Dimeter
Trimeter
Tetrameter
Pentameter
Hexameter
Any number above six (hexameter) is heard as a combination of smaller parts; for example, what we might call heptameter (seven feet in a line) is indistinguishable (aurally) from successive lines of tetrameter and trimeter (4-3).
To scan a line is to determine its metrical pattern. Perhaps the best way to begin scanning a line is to mark the natural stresses on the polysyllabic words. Take Shelley’s line:
And walked with inward glory crowned.
Then mark the polysyllabic nouns, verbs, adjectives, and adverbs that are normally stressed:
Then fill in the rest:
Then divide the line into feet:
Then note the sequence:
The line consists of four iambs; therefore, we identify the line as iambic tetrameter.
Rhythm refers particularly to the way a line is voiced, i.e., how one speaks the line. Often, when a reader reads a line of verse, choices of stress and unstress may need to be made. For example, the first line of Keats’ “Ode on Melancholy” presents the reader with a problem:
No, no, go not to Lethe, neither twist
If we determine the regular pattern of beats (the meter) of this line, we will most likely identify the line as iambic pentameter. If we read the line this way, the statement takes on a musing, somewhat disinterested tone. However, because the first five words are monosyllabic, we may choose to read the line differently. In fact, we may be tempted, especially when reading aloud, to stress the first two syllables equally, making the opening an emphatic, directive statement. Note that monosyllabic words allow the meaning of the line to vary according to which words we choose to stress when reading (i.e., the choice of rhythm we make).
The first line of Milton’s Paradise Lost presents a different type of problem.
Of Man’s First Disobedience, and the Fruit
Again, this line is predominantly iambic, but a problem occurs with the word “Disobedience.” If we read strictly by the meter, then we must fuse the last two syllables of the word. However, if we read the word normally, we have a breakage in the line’s metrical structure. In this way, the poet forges a tension between meter and rhythm: does the word remain contained by the structure, or do we choose to stretch the word out of the normal foot, thereby disobeying the structure in which it was made? Such tension adds meaning to the poem by using meter and rhythm to dramatize certain conflicts. In this example, Milton forges such a tension to present immediately the essential conflicts that lead to the fall of Adam and Eve.
The explication should follow the same format as the preparation: begin with the large issues and basic design of the poem and work through each line to the more specific details and patterns.
The first paragraph should present the large issues; it should inform the reader which conflicts are dramatized and should describe the dramatic situation of the speaker. The explication does not require a formal introductory paragraph; the writer should simply start explicating immediately. According to UNC ‘s Professor William Harmon, the foolproof way to begin any explication is with the following sentence:
“This poem dramatizes the conflict between …”
Such a beginning ensures that you will introduce the major conflict or theme in the poem and organize your explication accordingly.
Here is an example. A student’s explication of Wordsworth’s “Composed upon Westminster Bridge” might begin in the following way:
This poem dramatizes the conflict between appearance and reality, particularly as this conflict relates to what the speaker seems to say and what he really says. From Westminster Bridge, the speaker looks at London at sunrise, and he explains that all people should be struck by such a beautiful scene. The speaker notes that the city is silent, and he points to several specific objects, naming them only in general terms: “Ships, towers, domes, theatres, and temples” (6). After describing the “glittering” aspect of these objects, he asserts that these city places are just as beautiful in the morning as country places like “valley, rock, or hill” (8,10). Finally, after describing his deep feeling of calmness, the speaker notes how the “houses seem asleep” and that “all that mighty heart is lying still” (13, 14). In this way, the speaker seems to say simply that London looks beautiful in the morning.
The next paragraphs should expand the discussion of the conflict by focusing on details of form, rhetoric, syntax, and vocabulary. In these paragraphs, the writer should explain the poem line by line in terms of these details, and they should incorporate important elements of rhyme, rhythm, and meter during this discussion.
The student’s explication continues with a topic sentence that directs the discussion of the first five lines:
However, the poem begins with several oddities that suggest the speaker is saying more than what he seems to say initially. For example, the poem is an Italian sonnet and follows the abbaabbacdcdcd rhyme scheme. The fact that the poet chooses to write a sonnet about London in an Italian form suggests that what he says may not be actually praising the city. Also, the rhetoric of the first two lines seems awkward compared to a normal speaking voice: “Earth has not anything to show more fair. / Dull would he be of soul who could pass by” (1-2). The odd syntax continues when the poet personifies the city: “This City now doth, like a garment, wear / The beauty of the morning” (4-5). Here, the city wears the morning’s beauty, so it is not the city but the morning that is beautiful …
The explication has no formal concluding paragraph; do not simply restate the main points of the introduction! The end of the explication should focus on sound effects or visual patterns as the final element of asserting an explanation. Or, as does the undergraduate here, the writer may choose simply to stop writing when they reach the end of the poem:
The poem ends with a vague statement: “And all that mighty heart is lying still!” In this line, the city’s heart could be dead, or it could be simply deceiving the one observing the scene. In this way, the poet reinforces the conflict between the appearance of the city in the morning and what such a scene and his words actually reveal.
Refer to the speaking voice in the poem as the “speaker” or “the poet.” For example, do not write, “In this poem, Wordsworth says that London is beautiful in the morning.” However, you can write,
“In this poem, Wordsworth presents a speaker who…”
We cannot absolutely identify Wordsworth with the speaker of the poem, so it is more accurate to talk about “the speaker” or “the poet” in an explication.
