out, I learn later, that law has become just as woke. I really would like to turn back to my original passion and teach the world about great poetry. The SCP is doing a marvelous job on that with its “best of” series. I also hope to contribute more essays here.

Adam – Thank you for this marvelous and highly educational compilation. Amazingly, the one time that I studied poetry – for a two week period in a high school freshman English class – the last three poems on your list, along with “Mother to Son” by Langston Hughes, were the poems that stayed in my mind forever, and gave me the idea to try writing poetry a full fifty years later. This terrific work is indeed a brilliant example of SCP’s uniqueness.

Thank you for sharing your story. It’s not so much a case of “great minds think alike” as great poetry being immediately recognizable (it’s pretty wild that three of these poems were taught in your class). Reading great poetry was what inspired me to try my hand at it as well. Nothing is as inspiring as reading great work.

Adam, thank you for this stimulating contribution. My first guess at the poems that would be included was “My Last Duchess.” Imagine my delight to see that you agree! Does “We Real Cool” allude to all seven of the Deadly Sins? I recognized only pride (real cool), wrath (strike straight), sloth (left school), avarice (thin gin), and lust (jazz June).

The remaining two (gluttony and envy) had to be excluded from Brooks’s composition for aesthetic reasons. Her description is of young men who live the “fast life,” and who come to youthful death as a result of their living in a world of macho swaggering, wenching, drinking, and fighting.

Gluttony would not fit here, as it is not the most typical sin of such young men — and besides, gluttony is a more fitting subject for a comic poem. Envy is also not suited to the poem, since it is not an immediately visible sin, and is therefore not easy to depict. Besides, tough young guys are mostly known for their pride, arrogance, and truculence, while envy is usually associated with quiet little nerds.

Every decision in writing a poem is primarily based on aesthetic effect before anything else.

Adam, what an admirable job you’ve done with the choices made and the write ups… just enough information to intrigue and engage, but plenty of room left to explore. Wonderful!

Wow! It was as though we were walking through the forest and watching all the leaves change color and picking out which color is the best one holding your breath in wee of the view in the forest.

Leave a Reply Cancel Reply

Your email address will not be published.

Captcha loading... In order to pass the CAPTCHA please enable JavaScript.

Notify me of follow-up comments by email.

Notify me of new posts by email.

This site uses Akismet to reduce spam. Learn how your comment data is processed .

EH -- Researching Poems: Strategies for Poetry Research

• Find Articles
• Strategies for Poetry Research

Page Overview

This page addresses the research process -- the things that should be done before the actual writing of the paper -- and strategies for engaging in the process.  Although this LibGuide focuses on researching poems or poetry, this particular page is more general in scope and is applicable to most lower-division college research assignments.

Before You Begin

Before beginning any research process, first be absolutely sure you know the requirements of the assignment.  Things such as  

• the date the completed project is due 
• the due dates of any intermediate assignments, like turning in a working bibliography or notes
• the length requirement (minimum word count), if any 
• the minimum number and types (for example, books or articles from scholarly, peer-reviewed journals) of sources required

These formal requirements are as much a part of the assignment as the paper itself.  They form the box into which you must fit your work.  Do not take them lightly.

When possible, it is helpful to subdivide the overall research process into phases, a tactic which

• makes the idea of research less intimidating because you are dealing with sections at a time rather than the whole process
• makes the process easier to manage
• gives a sense of accomplishment as you move from one phase to the next

Characteristics of a Well-written Paper

Although there are many details that must be given attention in writing a research paper, there are three major criteria which must be met.  A well-written paper is

• Unified:  the paper has only one major idea; or, if it seeks to address multiple points, one point is given priority and the others are subordinated to it.
• Coherent: the body of the paper presents its contents in a logical order easy for readers to follow; use of transitional phrases (in addition, because of this, therefore, etc.) between paragraphs and sentences is important.
• Complete:  the paper delivers on everything it promises and does not leave questions in the mind of the reader; everything mentioned in the introduction is discussed somewhere in the paper; the conclusion does not introduce new ideas or anything not already addressed in the paper.

Basic Research Strategy

• How to Research From Pellissippi State Community College Libraries: discusses the principal components of a simple search strategy.
• Basic Research Strategies From Nassau Community College: a start-up guide for college level research that supplements the information in the preceding link. Tabs two, three, and four plus the Web Evaluation tab are the most useful for JSU students. As with any LibGuide originating from another campus, care must be taken to recognize the information which is applicable generally from that which applies solely to the Guide's home campus. .
• Information Literacy Tutorial From Nassau Community College: an elaboration on the material covered in the preceding link (also from NCC) which discusses that material in greater depth. The quizzes and surveys may be ignored.

Things to Keep in Mind

Although a research assignment can be daunting, there are things which can make the process less stressful, more manageable, and yield a better result.  And they are generally applicable across all types and levels of research.

1.  Be aware of the parameters of the assignment: topic selection options, due date, length requirement, source requirements.  These form the box into which you must fit your work.  

2. Treat the assignment as a series of components or stages rather than one undivided whole.

• devise a schedule for each task in the process: topic selection and refinement (background/overview information), source material from books (JaxCat), source material from journals (databases/Discovery), other sources (internet, interviews, non-print materials); the note-taking, drafting, and editing processes.
• stick to your timetable.  Time can be on your side as a researcher, but only if you keep to your schedule and do not delay or put everything off until just before the assignment deadline. 

3.  Leave enough time between your final draft and the submission date of your work that you can do one final proofread after the paper is no longer "fresh" to you.  You may find passages that need additional work because you see that what is on the page and what you meant to write are quite different.  Even better, have a friend or classmate read your final draft before you submit it.  A fresh pair of eyes sometimes has clearer vision. 

4.  If at any point in the process you encounter difficulties, consult a librarian.  Hunters use guides; fishermen use guides.  Explorers use guides.  When you are doing research, you are an explorer in the realm of ideas; your librarian is your guide. 

A Note on Sources

Research requires engagement with various types of sources.

• Primary sources: the thing itself, such as letters, diaries, documents, a painting, a sculpture; in lower-division literary research, usually a play, poem, or short story.
• Secondary sources: information about the primary source, such as books, essays, journal articles, although images and other media also might be included.  Companions, dictionaries, and encyclopedias are secondary sources.
• Tertiary sources: things such as bibliographies, indexes, or electronic databases (minus the full text) which serve as guides to point researchers toward secondary sources.  A full text database would be a combination of a secondary and tertiary source; some books have a bibliography of additional sources in the back.

Accessing sources requires going through various "information portals," each designed to principally support a certain type of content.  Houston Cole Library provides four principal information portals:

• JaxCat online catalog: books, although other items such as journals, newspapers, DVDs, and musical scores also may be searched for.
• Electronic databases: journal articles, newspaper stories, interviews, reviews (and a few books; JaxCat still should be the "go-to" portal for books).  JaxCat indexes records for the complete item: the book, journal, newspaper, CD but has no records for parts of the complete item: the article in the journal, the editorial in the newspaper, the song off the CD.  Databases contain records for these things.
• Discovery Search: mostly journal articles, but also (some) books and (some) random internet pages.  Discovery combines elements of the other three information portals and is especially useful for searches where one is researching a new or obscure topic about which little is likely to be written, or does not know where the desired information may be concentrated.  Discovery is the only portal which permits simul-searching across databases provided by multiple vendors.
• Internet (Bing, Dogpile, DuckDuckGo, Google, etc.): primarily webpages, especially for businesses (.com), government divisions at all levels (.gov), or organizations (.org). as well as pages for primary source-type documents such as lesson plans and public-domain books.  While book content (Google Books) and journal articles (Google Scholar) are accessible, these are not the strengths of the internet and more successful searches for this type of content can be performed through JaxCat and the databases.  

NOTE: There is no predetermined hierarchy among these information portals as regards which one should be used most or gone to first.  These considerations depend on the task at hand and will vary from assignment o assignment.

The link below provides further information on the different source types.

• Research Methods From Truckee Meadows Community College: a guide to basic research. The tab "What Type of Source?" presents an overview of the various types of information sources, identifying the advantages and disadvantages of each.
• << Previous: Find Books
• Last Updated: Sep 3, 2024 10:23 AM
• URL: https://libguides.jsu.edu/litresearchpoems

Poetry & Poets

Explore the beauty of poetry – discover the poet within

How To Write A Poetry Research Paper

Introduction

Writing a poetry research paper can be an intimidating task for students. Even for experienced writers, the process of writing a research paper on poetry can be daunting. However, there are a few helpful tips and guidelines that can help make the process easier. Writing a research paper on poetry requires the student to have an analytical understanding of the poet or poet’s work and to utilize multiple sources of evidence in order to make a convincing argument. Before starting the research paper, it is important to properly analyze the poem and to understand the form, structure, and language of the poem.

The process of writing a research paper requires numerous steps, beginning with researching the poet and poem. If a poet is unknown, the research process must be started by learning about their biography, other works, and their impact on society. With online databases, libraries, and archives the research process can move quickly. It is important to carefully document sources for later use when creating bibliographies for the paper. Once the process of researching the poem has been completed, the next step is to analyze the poem itself. It is important for the student to read the poem carefully in order to understand the meaning, as well as its tone, imagery, and metaphors. Furthermore, analyzing other poems by the same poet can help students observe patterns, trends, or elements of a poet’s work.

Outlining and Structure

Outlining the research paper is just as important as analyzing the poem itself. Many students make the mistake of not taking enough time to craft a detailed outline that follows the structure of the paper. An effective outline will make process of writing the research paper more efficient, allowing for ease of transitions between sections of the paper. When writing the paper, it is important to think through the structure of the paper and how to make a strong argument. Support for the argument should be based on concrete evidence, such as literary criticism, literary theory, and close readings of the poem. It is essential to have a clear argument that is consistent throughout the body of the paper.

Citing Sources

When writing a research paper it is also important to cite all sources that are used. The style used for citing sources will depend on the style guide indicated by the professor or the school’s guidelines. Whether using MLA, APA, or Chicago style, it is important to adhere to the style guide indicated in order to have a complete and well-written paper.

Once the research and outlining is complete, the process of drafting a poetry research paper can begin. When constructing the first draft, it is especially useful to re-read the poem and to recall evidence that supports the argument made about the poem. Additionally, it is important to proofread and edit the first draft in order to make the argument more clear and to check for any grammar or spelling errors.

Writing a research paper on poetry does not have to be a difficult task. By taking the time to properly research, analyze, and structure the paper, the process of writing a successful poetry research paper becomes easier. Following these steps— researching the poet, understanding the poem itself, outlining the paper, citing sources, and drafting the paper— will ensure a great and thorough paper is prepared.

Using Imagery and Metaphor

The use of imagery and metaphor is an essential element when writing poetry. Imagery can be used to provide vivid descriptions of scenes and characters, while metaphor can be used to create deeper meanings and analogies. Understanding the use of imagery and metaphor can help to break down the poem and discover hidden meanings. Students researching poetry should pay special attentions to the poetic devices used to further the story or allusions to other works, such as classical mythology. Paying close attention to the language, metaphors, and imagery used by the poet can help to uncover the true meaning of the poem. By breaking down the element of the poem and focusing on individual elements, it is much easier to make valid conclusions about the poem and its author.

Understanding Rhyme and Meter

Rhyme and meter are two of the most important and complex elements of poetry. These two poetic techniques are used to help the poet structure their poem to provide rhythm and flow. Most commonly, rhyme and meter help to provide emphasis to certain words or phrases to give them additional meaning. When analyzing poetry, it is important to pay attention to the written rhyme schemes and meter of the poem. There are various patterns of rhyme, such as couplets, tercets, and quatrains. Meter, usually governed by iambs and trochees, can give the poem an added sense of rhythm to further emphasize certain words, phrases, or thoughts.

Exploring Themes

Themes are the central ideas behind a poem. The themes of a poem can be subtle and can be found in the language and images used. Exploring the poem through a thematic analysis can help to identify the true meaning of the poem and the message that the poet is conveying. When researching a poem, it is important to identify the primary theme of the poem and to look for evidence in the poem that can be used to support the claim. By paying attention to the language of a poem, students can uncover the deeper meanings within the poem and can move past the literal interpretation of the poem.

Analyzing Discourse and Context

In addition to the written aspects of a poem, it is important to consider the historical and social context of the poem. The context of the poem can be used to further understand its deeper meanings and implications. Collingwood’s theory of re-enactment can be used to reconstruct the context of a poem in order to gain a deeper understanding of the poem. When researching a poem, it is important to consider the the time period in which the poem was written, the author’s other works, and the broader literary context of the poem. Examining the discourse used by the poet can help to uncover the true message of the poem and the impact on society at the time.

Finding Inspiration

When researching poetry, it is important for the student to find inspiration in the form of other authors, critics, and theorists. Studying the works of other authors can provide valuable insight into a poem and can inform the student’s own interpretations. In addition to studying critics and theorists, the student should also look to other poets and authors as sources of inspiration. The student can explore the works of similar poets or authors to learn how they use their poetic elements in their work. This can help students to gain insight into the language, imagery, and themes present in the poem being researched.

Minnie Walters

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

Leave a Comment Cancel reply

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 […]

Poetry Explained

How to Write a Poetry Essay (Complete Guide)

Unlock success in poetry essays with our comprehensive guide. Uncover the process to help aid understanding of how best to create a poetry essay.

While many of us read poetry for pleasure, it is undeniable that many poetry readers do so in the knowledge that they will be assessed on the text they are reading, either in an exam, for homework, or for a piece of coursework. This is clearly a daunting task for many, and lots of students don’t even know where to begin. We’re here to help! This guide will take you through all the necessary steps so that you can plan and write great poetry essays every time. If you’re still getting to grips with the different techniques, terms, or some other aspect of poetry, then check out our other available resources at the bottom of this page.

This Guide was Created by Joe Samantaria

Degree in English and Related Literature, and a Masters in Irish Literature

Upon completion of his degrees, Joe is an English tutor and counts W.B. Yeats , Emily Brontë , and Federico Garcia Lorca among his favorite poets. He has helped tutor hundreds of students with poetry and aims to do the same for readers and Poetry + users on Poem Analysis.

How to Write a Poetry Essay

• 1 Before You Start…
• 2 Introductions
• 3 Main Paragraphs
• 4 Conclusions
• 6 Other Resources

Before You Start…

Before we begin, we must address the fact that all poetry essays are different from one another on account of different academic levels, whether or not the essay pertains to one poem or multiple, and the intended length of the essay. That is before we even contend with the countless variations and distinctions between individual poems. Thus, it is impossible to produce a single, one-size-fits-all template for writing great essays on poetry because the criteria for such an essay are not universal. This guide is, therefore, designed to help you go about writing a simple essay on a single poem, which comes to roughly 1000-1200 words in length. We have designed it this way to mirror the requirements of as many students around the world as possible. It is our intention to write another guide on how to write a comparative poetry essay at a later date. Finally, we would like to stress the fact that this guide is exactly that: a guide. It is not a set of restrictive rules but rather a means of helping you get to grips with writing poetry essays. Think of it more like a recipe that, once practiced a few times, can be modified and adapted as you see fit.

The first and most obvious starting point is the poem itself and there are some important things to do at this stage before you even begin contemplating writing your essay. Naturally, these things will depend on the nature of the essay you are required to write.

• Is the poem one you are familiar with?
• Do you know anything about the context of the poem or the poet?
• How much time do you have to complete the essay?
• Do you have access to books or the internet?

These questions matter because they will determine the type, length, and scope of the essay you write. Naturally, an essay written under timed conditions about an unfamiliar poem will look very different from one written about a poem known to you. Likewise, teachers and examiners will expect different things from these essays and will mark them accordingly.

As this article pertains to writing a poverty essay, we’re going to assume you have a grasp of the basics of understanding the poems themselves. There is a plethora of materials available that can help you analyze poetry if you need to, and thousands of analyzed poems are available right here. For the sake of clarity, we advise you to use these tools to help you get to grips with the poem you intend to write about before you ever sit down to actually produce an essay. As we have said, the amount of time spent pondering the poem will depend on the context of the essay. If you are writing a coursework-style question over many weeks, then you should spend hours analyzing the poem and reading extensively about its context. If, however, you are writing an essay in an exam on a poem you have never seen before, you should perhaps take 10-15% of the allotted time analyzing the poem before you start writing.

The Question

Once you have spent enough time analyzing the poem and identifying its key features and themes, you can turn your attention to the question. It is highly unlikely that you will simply be asked to “analyze this poem.” That would be too simple on the one hand and far too broad on the other.

More likely, you will be asked to analyze a particular aspect of the poem, usually pertaining to its message, themes, or meaning. There are numerous ways examiners can express these questions, so we have outlined some common types of questions below.

• Explore the poet’s presentation of…
• How does the poet present…
• Explore the ways the writer portrays their thoughts about…

These are all similar ways of achieving the same result. In each case, the examiner requires that you analyze the devices used by the poet and attempt to tie the effect those devices have to the poet’s broader intentions or meaning.

Some students prefer reading the question before they read the poem, so they can better focus their analytical eye on devices and features that directly relate to the question they are being asked. This approach has its merits, especially for poems that you have not previously seen. However, be wary of focusing too much on a single element of a poem, particularly if it is one you may be asked to write about again in a later exam. It is no good knowing only how a poem links to the theme of revenge if you will later be asked to explore its presentation of time.

Essay plans can help focus students’ attention when they’re under pressure and give them a degree of confidence while they’re writing. In basic terms, a plan needs the following elements:

• An overarching answer to the question (this will form the basis of your introduction)
• A series of specific, identifiable poetic devices ( metaphors , caesura , juxtaposition , etc) you have found in the poem
• Ideas about how these devices link to the poem’s messages or themes.
• Some pieces of relevant context (depending on whether you need it for your type of question)

In terms of layout, we do not want to be too prescriptive. Some students prefer to bullet-point their ideas, and others like to separate them by paragraph. If you use the latter approach, you should aim for:

• 1 Introduction
• 4-5 Main paragraphs
• 1 Conclusion

Finally, the length and detail of your plan should be dictated by the nature of the essay you are doing. If you are under exam conditions, you should not spend too much time writing a plan, as you will need that time for the essay itself. Conversely, if you are not under time pressure, you should take your time to really build out your plan and fill in the details.

Introductions

If you have followed all the steps to this point, you should be ready to start writing your essay. All good essays begin with an introduction, so that is where we shall start.

When it comes to introductions, the clue is in the name: this is the place for you to introduce your ideas and answer the question in broad terms. This means that you don’t need to go into too much detail, as you’ll be doing that in the main body of the essay. That means you don’t need quotes, and you’re unlikely to need to quote anything from the poem yet. One thing to remember is that you should mention both the poet’s name and the poem’s title in your introduction. This might seem unnecessary, but it is a good habit to get into, especially if you are writing an essay in which other questions/poems are available to choose from.

As we mentioned earlier, you are unlikely to get a question that simply asks you to analyze a poem in its entirety, with no specific angle. More likely, you’ll be asked to write an essay about a particular thematic element of the poem. Your introduction should reflect this. However, many students fall into the trap of simply regurgitating the question without offering anything more. For example, a question might ask you to explore a poet’s presentation of love, memory, loss, or conflict . You should avoid the temptation to simply hand these terms back in your introduction without expanding upon them. You will get a chance to see this in action below.

Let’s say we were given the following question:

Explore Patrick Kavanagh’s presentation of loss and memory in Memory of My Father

Taking on board the earlier advice, you should hopefully produce an introduction similar to the one written below.

Patrick Kavanagh presents loss as an inescapable fact of existence and subverts the readers’ expectations of memory by implying that memories can cause immense pain, even if they feature loved ones. This essay will argue that Memory of My Father depicts loss to be cyclical and thus emphasizes the difficulties that inevitably occur in the early stages of grief.

As you can see, the introduction is fairly condensed and does not attempt to analyze any specific poetic elements. There will be plenty of time for that as the essay progresses. Similarly, the introduction does not simply repeat the words ‘loss’ and ‘memory’ from the question but expands upon them and offers a glimpse of the kind of interpretation that will follow without providing too much unnecessary detail at this early stage.

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. They can also draw upon context when relevant if that is a required component of your particular essay.

There are a few things to consider when writing analytical paragraphs and many different templates for doing so, some of which are listed below.

• PEE (Point-Evidence-Explain)
• PEA (Point-Evidence-Analysis)
• PETAL (Point-Evidence-Technique-Analysis-Link)
• IQA (Identify-Quote-Analyze)
• PEEL (Point-Evidence-Explain-Link)

Some of these may be familiar to you, and they all have their merits. As you can see, there are all effective variations of the same thing. Some might use different terms or change the order, but it is possible to write great paragraphs using all of them.

One of the most important aspects of writing these kind of paragraphs is selecting the features you will be identifying and analyzing. A full list of poetic features with explanations can be found here. If you have done your plan correctly, you should have already identified a series of poetic devices and begun to think about how they link to the poem’s themes.

It is important to remember that, when analyzing poetry, everything is fair game! You can analyze the language, structure, shape, and punctuation of the poem. Try not to rely too heavily on any single type of paragraph. For instance, if you have written three paragraphs about linguistic features ( similes , hyperbole , alliteration , etc), then try to write your next one about a structural device ( rhyme scheme , enjambment , meter , etc).

Regardless of what structure you are using, you should remember that multiple interpretations are not only acceptable but actively encouraged. Techniques can create effects that link to the poem’s message or themes in both complementary and entirely contrasting ways. All these possibilities should find their way into your essay. You are not writing a legal argument that must be utterly watertight – you are interpreting a subjective piece of art.

It is important to provide evidence for your points in the form of either a direct quotation or, when appropriate, a reference to specific lines or stanzas . For instance, if you are analyzing a strict rhyme scheme, you do not need to quote every rhyming word. Instead, you can simply name the rhyme scheme as, for example, AABB , and then specify whether or not this rhyme scheme is applied consistently throughout the poem or not. When you are quoting a section from the poem, you should endeavor to embed your quotation within your line so that your paragraph flows and can be read without cause for confusion.

When it comes to context, remember to check whether or not your essay question requires it before you begin writing. If you do need to use it, you must remember that it is used to elevate your analysis of the poem, not replace it. Think of context like condiments or spices. When used appropriately, they can enhance the experience of eating a meal, but you would have every right to complain if a restaurant served you a bowl of ketchup in lieu of an actual meal. Moreover, you should remember to only use the contextual information that helps your interpretation rather than simply writing down facts to prove you have memorized them. Examiners will not be impressed that you know the date a particular poet was born or died unless that information relates to the poem itself.

For the sake of ease, let’s return to our earlier question:

Have a look at the example paragraph below, taking note of the ways in which it interprets the linguistic technique in several different ways.

Kavanagh uses a metaphor when describing how the narrator ’s father had “fallen in love with death” in order to capture the narrator’s conflicted attitudes towards his loss. By conflating the ordinarily juxtaposed states of love and death, Kavanagh implies the narrator’s loss has shattered his previously held understanding of the world and left him confused. Similarly, the metaphor could suggest the narrator feels a degree of jealousy, possibly even self-loathing, because their father embraced death willingly rather than remaining with the living. Ultimately, the metaphor’s innate impossibility speaks to the narrator’s desire to rationalize their loss because the reality, that his father simply died, is too painful for him to bear.

As you can see, the paragraph clearly engages with a poetic device and uses an appropriately embedded quotation. The subsequent interpretations are then varied enough to avoid repeating each other, but all clearly link to the theme of loss that was mentioned in the question. Obviously, this is only one analytical paragraph, but a completed essay should contain 4-5. This would allow the writer to analyze enough different devices and link them to both themes mentioned in the question.

Conclusions

By this stage, you should have written the bulk of your essay in the form of your introduction and 4-5 main analytical paragraphs. If you have done those things properly, then the conclusion should largely take care of itself.

The world’s simplest essay plan sounds something like this:

• Tell them what you’re going to tell them
• Tell them what you’ve told them

This is, naturally, an oversimplification, but it is worth bearing in mind. The conclusion to an essay is not the place to introduce your final, groundbreaking interpretation. Nor is it the place to reveal a hitherto unknown piece of contextual information that shatters any prior critical consensus with regard to the poem you are writing about. If you do either of these things, the examiner will be asking themselves one simple question: why didn’t they write this earlier?

In its most simple form, a conclusion is there, to sum up the points you have made and nothing more.

As with the previous sections, there is a little more to a great conclusion than merely stating the things you have already made. The trick to a great conclusion is to bind those points together to emphasize the essay’s overarching thread or central argument. This is a subtle skill, but mastering it will really help you to finish your essays with a flourish by making your points feel like they are more than the sum of their parts.

Finally, let’s remind ourselves of the hypothetical essay question we’ve been using:

Remember that, just like your introduction, your conclusion should be brief and direct and must not attempt to do more than it needs to.

In conclusion, Kavanagh’s poem utilizes numerous techniques to capture the ways in which loss is both inescapable and a source of enormous pain. Moreover, the poet subverts positive memories by showcasing how they can cause loved ones more pain than comfort in the early stages of grief. Ultimately, the poem demonstrates how malleable memory can be in the face of immense loss due to the way the latter shapes and informs the former.

As you can see, this conclusion is confident and authoritative but does not need to provide evidence to justify this tone because that evidence has already been provided earlier in the essay. You should pay close attention to the manner in which the conclusion links different points together under one banner in order to provide a sense of assuredness.

You should refer to the poet by either using their full name or, more commonly, their surname. After your first usage, you may refer to them as ‘the poet.’ Never refer to the poet using just their first name.

This is a good question, and the answer entirely depends on the level of study as well as the nature of the examination. If you are writing a timed essay for a school exam, you are unlikely to need any form of referencing. If, however, you are writing an essay as part of coursework or at a higher education institution, you may need to refer to the specific guidelines of that institution.

Again, this will depend on the type of essay you are being asked to write. If you are writing a longer essay or writing at a higher educational level, it can be useful to refer to other poems in the writer’s repertoire to help make comments on an aspect of the poem you are primarily writing about. However, for the kind of essay outlined in this article, you should focus solely on the poem you have been asked to write about.

This is one of the most common concerns students have about writing essays . Ultimately, the quality of an essay is more likely to be determined by the quality of paragraphs than the quantity anyway, so you should focus on making your paragraphs as good as they can be. Beyond this, it is important to remember that the time required to write a paragraph is not fixed. The more you write, the faster they will become. You should trust the process, focus on making each paragraph as good as it can be, and you’ll be amazed at how the timing issue takes care of itself.

Other Resources

We hope you have found this article useful and would love for you to comment or reach out to us if you have any queries about what we’ve written. We’d love to hear your feedback!

In the meantime, we’ve collated a list of resources you might find helpful when setting out to tackle a poetry essay, which you can find below.

• Do poems have to rhyme?
• 10 important elements of poetry
• How to analyze a poem with SMILE
• How to approach unseen poetry
• 18 Different Types of Themes in Poetry

Home » Poetry Explained » How to Write a Poetry Essay (Complete Guide)

About Joe Santamaria

Experts in poetry.

Our work is created by a team of talented poetry experts, to provide an in-depth look into poetry, like no other.

Cite This Page

Santamaria, Joe. "How to Write a Poetry Essay (Complete Guide)". Poem Analysis , https://poemanalysis.com/how-to-write-a-poetry-essay/ . Accessed 15 September 2024.

Help Center

Request an Analysis

(not a member? Join now)

Poem PDF Guides

PDF Learning Library

Beyond the Verse Podcast

Poetry Archives

Poet Biographies

Useful Links

Poem Explorer

Poem Generator

[email protected]

Poem Solutions Limited, International House, 36-38 Cornhill, London, EC3V 3NG, United Kingdom

(and discover the hidden secrets to understanding poetry)

Get PDFs to Help You Learn Poetry

250+ Reviews

A Short Guide to Close Reading for Literary Analysis

Use the guidelines below to learn about the practice of close reading.

When your teachers or professors ask you to analyze a literary text, they often look for something frequently called close reading. Close reading is deep analysis of how a literary text works; it is both a reading process and something you include in a literary analysis paper, though in a refined form.

Fiction writers and poets build texts out of many central components, including subject, form, and specific word choices. Literary analysis involves examining these components, which allows us to find in small parts of the text clues to help us understand the whole. For example, if an author writes a novel in the form of a personal journal about a character’s daily life, but that journal reads like a series of lab reports, what do we learn about that character? What is the effect of picking a word like “tome” instead of “book”? In effect, you are putting the author’s choices under a microscope.

The process of close reading should produce a lot of questions. It is when you begin to answer these questions that you are ready to participate thoughtfully in class discussion or write a literary analysis paper that makes the most of your close reading work.

Close reading sometimes feels like over-analyzing, but don’t worry. Close reading is a process of finding as much information as you can in order to form as many questions as you can. When it is time to write your paper and formalize your close reading, you will sort through your work to figure out what is most convincing and helpful to the argument you hope to make and, conversely, what seems like a stretch. This guide imagines you are sitting down to read a text for the first time on your way to developing an argument about a text and writing a paper. To give one example of how to do this, we will read the poem “Design” by famous American poet Robert Frost and attend to four major components of literary texts: subject, form, word choice (diction), and theme.

If you want even more information about approaching poems specifically, take a look at our guide: How to Read a Poem .

As our guide to reading poetry suggests, have a pencil out when you read a text. Make notes in the margins, underline important words, place question marks where you are confused by something. Of course, if you are reading in a library book, you should keep all your notes on a separate piece of paper. If you are not making marks directly on, in, and beside the text, be sure to note line numbers or even quote portions of the text so you have enough context to remember what you found interesting.

Design I found a dimpled spider, fat and white, On a white heal-all, holding up a moth Like a white piece of rigid satin cloth— Assorted characters of death and blight Mixed ready to begin the morning right, Like the ingredients of a witches’ broth— A snow-drop spider, a flower like a froth, And dead wings carried like a paper kite. What had that flower to do with being white, The wayside blue and innocent heal-all? What brought the kindred spider to that height, Then steered the white moth thither in the night? What but design of darkness to appall?— If design govern in a thing so small.

The subject of a literary text is simply what the text is about. What is its plot? What is its most important topic? What image does it describe? It’s easy to think of novels and stories as having plots, but sometimes it helps to think of poetry as having a kind of plot as well. When you examine the subject of a text, you want to develop some preliminary ideas about the text and make sure you understand its major concerns before you dig deeper.

Observations

In “Design,” the speaker describes a scene: a white spider holding a moth on a white flower. The flower is a heal-all, the blooms of which are usually violet-blue. This heal-all is unusual. The speaker then poses a series of questions, asking why this heal-all is white instead of blue and how the spider and moth found this particular flower. How did this situation arise?

The speaker’s questions seem simple, but they are actually fairly nuanced. We can use them as a guide for our own as we go forward with our close reading.

• Furthering the speaker’s simple “how did this happen,” we might ask, is the scene in this poem a manufactured situation?
• The white moth and white spider each use the atypical white flower as camouflage in search of sanctuary and supper respectively. Did these flora and fauna come together for a purpose?
• Does the speaker have a stance about whether there is a purpose behind the scene? If so, what is it?
• How will other elements of the text relate to the unpleasantness and uncertainty in our first look at the poem’s subject?

After thinking about local questions, we have to zoom out. Ultimately, what is this text about?

Form is how a text is put together. When you look at a text, observe how the author has arranged it. If it is a novel, is it written in the first person? How is the novel divided? If it is a short story, why did the author choose to write short-form fiction instead of a novel or novella? Examining the form of a text can help you develop a starting set of questions in your reading, which then may guide further questions stemming from even closer attention to the specific words the author chooses. A little background research on form and what different forms can mean makes it easier to figure out why and how the author’s choices are important.

Most poems follow rules or principles of form; even free verse poems are marked by the author’s choices in line breaks, rhythm, and rhyme—even if none of these exists, which is a notable choice in itself. Here’s an example of thinking through these elements in “Design.”

In “Design,” Frost chooses an Italian (or Petrarchan) sonnet form: fourteen lines in iambic pentameter consisting of an octave (a stanza of eight lines) and a sestet (a stanza of six lines). We will focus on rhyme scheme and stanza structure rather than meter for the purposes of this guide. A typical Italian sonnet has a specific rhyme scheme for the octave:

a b b a a b b a

There’s more variation in the sestet rhymes, but one of the more common schemes is

c d e c d e

Conventionally, the octave introduces a problem or question which the sestet then resolves. The point at which the sonnet goes from the problem/question to the resolution is called the volta, or turn. (Note that we are speaking only in generalities here; there is a great deal of variation.)

Frost uses the usual octave scheme with “-ite”/”-ight” (a) and “oth” (b) sounds: “white,” “moth,” “cloth,” “blight,” “right,” “broth,” “froth,” “kite.” However, his sestet follows an unusual scheme with “-ite”/”-ight” and “all” sounds:

a c a a c c

Now, we have a few questions with which we can start:

• Why use an Italian sonnet?
• Why use an unusual scheme in the sestet?
• What problem/question and resolution (if any) does Frost offer?
• What is the volta in this poem?
• In other words, what is the point?

Italian sonnets have a long tradition; many careful readers recognize the form and know what to expect from his octave, volta, and sestet. Frost seems to do something fairly standard in the octave in presenting a situation; however, the turn Frost makes is not to resolution, but to questions and uncertainty. A white spider sitting on a white flower has killed a white moth.

• How did these elements come together?
• Was the moth’s death random or by design?
• Is one worse than the other?

We can guess right away that Frost’s disruption of the usual purpose of the sestet has something to do with his disruption of its rhyme scheme. Looking even more closely at the text will help us refine our observations and guesses.

Word Choice, or Diction

Looking at the word choice of a text helps us “dig in” ever more deeply. If you are reading something longer, are there certain words that come up again and again? Are there words that stand out? While you are going through this process, it is best for you to assume that every word is important—again, you can decide whether something is really important later.

Even when you read prose, our guide for reading poetry offers good advice: read with a pencil and make notes. Mark the words that stand out, and perhaps write the questions you have in the margins or on a separate piece of paper. If you have ideas that may possibly answer your questions, write those down, too.

Let’s take a look at the first line of “Design”:

I found a dimpled spider, fat and white

The poem starts with something unpleasant: a spider. Then, as we look more closely at the adjectives describing the spider, we may see connotations of something that sounds unhealthy or unnatural. When we imagine spiders, we do not generally picture them dimpled and white; it is an uncommon and decidedly creepy image. There is dissonance between the spider and its descriptors, i.e., what is wrong with this picture? Already we have a question: what is going on with this spider?

We should look for additional clues further on in the text. The next two lines develop the image of the unusual, unpleasant-sounding spider:

On a white heal-all, holding up a moth Like a white piece of rigid satin cloth—

Now we have a white flower (a heal-all, which usually has a violet-blue flower) and a white moth in addition to our white spider. Heal-alls have medicinal properties, as their name suggests, but this one seems to have a genetic mutation—perhaps like the spider? Does the mutation that changes the heal-all’s color also change its beneficial properties—could it be poisonous rather than curative? A white moth doesn’t seem remarkable, but it is “Like a white piece of rigid satin cloth,” or like manmade fabric that is artificially “rigid” rather than smooth and flowing like we imagine satin to be. We might think for a moment of a shroud or the lining of a coffin, but even that is awry, for neither should be stiff with death.

The first three lines of the poem’s octave introduce unpleasant natural images “of death and blight” (as the speaker puts it in line four). The flower and moth disrupt expectations: the heal-all is white instead of “blue and innocent,” and the moth is reduced to “rigid satin cloth” or “dead wings carried like a paper kite.” We might expect a spider to be unpleasant and deadly; the poem’s spider also has an unusual and unhealthy appearance.

• The focus on whiteness in these lines has more to do with death than purity—can we understand that whiteness as being corpse-like rather than virtuous?

Well before the volta, Frost makes a “turn” away from nature as a retreat and haven; instead, he unearths its inherent dangers, making nature menacing. From three lines alone, we have a number of questions:

• Will whiteness play a role in the rest of the poem?
• How does “design”—an arrangement of these circumstances—fit with a scene of death?
• What other juxtapositions might we encounter?

These disruptions and dissonances recollect Frost’s alteration to the standard Italian sonnet form: finding the ways and places in which form and word choice go together will help us begin to unravel some larger concepts the poem itself addresses.

Put simply, themes are major ideas in a text. Many texts, especially longer forms like novels and plays, have multiple themes. That’s good news when you are close reading because it means there are many different ways you can think through the questions you develop.

So far in our reading of “Design,” our questions revolve around disruption: disruption of form, disruption of expectations in the description of certain images. Discovering a concept or idea that links multiple questions or observations you have made is the beginning of a discovery of theme.

What is happening with disruption in “Design”? What point is Frost making? Observations about other elements in the text help you address the idea of disruption in more depth. Here is where we look back at the work we have already done: What is the text about? What is notable about the form, and how does it support or undermine what the words say? Does the specific language of the text highlight, or redirect, certain ideas?

In this example, we are looking to determine what kind(s) of disruption the poem contains or describes. Rather than “disruption,” we want to see what kind of disruption, or whether indeed Frost uses disruptions in form and language to communicate something opposite: design.

Sample Analysis

After you make notes, formulate questions, and set tentative hypotheses, you must analyze the subject of your close reading. Literary analysis is another process of reading (and writing!) that allows you to make a claim about the text. It is also the point at which you turn a critical eye to your earlier questions and observations to find the most compelling points, discarding the ones that are a “stretch.” By “stretch,” we mean that we must discard points that are fascinating but have no clear connection to the text as a whole. (We recommend a separate document for recording the brilliant ideas that don’t quite fit this time around.)

Here follows an excerpt from a brief analysis of “Design” based on the close reading above. This example focuses on some lines in great detail in order to unpack the meaning and significance of the poem’s language. By commenting on the different elements of close reading we have discussed, it takes the results of our close reading to offer one particular way into the text. (In case you were thinking about using this sample as your own, be warned: it has no thesis and it is easily discoverable on the web. Plus it doesn’t have a title.)

Frost’s speaker brews unlikely associations in the first stanza of the poem. The “Assorted characters of death and blight / Mixed ready to begin the morning right” make of the grotesque scene an equally grotesque mockery of a breakfast cereal (4–5). These lines are almost singsong in meter and it is easy to imagine them set to a radio jingle. A pun on “right”/”rite” slides the “characters of death and blight” into their expected concoction: a “witches’ broth” (6). These juxtapositions—a healthy breakfast that is also a potion for dark magic—are borne out when our “fat and white” spider becomes “a snow-drop”—an early spring flower associated with renewal—and the moth as “dead wings carried like a paper kite” (1, 7, 8). Like the mutant heal-all that hosts the moth’s death, the spider becomes a deadly flower; the harmless moth becomes a child’s toy, but as “dead wings,” more like a puppet made of a skull. The volta offers no resolution for our unsettled expectations. Having observed the scene and detailed its elements in all their unpleasantness, the speaker turns to questions rather than answers. How did “The wayside blue and innocent heal-all” end up white and bleached like a bone (10)? How did its “kindred spider” find the white flower, which was its perfect hiding place (11)? Was the moth, then, also searching for camouflage, only to meet its end? Using another question as a disguise, the speaker offers a hypothesis: “What but design of darkness to appall?” (13). This question sounds rhetorical, as though the only reason for such an unlikely combination of flora and fauna is some “design of darkness.” Some force, the speaker suggests, assembled the white spider, flower, and moth to snuff out the moth’s life. Such a design appalls, or horrifies. We might also consider the speaker asking what other force but dark design could use something as simple as appalling in its other sense (making pale or white) to effect death. However, the poem does not close with a question, but with a statement. The speaker’s “If design govern in a thing so small” establishes a condition for the octave’s questions after the fact (14). There is no point in considering the dark design that brought together “assorted characters of death and blight” if such an event is too minor, too physically small to be the work of some force unknown. Ending on an “if” clause has the effect of rendering the poem still more uncertain in its conclusions: not only are we faced with unanswered questions, we are now not even sure those questions are valid in the first place. Behind the speaker and the disturbing scene, we have Frost and his defiance of our expectations for a Petrarchan sonnet. Like whatever designer may have altered the flower and attracted the spider to kill the moth, the poet built his poem “wrong” with a purpose in mind. Design surely governs in a poem, however small; does Frost also have a dark design? Can we compare a scene in nature to a carefully constructed sonnet?

A Note on Organization

Your goal in a paper about literature is to communicate your best and most interesting ideas to your reader. Depending on the type of paper you have been assigned, your ideas may need to be organized in service of a thesis to which everything should link back. It is best to ask your instructor about the expectations for your paper.

Knowing how to organize these papers can be tricky, in part because there is no single right answer—only more and less effective answers. You may decide to organize your paper thematically, or by tackling each idea sequentially; you may choose to order your ideas by their importance to your argument or to the poem. If you are comparing and contrasting two texts, you might work thematically or by addressing first one text and then the other. One way to approach a text may be to start with the beginning of the novel, story, play, or poem, and work your way toward its end. For example, here is the rough structure of the example above: The author of the sample decided to use the poem itself as an organizational guide, at least for this part of the analysis.

• A paragraph about the octave.
• A paragraph about the volta.
• A paragraph about the penultimate line (13).
• A paragraph about the final line (14).
• A paragraph addressing form that suggests a transition to the next section of the paper.

You will have to decide for yourself the best way to communicate your ideas to your reader. Is it easier to follow your points when you write about each part of the text in detail before moving on? Or is your work clearer when you work through each big idea—the significance of whiteness, the effect of an altered sonnet form, and so on—sequentially?

We suggest you write your paper however is easiest for you then move things around during revision if you need to.

Further Reading

If you really want to master the practice of reading and writing about literature, we recommend Sylvan Barnet and William E. Cain’s wonderful book, A Short Guide to Writing about Literature . Barnet and Cain offer not only definitions and descriptions of processes, but examples of explications and analyses, as well as checklists for you, the author of the paper. The Short Guide is certainly not the only available reference for writing about literature, but it is an excellent guide and reminder for new writers and veterans alike.

Academic and Professional Writing

This is an accordion element with a series of buttons that open and close related content panels.

Analysis Papers

Reading Poetry

Using Literary Quotations

Play Reviews

Writing a Rhetorical Précis to Analyze Nonfiction Texts

Incorporating Interview Data

Grant Proposals

Planning and Writing a Grant Proposal: The Basics

Additional Resources for Grants and Proposal Writing

Job Materials and Application Essays

Writing Personal Statements for Ph.D. Programs

• Before you begin: useful tips for writing your essay
• Guided brainstorming exercises
• Get more help with your essay
• Frequently Asked Questions

Resume Writing Tips

CV Writing Tips

Cover Letters

Business Letters

Proposals and Dissertations

Resources for Proposal Writers

Resources for Dissertators

Research Papers

Planning and Writing Research Papers

Quoting and Paraphrasing

Writing Annotated Bibliographies

Creating Poster Presentations

Writing an Abstract for Your Research Paper

Thank-You Notes

Advice for Students Writing Thank-You Notes to Donors

Reading for a Review

Critical Reviews

Writing a Review of Literature

Scientific Reports

Scientific Report Format

Sample Lab Assignment

Writing for the Web

Writing an Effective Blog Post

Writing for Social Media: A Guide for Academics

Poetry Analysis: How to Analyze a Poem

Every author and poet has their own unique style that cannot be replicated. Based on how they think or what they are trying to portray, they create various poems to explore several ideas or theories that were on their mind.

By mastering how to analyze poetry, you also learn how to ask questions, see multiple meanings in simple things, and develop figurative thinking. Let’s give your brain a boost! Discover how to write poetry analysis from EssayPro service - custom dissertation writing .

What Is a Poetry Analysis?

Poetry analysis is the process of reviewing the multiple artistic, functional, and structural pieces that make up a poem. Typically, this review is conducted and recorded within the structure of a literary analysis essay.

The nature of poetry is expressing complex feelings, which usually makes multiple meanings. To understand them, you must examine not only words, but also rhythm, images, obvious meaning, and implied meaning.

Writing a poem analysis essay requires one to take a more in-depth look at both the choices that a poet made and the overall effects of those choices. These papers need a detailed analysis of all of the parts that were used to form a work of poetry.

Our college essay writers are ready to help you anytime. If you are experiencing difficulties and do not know how to start a research paper or other type of work, just leave us your request and our authors will do everything in the best way.

Do You Need Some Help With Your poetry analysis?

Get help from our professional writing service.

4 Pre-Writing Steps to Take

Read the poem carefully.

It is essential to reread the analyzed poetry several times to get a full grasp of the numerous ideas and concepts. This also gives you an opportunity to make a note of the rhyme scheme (if there is one), the type of poem (limerick, ode, sonnet, lyric, haiku, free verse, etc.) and other poetic techniques that the poet used (such as enjambment, meter, end-stopped lines, figurative language, etc.).

• Limerick: Limerick is a stanza of five lines, with the first, second and fifth rhyming with one another and having three feet of three syllables each; and the shorter third and fourth lines also rhyme with each other, but having only two feet of three syllables.
• Ode: Its structure — 10-line stanzas rhyming, with the 8th line iambic trimeter and all the others iambic pentameter
• Sonnet: A fourteen-line poem written in iambic pentameter. Was made famous by non-other than Shakespeare! (Shakespeare invented the word "swag"... just saying)
• Lyric: A lyric poem is a comparatively short, non-narrative poem in which a single speaker presents a state of mind or an emotional state. Rather than tell a story, the speaker talks about his thoughts using a specific rhyming style.
• Haiku: Invented by the Japanese, a haiku is a three-line poem with seventeen syllables, written in a 5/7/5 syllable count.
• Free-Verse: Rather simple, free verse is poetry that does not rhyme or have a regular rhythm.

All of those elements of the poem are essential to know when one is writing a poetry analysis essay because they are a part of the poem’s structure and can affect the content.

Need Poetry Analysis Essay Done Fast?

To pay for essay all you have to do is send us your rubric and one of our writers will craft you an original paper.

Learn About the Background of the Poem

This means that you can find it beneficial to look up the poet, the date that the poem was written, and the cultural context of the work. All of that information typically gives the reader a more in-depth understanding of the poem, and it seems self-explanatory that one who has an enhanced comprehension of the poem would have an easier time analyzing that poem.

Define a Composition Dedicated to the Subject Matter of the Poem

This can be analyzed during the reader’s quest to determine the theme, tone, mood, and meaning of the poem. The subject matter — and the thematic elements that support the intended message behind the subject — is often an interpretive minefield.

Pick a Side Among the Various Theories That You Have Created

Often, people have different ideas about what a poet is trying to say by their use of a subject, so unless the message is implicitly stated, it is best to report multiple possibilities about what the poet may have meant and included evidence for these theories.

The amateur writer can try to elaborate on several existing ideas and theories. Be careful not to mistake this with choosing a popular opinion or biased one. They should be defending the one that carries the most weight or offers the most validation. As the essay is supposed to be an analysis, try to avoid opinions in favor of facts and conjectures that are backed by evidence from work.

How to Choose a Poem to Analyze?

A great way to choose a topic for a poetry analysis essay is to decide on one that would deal with information that you are already familiar with. For example, if the choice of the poem to analyze is up to you, then it may be beneficial for you to choose a poem that you have encountered before. If the choice is to be made between different subject areas within a poem, then you could find it easier to choose to focus on writing about an area that plays to your strengths, so that the statements made in the essay are conveyed clearly and confidently.

A poem analysis essay may seem like a daunting writing assignment at first, but if the topic, outline, and paper are composed following the steps mentioned above, the paper will no doubt, turn out very well.

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 paragraph of the paper. The final portion of this section should be dedicated to the thesis statement of the paper.

Need a poetry analysis essay outline? Here is a basic structure to follow for your outline:

Following an outline for a poetry research essay is recommended to make sure you organize all your thoughts and statements you want to say. No matter whether you know how to write poetry — an outline will help identify areas that need to be explored in the analysis.

Introduction

Starting with the title for the analysis can be something very basic or a clever quote, a statement from the piece. Moving onto the introduction to poetry analysis, this should open with a “hook” to get the reader's attention. Follow up with the Authors name and title for the piece. Add some interesting trivia or background info that is not known to the audience, but try to keep it short. To finish off the introduction to a poetry analysis, state your thesis.

The bulk of ideas and comparisons need to be explored here in a clear, focused way. When writing a poetry analysis, each paragraph should be devoted to one point or feature you are comparing. You can divide each point by using the corresponding letter from the outline. Try to make it a coherent and specific about what is being compared (example: when stating your ideas about what the poetic devices do to the piece check whether you state each one and do not generalize). Using transition words and phrases will keep the paragraphs flowing well and more helpful to read.

It's important when looking at how to analyze a poem to finish with a set-out conclusion. Firstly, start by restating the thesis in different words. Summarize the most important findings to prove the thesis. From this, you can draw up your own opinions and take a step back and say what it all means with one key idea. Lastly, try to leave the reader with something memorable to take away with them (a thought-provoking sentence or question about the poem).

Tips for a Poetry Analysis

We have put together some handy tips to help you with when writing a poetry analysis essay:

• If possible, choose a poem that you would like to write about. This seems like a simple enough idea but very relevant. If you have the choice pick a poem you enjoy.
• Try reading the poem to a colleague or friend and even just out loud to yourself. This will help discover any hidden information from the sound, and it’s always good to get a second opinion or extra ideas.
• Don’t be scared to double-check the meanings of words and phrases. This is vital to know how to write a poem analysis essay and to the best, you can. Some words may have had different meanings, cultural references and places all should be looked up if only half certain.
• Check if the conclusion has one clear central idea or theme. Do not put in many confusing ideas or conclusions as this will look like you have not evaluated the work with focus. To go beyond a simple poetry analysis for middle school, try to show how it links to broader themes and the outside world.
• Always try to look beyond the words themselves. Hunt for hidden meanings and any little clues upon which to build a picture. Anybody could know how to write a poem but to explore the hidden meanings within poetry takes time, skill, and a lot of research.

If you don't have enough time, get some help from the experts who can write a custom poetry analysis essay for you!

'I want pay someone to write my research paper ' - we get such messages every day. Ask our analytical essay writing services for help anytime. Check out this free blog on WRITING A THESIS STATEMENT for some extra help.

Poetry Analysis Essay Example

Read also a very fascinating article the Divine Comedy summary . Our readers find it very informative.

Ballad of Birmingham is the author of the poem that revolves around a little girl who would like to go downtown to take part in a freedom protest. Her mother, however, says that she cannot go because of the dangerous conditions outside. Her mother instead tells her to go to church despite the little girl's constant explanations that she would not be alone. Defeated and in a show of respect for her mother, the little girl gets dressed and goes to church. Her mother is contented that she would be fine at the church. Sooner her mother hears of an explosion that sets her racing downtown in search of her daughter. Unfortunately, she finds her daughters dress and shoes in the piles and rubbles. She is left wondering where her daughter is.

Have a Poem to Analyze and Feel Stumped?

Do not worry, reading Shakespeare can feel like trying to understand ancient hieroglyphics, especially if other assignments are taking up headspace. Use our " write my papers " service to get rid of that mental stress!

is an expert in nursing and healthcare, with a strong background in history, law, and literature. Holding advanced degrees in nursing and public health, his analytical approach and comprehensive knowledge help students navigate complex topics. On EssayPro blog, Adam provides insightful articles on everything from historical analysis to the intricacies of healthcare policies. In his downtime, he enjoys historical documentaries and volunteering at local clinics.

Poems and Poets

• Finding Poems
• Finding Poets (Biography)
• Reference Sources
• Literary Criticism
• Publishing, Bibliographies and Anthologies
• Special Collections and Archives
• MLA Style and Citation Management Tools

Ask a Librarian via email , text us at +1-646-265-1342, or schedule an appointment .

Problem with an e-resource? Fill out this form.

Search the NYU Libraries Resources

Search for books, journals, videos, etc. in our local libraries and special collections.

Search other catalogs

• Poetry Daily

Poetry Daily offers a new poem by a contemporary poet every day, selected from books, magazines, and journals.

Columbia Granger's World of Poetry

The Columbia Granger’s World of Poetry contains 250,000 poems in full text and 450,000 citations, numbers that will continually expand with each update. The poems in full text are the most widely-read in the English language, as well as in Spanish, French, German, and Italian. Included also is poetry in Portuguese, Polish, Yiddish, Welsh, Gaelic, and other Celtic languages, as well as poems in the ancient languages: Anglo-Saxon, Provencal and Latin. Scholars in each of these languages have reviewed and guided the selection of poems, so that the poetry on Granger’s is also the poetry encountered in the classroom.

The Columbia Granger’s World of Poetry offers complete coverage of the works of several individual great poets, including the complete poems of Shelley, Blake, Burns, Keats, Marvell, Poe, Unamuno, Heine, Baudelaire, and other major poets. In addition, users will find a wealth of current poetry from some of the best poetry periodicals, such as Poetry Magazine, The Southern Review, and Poetry Northwest.

• Columbia Granger's World of Poetry This link opens in a new window

Searching the catalog

You can search the NYU Libraries' catalog by title, author, or subject to find books of poetry in the library. Use the limiters in the third drop-down menu from the main search screen to make your selections.  Here are some examples:

• What are Years
• Meditations in an Emergency
• Paradise Lost
• Millay, Edna St. Vincent
• Bishop, Elizabeth
• Keats, John
• Lyric Poetry
• Poets, American
• Poetry, Modern
• Poets, Chinese - Biography

Digital Collections of Poetry (NYU access)

• African American Poetry This link opens in a new window A database of modern and contemporary African American poetry, featuring thousands of poems by some of the most important African American poets of the last century, including Langston Hughes, Jean Toomer, Imamu Amiri Baraka, Audre Lorde and Rita Dove.
• Alexander Street Literature This link opens in a new window Alexander Street Literature is a cross-searchable package of full-text literature collections, focused on place, race, and gender. The collections include poetry, short fiction, novels, full-text plays, and film scripts.
• Emily Dickinson Archive This link opens in a new window The Emily Dickinson Archive provides high-resolution images of manuscripts of Emily Dickinson’s poetry, along with transcriptions and annotations from selected historical and scholarly editions.
• Irish Women Poets of the Romantic Period This link opens in a new window Irish Women Poets of the Romantic Period includes searchable full text and page images for volumes of poetry by approximately 50 Irish women writing between 1768 and 1842. The collection also offers numerous biographical and critical essays prepared by leading scholars
• Latino Literature This link opens in a new window Latino Literature is a searchable collection of poetry, fiction, and drama written in English and Spanish by Chicano, Cuban, Puerto Rican, Dominican, and other Latino writers working in the United States, including previously unpublished titles. The database also includes a collection of ephemera (playbills, brochures, photographs, postcards, etc.) and artwork.
• Literary Manuscripts Leeds This link opens in a new window Literary Manuscripts Leeds contains complete facsimile images of manuscripts of 17th and 18th century verse held in the Brotherton Collection at the University of Leeds. These manuscripts can be read and explored in conjunction with a database of first lines, last lines, attribution, author, title, date, length, verse form, content and bibliographic references for poems within the collection. Additional features include interactive essays, biographies, a palaeography section with transcriptions and alphabets, and color images demonstrating 17th and 18th century English handwriting.
• Literature Online (LION) This link opens in a new window Literature Online includes full text of literary works in English from the Middle Ages to the twentieth century. It also includes the Annual Bibliography of English Language and Literature, together with biographic and bibliographic reference materials for each author. More information less... A fully searchable library of more than 350,000 works of English and American poetry, drama and prose. LION is the single most extensive and wide-ranging online collection of English and American literature.Resources included in this resource are: Bibliographies Biographies Columbia Companion to the 20th Century American Short Story Columbia Dictionary of Modern European Literature Columbia Dictionary of Modern Literary and Cultural Criticism Concise Oxford Companion to English Literature Concise Oxford Dictionary of Literary Terms Encyclopedia of African Literature Encyclopedia of American Poetry: The Nineteenth Century Encyclopedia of Latin American and Caribbean Literature, 1900-2003 Encyclopedia of Linguistics (2 vols.) Encyclopedia of the Novel Handbook of African American Literature New Princeton Encyclopedia of Poetry and Poetics Oxford Companion to Irish Literature Penguin Classics Introductions Routledge Encyclopedia of Narrative Theory Routledge Encyclopedia of Post-Colonial Literatures in English (2nd Edition)
• Romanticism : Life, Literature and Landscape This link opens in a new window Romanticism: Life, Literature and Landscape provides access to digitized images of manuscripts, artworks, and correspondence from the Wordsworth Trust, focusing on William Wordsworth and his circle. This collection also includes the writings of Dorothy Wordsworth and manuscripts from Romantic writers including Samuel Taylor Coleridge, Thomas De Quincey and Robert Southey.
• Scottish Women Poets of the Romantic Period This link opens in a new window Scottish Women Poets of the Romantic Period contains searchable full text of Romantic-era poetry composed by Scottish women, as well as contemporary critical reviews and numerous scholarly essays on the poets and their work.

Other NYU databases with poetry content

• American Periodicals Series Online This link opens in a new window Search a selection of periodicals that first began publishing between 1740 and 1900, including special interest and general magazines, literary and professional journals, children's and women's magazines, and many other historically-significant periodicals.
• Black Authors, 1556-1922 This link opens in a new window Created from the renowned holdings of the Library Company of Philadelphia, Black Authors, 1556-1922, is the most complete and compelling collection of its kind. It offers more than 550 fully catalogued and searchable works by black authors from the Americas, Europe and Africa, expertly compiled by the curators of Afro-Americana Imprints collection, the largest existing collection of its kind. Found within are wide-ranging genres, including personal narratives, autobiographies, histories, expedition reports, military reports, novels, essays, poems and musical compositions.
• Black Women Writers (African, African American, and Diaspora) This link opens in a new window Provides access to fiction, poetry, and essays from three continents and 20 countries, representing voices of women from Africa and the African diaspora. Currently features over 50,000 pages of poetry and prose
• British Periodicals This link opens in a new window British Periodicals provides access to page images and searchable full text of periodicals from the British Isles, published from the late seventeenth century to the early twentieth.
• Caribbean Literature This link opens in a new window Caribbean Literature is a searchable collection primarily of poetry and fiction, with a selection of non-fiction works, produced in the Caribbean islands or by authors from that region during the 19th and 20th centuries. It includes numerous hard-to-find works in English, French, Spanish, Dutch, and regional creoles, as well as a set of reference works for Caribbean creole languages.
• Early English Books Online (EEBO) This link opens in a new window Early English Books Online (EEBO) contains digital facsimile page images of virtually every work printed in England, Ireland, Scotland, Wales and British North America and works in English printed elsewhere from 1473-1700. Searchable full text is also available for a subset of the collection.
• Eighteenth Century Collections Online (ECCO) This link opens in a new window Eighteenth Century Collections Online provides access to facsimile page images and full text of works published in the British Isles (plus some from North America) during the 18th century. The collection includes books, pamphlets, and broadsides. Users can search within texts keyword and download them as PDFs.
• Latin American Women Writers This link opens in a new window Latin American Women Writers is a searchable collection of prose, poetry, and drama composed by women writing in Mexico, Central America, the Caribbean, and South America. It also includes essays by Latin American feminists that address the concerns of women broadly as well as the distinctive issues pertaining to women's struggles in the region.
• Literary Manuscripts Berg This link opens in a new window Literary Manuscripts Berg contains facsimile images of nineteenth-century literary manuscripts from the Berg Collection in the New York Public Library. Authors represented in this collection include Emily Bronte, Robert and Elizabeth Barrett Browning, Charles Dickens, George Eliot, Thomas Hardy, Henry James, and Alfred Tennyson. This collection also includes some printed materials, including early editions annotated by the authors.
• Naxos Spoken Word Library This link opens in a new window Naxos Spoken Word Library contains literature and poetry, best sellers and classics from medieval times to the twenty-first century; many original productions supplement a range of non-fiction; a variety of unabridged and skillfully abridged audiobooks.
• South and Southeast Asian Literature: Classic and Postcolional Writers in English This link opens in a new window A searchable collection of fiction and poetry written in English by authors from South and Southeast Asia and their diasporas.
• Twayne's Author Series This link opens in a new window Twayne’s Authors Series offers in-depth introductions to the lives and works of writers, the history and influence of literary movements, and the development of literary genres. The online version of Twayne's Authors Series includes content from six print series, including U.S. Authors, English Writers, and World Authors.
• Women Writers Online This link opens in a new window Women Writers Online is a full-text collection of early women’s writing in English, published by the Women Writers Project at Northeastern University. It includes full transcriptions of texts published between 1526 and 1850, focusing on materials that are rare or inaccessible.

Other Online Resources for Poetry

The following sites are available through the open web. Some of these sites may have digitized images of the original texts along with extensive bibliographies. But, when searching the internet for research purposes, be sure to pay close attention to sites with .org or .edu web addresses. If you find a valuable site not listed below, please let me know so that I can add it to the list.

• American Verse Project (University of Michigan) The American Verse Project is a collaborative project between the University of Michigan Humanities Text Initiative (HTI) and the University of Michigan Press. The project is assembling an electronic archive of volumes of American poetry prior to 1920.
• The Edmund Spenser Homepage (Cambridge University) The Edmund Spenser Home Page is the home of Edmund Spenser studies on the Internet. This set of pages is devoted to supporting the reading, study, and dicussion of the words of Edmund Spenser. It aims to serve the needs of the scholar, of the student, and of the interested passer-by, offering resources and links of various level of specialization
• Eighteenth-Century Poetry Archive (ECPA) The Eighteenth-Century Poetry Archive (ECPA) is a peer-reviewed digital archive and research project devoted to the poetry of the long eighteenth century. It includes searchable full text of over 3,000 poems, building on the electronic texts created by the Text Creation Partnership from Gale’s Eighteenth Century Collections Online (ECCO).
• Favorite Poem Project The Favorite Poem Project is dedicated to celebrating, documenting and encouraging poetry’s role in Americans’ lives. Robert Pinsky, the 39th Poet Laureate of the United States, founded the Favorite Poem Project shortly after the Library of Congress appointed him to the post in 1997. During the one-year open call for submissions, 18,000 Americans wrote to the project volunteering to share their favorite poems. This site archives videos of participants in the project reciting the poems they chose.
• For Better for Verse (University of Virginia) For Better for Verse is an interactive learning tool that can help you understand what makes metered poetry in English tick.
• Free Verse An online journal that publishes contemporary poetry, interviews with poets, and book reviews. Hosted by North Carolina State University.
• Milton - L (University of Richmond) Devoted to the life, literature and times of John Milton. Contains electronic versions of Milton's work and other reference material.
• Modern American Poetry (University of Illinois at Urbana-Champaign) A "scholarly forum for the study of modern and contemporary American poetry," which includes: biographies, critical essays, and images relating to poetry.
• PennSound A project from the University of Pennsylvania's Center for Programs in Contemporary Writing, PennSound provides sound files of contemporary poets reading their work. Search or browse for individual poems, or listen to entire poetry readings. You can listen to the MP3 files online or download them to listen to on your MP3 player.
• The Poetry Archive The Poetry Archive exists to help make poetry accessible, relevant and enjoyable to a wide audience. It came into being as a result of a meeting, in a recording studio, between Andrew Motion, soon after he became U.K. Poet Laureate in 1999, and the recording producer, Richard Carrington. They agreed about how enjoyable and illuminating it is to hear poets reading their work and about how regrettable it was that, even in the recent past, many important poets had not been properly recorded.
• Representative Poetry Online (University of Toronto) Representative Poetry Online, includes 4,079 English poems by 618 poets from Caedmon, in the Old English period, to the work of living poets today.
• Rossetti Archive The Rossetti Archive facilitates the scholarly study of Dante Gabriel Rossetti, the painter, designer, writer, and translator who was, according to both John Ruskin and Walter Pater, the most important and original artistic force in the second half of the nineteenth century in Great Britain. The Rossetti Archive aims to include high-quality digital images of every surviving documentary state of DGR's works: all the manuscripts, proofs, and original editions, as well as the drawings, paintings, and designs of various kinds, including his collaborative photographic and craft works. These primary materials are transacted with a substantial body of editorial commentary, notes, and glosses.
• Victorian Women Writers Project (Indiana University) The Victorian Women Writers Project (VWWP) began in 1995 at Indiana University and is primarily concerned with the exposure of lesser-known British women writers of the 19th century. The collection represents an array of genres - poetry, novels, children's books, political pamphlets, religious tracts, histories, and more. VWWP contains scores of authors, both prolific and rare.
• Walt Whitman Archive (University of Nebraska-Lincoln) The Walt Whitman Archive is an electronic research and teaching tool that sets out to make Whitman's vast work, for the first time, easily and conveniently accessible to scholars, students, and general readers. Includes digitized versions of all six editions of Leaves of Grass, plus a growing collection of Whitman's manuscripts.
• The William Blake Archive The Blake Archive was conceived as an international public resource that would provide unified access to major works of visual and literary art that are highly disparate, widely dispersed, and more and more often severely restricted as a result of their value, rarity, and extreme fragility. A growing number of contributors have given the Archive permission to include thousands of Blake's images and texts without fees.
• The Poetry Foundation

The Poetry Foundation, publisher of Poetry magazine, is an independent literary organization committed to a vigorous presence for poetry in our culture. It exists to discover and celebrate the best poetry and to place it before the largest possible audience.

This is a great resource for locating poems, researching poets, and exploring the numerous features including podcasts and videos of poets and their poetry. 

Launched in 1996, Poets.org is the award-winning website of the Academy of American Poets. Visitors to Poets.org will find thousands of poems as well as hundreds of poet biographies and essays and interviews about poetry . Also available are poetry lesson plans for teachers. Poets.org receives a million visitors each month, making it the most popular site about poetry on the web.

• << Previous: Home
• Next: Finding Poets (Biography) >>
• Last Updated: Sep 12, 2024 1:45 AM
• URL: https://guides.nyu.edu/poems-and-poets

Edgar Allan Poe Research Paper Topics

This page provides students with a rich tapestry of Edgar Allan Poe research paper topics . From the haunting beauty of his poetry to the chilling narratives of his short stories, Poe’s works present a myriad of research opportunities. This comprehensive guide not only delves into a categorized list of Edgar Allan Poe research paper topics but also offers insights into choosing the perfect Poe topic and crafting an impeccable research paper. Additionally, iResearchNet’s unparalleled writing services are showcased, promising meticulous research and tailored writing solutions. Dive deep into the Gothic allure of Poe, and embark on an academic journey with iResearchNet’s expert guidance.

Edgar Allan Poe’s enigmatic style and dark themes have continuously intrigued scholars and avid readers alike for generations. For those seeking to delve deep into the recesses of Poe’s mind, here is a comprehensive list of Edgar Allan Poe research paper topics spanning across various facets of his work:

Academic Writing, Editing, Proofreading, And Problem Solving Services

Get 10% off with 24start discount code, 1. poe’s poetry.

• An analysis of the rhythmic patterns in The Raven .
• The exploration of love and loss in Annabel Lee .
• Ulalume – A journey through grief and remembrance.
• The dark romanticism of A Dream Within a Dream .
• Symbolism in The Bells .
• The personification of death in The Conqueror Worm .
• Navigating the landscapes of Eldorado .
• Themes of sorrow and yearning in Lenore .
• Imagery and melancholy in The Sleeper .
• To Helen and the ideals of beauty.

2. Tales of the Macabre

• Psychological terror in The Tell-Tale Heart .
• The thin line between sanity and insanity in The Black Cat .
• The descent into madness in The Cask of Amontillado .
• Death and disease in The Masque of the Red Death .
• Exploration of guilt in William Wilson .
• The Fall of the House of Usher and the Gothic tradition.
• The pursuit of the unknown in The Facts in the Case of M. Valdemar .
• The torment of the soul in Ligeia .
• Themes of revenge in Hop-Frog .
• The intricate narrative of The Pit and the Pendulum .

3. Detective Fiction

• The Murders in the Rue Morgue and the birth of detective fiction.
• The analytical prowess of C. Auguste Dupin.
• The detective’s role in The Mystery of Marie Rogêt .
• Deductive reasoning in The Purloined Letter .
• Poe’s influence on the modern detective genre.
• Examination of crime in Poe’s detective tales.
• The development of sidekicks in detective fiction.
• The detective’s moral compass in Poe’s works.
• Female characters in Poe’s detective stories.
• The evolution of clues and red herrings in Poe’s mysteries.

4. Poe and the Supernatural

• Exploration of the afterlife in Morella .
• Ghosts and hauntings in Poe’s tales.
• The dichotomy of life and death in Berenice .
• The metaphysical in Silence – A Fable .
• Exploration of the soul in The Oval Portrait .
• Visions and prophecies in Poe’s works.
• The exploration of otherworldly realms.
• Portrayal of apparitions and spirits.
• The supernatural as a reflection of human psyche.
• Dreams and omens in Poe’s tales.

5. Poe’s Personal Life and Works

• The influence of Poe’s turbulent love life on his poetry.
• Tragedies of Poe: The deaths that shaped his tales.
• Poe’s relationship with alcohol and its reflection in his work.
• The financial struggles of Poe and their impact on his writings.
• Poe’s tumultuous relationship with the literary community.
• The mystery of Poe’s death: Theories and narratives.
• Poe’s years in Baltimore and their influence.
• Poe and his foster parents: A complicated bond.
• The influence of Poe’s academic life on his tales.
• Poe’s critiques and their influence on American literature.

6. Poe’s Literary Techniques

• Poe’s use of unreliable narrators.
• The symbolism of the Gothic in Poe’s works.
• The mastery of first-person narrative in Poe’s stories.
• Poe’s pioneering use of psychological horror.
• The recurring motif of the ‘eye’ in Poe’s tales.
• Exploration of sound, from the beating heart to the ominous raven.
• The role of nature in setting the mood in Poe’s works.
• The juxtaposition of beauty and decay in Poe’s prose.
• Poe’s portrayal of women: Idealization and objectification.
• Themes of confinement and entrapment in Poe’s narratives.

7. Poe’s Influence on Modern Literature

• Poe’s impact on 20th-century horror writers.
• The continuation of C. Auguste Dupin in Sherlock Holmes.
• Poe’s influence on contemporary gothic fiction.
• Adaptations of Poe in cinema and theater.
• Modern reimaginings of The Tell-Tale Heart .
• The legacy of The Raven in modern pop culture and more.
• The reinterpretation of Poe’s themes in graphic novels.
• Poe’s legacy in the genre of psychological thrillers.
• How contemporary poets have built upon Annabel Lee .
• The Fall of the House of Usher in modern architectural narratives.

Poe’s Exploration of the Human Psyche

• Exploration of obsession in tales like The Tell-Tale Heart .
• Madness and sanity: The blurred lines in Poe’s narratives.
• Delving into paranoia in The Black Cat .
• Love, loss, and mourning in Poe’s poetic and prose works.
• The subconscious fears in The Premature Burial .
• The human psyche’s struggle with mortality.
• Guilt, conscience, and human nature in Poe’s writings.
• The role of memory in stories like Eleonora .
• The fine line between reality and illusion in Poe’s tales.
• Analyzing self-identity and duality in works like William Wilson .

9. Poe and the Victorian Era

• The portrayal of Victorian society in Poe’s works.
• Social conventions and restraints in Poe’s narratives.
• The influence of the Victorian Gothic on Poe’s tales.
• Victorian views on mortality and their reflections in Poe’s stories.
• The role of women in Poe’s Victorian narratives.
• Poe’s criticism of Victorian moral hypocrisy.
• Poe’s interaction with other Victorian writers.
• The role of science and reason in Poe’s Victorian tales.
• The Victorians’ fascination with the macabre and the supernatural.
• Poe’s view on Victorian advancements and industrialization.

10. Analysis of Selected Works

• A deep dive into The Narrative of Arthur Gordon Pym .
• The many layers of The Descent into the Maelstrom .
• Isolation and despair in The Island of the Fay .
• The metaphysical quandaries of Eureka: A Prose Poem .
• Unraveling Tamerlane : Poe’s early hints at genius.
• Delving into the drama of Politian .
• Love and loss: An analysis of Bridal Ballad .
• The journey of self-discovery in Al Aaraaf .
• Dissecting the mysteries of MS. Found in a Bottle .
• The symbolism and depth of The Man of the Crowd .

Delving into Edgar Allan Poe’s vast realm of literary contributions is akin to embarking on a journey through layers of the human psyche, societal reflections, and transcendent themes. His works, suffused with intricate symbolism and profound emotion, continue to resonate powerfully with readers across the globe, even after centuries. These Edgar Allan Poe research paper topics serve as a window, offering a glimpse into the multifaceted world of Poe, where every narrative, be it prose or poetry, reveals a new dimension of understanding. By exploring these subjects, students not only immerse themselves in the richness of Poe’s genius but also engage in critical thinking, analytical assessments, and a deeper appreciation of literary artistry. As one ventures deeper into his narratives and poems, it becomes clear why Poe stands as an immortal pillar in the pantheon of literary greats.

Edgar Allan Poe and the Range of Research Paper Topics

Edgar Allan Poe, a name that evokes a mosaic of emotions – from eerie suspense to profound melancholy. Often hailed as the master of the macabre, Poe’s contributions to American literature span much more than just tales of horror and the uncanny. His works are a rich tapestry woven with intricate themes, unparalleled symbolism, and a deep understanding of the human psyche. This literary genius’s stories and poems have continually fascinated scholars, readers, and writers alike, offering a plethora of Edgar Allan Poe research paper topics for literature enthusiasts to dive into.

To understand the vast range of research avenues in Poe’s works, one must first grasp the breadth of his literary portfolio. Although primarily recognized for his gothic tales, Poe was also an astute critic, an innovative poet, and a pioneer of the short story genre. He adeptly merged both European romanticism and American originality, resulting in a unique literary style that still stands unmatched.

The Enigmatic Poe

One of the enduring fascinations with Poe is his own life – as mysterious and tragic as some of his tales. Orphaned at a young age, battling personal demons, and facing numerous adversities, Poe’s tumultuous life deeply influenced his writings. Exploring the parallels between his personal experiences and his fictional worlds is a research area that continues to captivate scholars. His enigmatic death, still a mystery, is a testament to the lingering intrigue surrounding his life.

Poe’s Exploration of the Human Psyche

Much ahead of his time, Poe delved deep into the complexities of the human mind. Stories like The Tell-Tale Heart and The Black Cat are not just tales of horror but profound psychological studies of guilt, paranoia, and mental descent. Analyzing the psychological undertones in his works provides a multi-dimensional approach to his stories, making them relevant even in modern psychoanalytical discussions.

Symbolism and the Supernatural

Poe’s tales are replete with symbols. Be it the hauntingly sentient House of Usher or the relentless Raven, Poe used symbols to enhance the atmospheric dread of his stories and to dive deep into abstract concepts. This prolific use of symbolism offers researchers a rich field to dissect, interpret, and reinterpret.

Poe and Science Fiction

Often overshadowed by his gothic tales, Poe’s foray into science fiction, exemplified by stories like The Unparalleled Adventure of One Hans Pfaall and Mellonta Tauta , is an area ripe for exploration. Here, he blends his narrative genius with speculative visions of science, creating stories that can be viewed as precursors to the modern science fiction genre.

Poetic Techniques and Innovations

Poe was not just a storyteller; he was a poet par excellence. His poems, such as Annabel Lee , The Bells , and Ulalume , are studies in rhythm, sound, and emotion. They oscillate between the melancholic and the macabre, making them enduring pieces of poetic art. Researching his poetic techniques, innovations, and influences can be a fulfilling journey for anyone interested in poetic forms and structures.

Literary Criticism and Theories

As a critic, Poe had strong opinions on art, literature, and the role of the critic. His reviews, essays, and theories on writing are illuminating, offering a peek into the mind of a literary genius. Exploring Poe’s literary criticism can provide insights into 19th-century literary standards, Poe’s influences, and his expectations from literature and fellow writers.

Poe’s cultural impact is another intriguing facet to consider. His influence is not limited to American literature but spans globally, impacting various art forms. From cinema adaptations to his influence on subsequent writers and even musicians, Poe’s legacy is extensive and multifaceted.

The very nature of Poe’s work – its depth, diversity, and enduring relevance – makes it a goldmine for research. Whether one is analyzing the structural aspects of his poems, dissecting the themes of his tales, or tracing the influences of his personal life on his works, the opportunities for scholarly exploration are virtually limitless.

In conclusion, Edgar Allan Poe’s literary contributions are not mere tales to be read and forgotten. They are intricate webs of narrative brilliance, emotional depth, and symbolic complexity. For literature students and scholars, every Poe story or poem presents a unique research challenge, beckoning them to delve deeper, question more, and embark on an endless journey of literary discovery.

How to Choose Edgar Allan Poe Research Paper Topics

Selecting a topic for a research paper on Edgar Allan Poe is like being a kid in a candy store. The options are vast, intriguing, and tempting. But with so many directions to pursue, how does one choose a topic that’s not only engaging but also academically rewarding? Let’s embark on this journey of selection with some structured steps and key considerations.

• Identify Your Interest: Begin by determining which of Poe’s works or themes particularly captivate you. Is it the eerie atmosphere of “The Fall of the House of Usher” or the relentless psychological torment in “The Tell-Tale Heart”? Your genuine interest will make the research process more enjoyable and your paper more passionate.
• Consider the Scope: While it’s tempting to pick a broad topic like “Poe’s contribution to American literature,” it might be too vast for a detailed study. Instead, opt for more narrow focuses, such as “Poe’s influence on the detective fiction genre.”
• Historical Context: Poe’s writings did not emerge in a vacuum. Understanding the socio-political and cultural context of his time can offer a fresh lens to view his works. Topics like “Poe and the American Romantic Movement” or “Societal Reflections in Poe’s Gothic Tales” can be compelling.
• Analytical versus Argumentative: Determine the nature of your paper. An analytical paper on “The Symbolism in The Raven ” differs from an argumentative paper asserting “Poe’s Representation of Women as Symbols of Death and Decay.”
• Relevance to Modern Times: Exploring how Poe’s themes resonate with contemporary issues can be enlightening. For instance, examining the portrayal of mental health in his stories in light of current psychological understanding can be a rich research area.
• Cross-disciplinary Approaches: Don’t restrict yourself to purely literary angles. Poe’s works can be explored from psychological, sociological, or even philosophical perspectives. A topic like “Freudian Analysis of Poe’s Protagonists” can be intriguing.
• Comparative Studies: Comparing Poe with other contemporaries or authors from different eras can shed light on literary evolutions and contrasts. Topics such as “Poe and Hawthorne: A Study in Dark Romanticism” can offer dual insights.
• Unexplored Angles: While much has been written about Poe’s famous works, venturing into his lesser-known stories, poems, or essays can be rewarding. Delving deep into these uncharted territories can present fresh perspectives.
• Consider Available Resources: Ensure that there are enough primary and secondary sources available for your chosen topic. While original interpretations are valuable, building upon or contrasting with existing scholarship enriches your research.
• Seek Feedback: Before finalizing your topic, discuss it with peers, professors, or literature enthusiasts. Fresh eyes can offer new perspectives, refine your focus, or even present angles you hadn’t considered.

In conclusion, choosing a research paper topic on Edgar Allan Poe requires a blend of personal interest, academic viability, and originality. Remember that the goal is not just to explore the enigmatic world Poe created but to add a unique voice to the ongoing discourse about his works. Armed with passion and a structured approach, you’re set to select a topic that will not only enlighten readers but also deepen your appreciation of Poe’s literary genius.

How to Write an Edgar Allan Poe Research Paper

Crafting a research paper on Edgar Allan Poe is a journey into the heart of 19th-century American Gothic literature. Known as the master of macabre, Poe’s works are rich in symbolism, psychological insights, and intricate narratives. To bring justice to such depth in a research paper, a systematic approach is necessary. Here’s a step-by-step guide to help you navigate the hauntingly beautiful world of Poe and create a compelling paper.

• Deep Reading: Before everything else, immerse yourself in the selected work(s) of Poe. Read it multiple times, noting the nuances, literary techniques, and recurrent themes. This isn’t just casual reading; it’s about diving deep into the text.
• Thesis Statement: A research paper isn’t merely a summary. It needs a central argument or perspective. Craft a clear, concise thesis statement that conveys the essence of your paper. For instance, “Through The Fall of the House of Usher , Poe explores the thin boundary between sanity and madness.”
• Outline Your Thoughts: Structure is vital when delving into Poe’s intricate narratives. Create an outline with clear sections, including introduction, literature review, methodology (if applicable), main arguments, counterarguments, and conclusion.
• Historical and Biographical Context: To understand Poe, it’s imperative to understand his life and times. Infuse your paper with insights about Poe’s tumultuous life, his contemporaries, and the broader socio-cultural milieu of his era.
• Literary Analysis: Delve into the literary aspects of the work. Explore Poe’s use of symbolism, metaphor, allegory, and other devices. Analyze his narrative structures, use of unreliable narrators, or the rhythm and meter in his poems.
• Interdisciplinary Insights: Don’t limit your analysis to a purely literary perspective. Draw insights from psychology (especially when discussing tales like The Tell-Tale Heart ), philosophy, or even the sciences.
• Engage with Scholars: Your interpretations should be in dialogue with established Poe scholars. Reference critical essays, research papers, and academic discourses that align or contradict your arguments. This lends credibility to your work.
• Address Counterarguments: A well-rounded research paper acknowledges differing views. If there are prominent interpretations that contradict your thesis, address them. It shows academic integrity and a comprehensive understanding of the subject.
• Effective Conclusion: Wrap up by reiterating your thesis and summarizing your main arguments. Also, hint at the broader implications of your findings or suggest areas for future research.
• Proofreading and Citations: After pouring so much effort into your analysis, don’t let grammatical errors or incorrect citations mar your paper. Review your work multiple times, use citation tools, and adhere to the desired formatting style (MLA, APA, etc.).

In summary, writing a research paper on Edgar Allan Poe is an intricate dance between analysis and appreciation. While the process requires a meticulous approach, it’s also an opportunity to immerse oneself in the rich tapestry of Poe’s imagination. Remember, it’s not just about producing an academic paper, but also about connecting with one of the literary world’s most enigmatic figures. Embrace the challenge, and let Poe’s haunting allure guide your pen.

Custom Research Paper Writing Services

Navigating the mysterious and captivating world of Edgar Allan Poe is no simple endeavor. The depth, symbolism, and emotional charge in his writings require a unique blend of understanding, analysis, and passion. For students tasked with crafting a research paper on Poe, the weight of doing justice to such a literary giant can feel overwhelming. This is where iResearchNet steps in, bridging the gap between student ambition and academic excellence. Here’s what sets our services apart when it comes to delivering a custom Edgar Allan Poe research paper.

• Expert Degree-Holding Writers: Our team boasts professionals who have not only mastered the craft of academic writing but are also well-versed in the world of Edgar Allan Poe. Their academic background and passion for literature ensure that your paper is in capable hands.
• Custom Written Works: We do not believe in one-size-fits-all. Every Edgar Allan Poe research paper crafted by iResearchNet is tailored to individual requirements, ensuring uniqueness and relevance.
• In-depth Research: Poe’s writings demand an intricate level of analysis. Our research dives deep into his texts, critical interpretations, historical contexts, and the nuances that make his work stand out.
• Custom Formatting: Whether your institution requires APA, MLA, Chicago/Turabian, or Harvard formatting, our writers are adept at creating papers that adhere strictly to these guidelines.
• Top Quality: Quality is our hallmark. From structuring the paper to ensuring coherent arguments and impeccable language, we ensure that your paper shines in all aspects.
• Customized Solutions: Whether you need insights into The Raven ‘s melancholic undertones or a deep dive into the symbolism in The Tell-Tale Heart , our writers provide solutions tailored to your specific needs.
• Flexible Pricing: We understand the budget constraints students often face. Our pricing models are designed to offer premium quality services at rates that don’t break the bank.
• Short Deadlines: Time crunch? No worries. Our efficient team can deliver top-notch research papers even on tight deadlines, ensuring you never miss a submission date.
• Timely Delivery: We respect deadlines and understand their importance in the academic world. With iResearchNet, timely delivery is a guarantee.
• 24/7 Support: Whether you have a query, need an update, or require last-minute changes, our support team is available round the clock to assist you.
• Absolute Privacy: Your trust is paramount. All personal and academic information shared with us remains confidential, always.
• Easy Order Tracking: With our seamless tracking system, you can monitor the progress of your paper, ensuring transparency throughout the process.
• Money-Back Guarantee: Our goal is your satisfaction. If, for any reason, the paper doesn’t meet your expectations, our money-back guarantee ensures you’re covered.

In conclusion, writing about Edgar Allan Poe is as challenging as it is rewarding. With iResearchNet’s comprehensive writing services, you not only get a paper that matches academic standards but also captures the essence of Poe’s genius. Entrust us with your academic journey through the hauntingly beautiful world of Poe, and let us craft a paper that resonates with both intellect and emotion.

Embrace the Dark Allure of Poe with iResearchNet

Dive into the shadowy realms of Edgar Allan Poe’s universe, a world filled with intricate tales of love, despair, horror, and the supernatural. As you traverse this intricate literary landscape, let the expertise of iResearchNet guide and support you. While the gothic beauty of Poe’s works is undeniably captivating, the task of analyzing and interpreting them can be daunting. Why wander alone in these literary labyrinths when you can have a seasoned guide by your side?

By choosing iResearchNet, you’re not just selecting a service; you’re opting for a partnership. A partnership that understands the nuances of Poe’s writings, recognizes the depths of his narratives, and captures the essence of his stories in every line written. Each tale, from the heart-wrenching Annabel Lee to the haunting Masque of the Red Death , demands more than just a surface-level reading. It calls for a deep dive into the very soul of the narrative, a task that our expert writers are perfectly poised to undertake.

But the allure of iResearchNet goes beyond mere expertise. It’s about the commitment to excellence, the dedication to understanding your specific needs, and the relentless pursuit of academic brilliance. We’re not just offering a service; we’re extending an invitation. An invitation to embark on an unforgettable journey through Poe’s dark yet enchanting world, with the assurance that you have the best in the business by your side.

So, are you ready to embrace the macabre, the romantic, and the profound tales of one of literature’s most iconic figures? Trust in the expertise of iResearchNet, and let us illuminate the path. Dive deep, explore fearlessly, and let the dark allure of Poe’s world captivate your academic endeavors. Step forward with confidence, and let’s begin this enthralling journey together!

ORDER HIGH QUALITY CUSTOM PAPER

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

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 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:

Receive feedback on language, structure, and formatting

Professional editors proofread and edit your paper by focusing on:

• Academic style
• Vague sentences
• Style consistency

See an example

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 September 14, 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, "i thought ai proofreading was useless but..".

I've been using Scribbr for years now and I know it's a service that won't disappoint. It does a good job spotting mistakes”