Use the present tense when writing the explication. The poem, as a work of literature, continues to exist!
To avoid unnecessary uses of the verb “to be” in your compositions, the following list suggests some verbs you can use when writing the explication:
dramatizes presents illustrates characterizes underlines | asserts posits enacts connects portrays | contrasts juxtaposes suggests implies shows | addresses emphasizes stresses accentuates enables |
The Fountain
Fountain, fountain, what do you say Singing at night alone? “It is enough to rise and fall Here in my basin of stone.” But are you content as you seem to be So near the freedom and rush of the sea? “I have listened all night to its laboring sound, It heaves and sags, as the moon runs round; Ocean and fountain, shadow and tree, Nothing escapes, nothing is free.”
—Sara Teasdale (American, 1884-1933)
As a direct address to an inanimate object “The Fountain” presents three main conflicts concerning the appearance to the observer and the reality in the poem. First, since the speaker addresses an object usually considered voiceless, the reader may abandon his/her normal perception of the fountain and enter the poet’s imaginative address. Secondly, the speaker not only addresses the fountain but asserts that it speaks and sings, personifying the object with vocal abilities. These acts imply that, not only can the fountain speak in a musical form, but the fountain also has the ability to present some particular meaning (“what do you say” (1)). Finally, the poet gives the fountain a voice to say that its perpetual motion (rising and falling) is “enough” to maintain its sense of existence. This final personification fully dramatizes the conflict between the fountain’s appearance and the poem’s statement of reality by giving the object intelligence and voice.
The first strophe, four lines of alternating 4- and 3-foot lines, takes the form of a ballad stanza. In this way, the poem begins by suggesting that it will be story that will perhaps teach a certain lesson. The opening trochees and repetition stress the address to the fountain, and the iamb which ends line 1 and the trochee that begins line 2 stress the actions of the fountain itself. The response of the fountain illustrates its own rise and fall in the iambic line 3, and the rhyme of “alone” and “stone” emphasizes that the fountain is really a physical object, even though it can speak in this poem.
The second strophe expands the conflicts as the speaker questions the fountain. The first couplet connects the rhyming words “be” and “sea” these connections stress the question, “Is the fountain content when it exists so close to a large, open body of water like the ocean?” The fountain responds to the tempting “rush of the sea” with much wisdom (6). The fountain’s reply posits the sea as “laboring” versus the speaker’s assertion of its freedom; the sea becomes characterized by heavily accented “heaves and sags” and not open rushing (7, 8). In this way, the fountain suggests that the sea’s waters may be described in images of labor, work, and fatigue; governed by the moon, these waters are not free at all. The “as” of line 8 becomes a key word, illustrating that the sea’s waters are not free but commanded by the moon, which is itself governed by gravity in its orbit around Earth. Since the moon, an object far away in the heavens, controls the ocean, the sea cannot be free as the speaker asserts.
The poet reveals the fountain’s intelligence in rhyming couplets which present closed-in, epigrammatic statements. These couplets draw attention to the contained nature of the all objects in the poem, and they draw attention to the final line’s lesson. This last line works on several levels to address the poem’s conflicts. First, the line refers to the fountain itself; in this final rhymed couplet is the illustration of the water’s perpetual motion in the fountain, its continually recycled movement rising and falling. Second, the line refers to the ocean; in this respect the water cannot escape its boundary or control its own motions. The ocean itself is trapped between landmasses and is controlled by a distant object’s gravitational pull. Finally, the line addresses the speaker, leaving him/her with an overriding sense of fate and fallacy. The fallacy here is that the fountain presents this wisdom of reality to defy the speaker’s original idea that the fountain and the ocean appear to be trapped and free. Also, the direct statement of the last line certainly addresses the human speaker as well as the human reader. This statement implies that we are all trapped or controlled by some remote object or entity. At the same time, the assertion that “Nothing escapes” reflects the limitations of life in the world and the death that no person can escape. Our own thoughts are restricted by our mortality as well as by our limits of relying on appearances. By personifying a voiceless object, the poem presents a different perception of reality, placing the reader in the same position of the speaker and inviting the reader to question the conflict between appearance and reality, between what we see and what we can know.
The writer observes and presents many of the most salient points of the short poem, but they could indeed organize the explication more coherently. To improve this explication, the writer could focus more on the speaker’s state of mind. In this way, the writer could explore the implications of the dramatic situation even further: why does the speaker ask a question of a mute object? With this line of thought, the writer could also examine more closely the speaker’s movement from perplexity (I am trapped but the waters are free) to a kind of resolution (the fountain and the sea are as trapped as I am). Finally, the writer could include a more detailed consideration of rhythm, meter, and rhyme.
You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill
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A comprehensive guide to writing a poem analysis essay.
Delving into the intricate world of poetry analysis can be a rewarding and enlightening experience. A poem analysis essay allows you to explore the nuances of a poem, dissect its themes, and uncover the hidden meanings within its verses. It offers a unique opportunity to delve into the poet’s mind and understand their perspective.
When crafting a poem analysis essay, it is essential to approach the task with a critical eye and an open mind. Careful attention to detail, a keen understanding of poetic devices, and a thoughtful analysis of the poem’s structure are key components of a successful essay. By following a systematic approach and employing effective writing techniques, you can create a compelling and insightful analysis that showcases your literary prowess.
In this article, we will provide you with valuable tips and strategies to help you craft a thought-provoking poem analysis essay. From conducting a thorough analysis of the poem to structuring your essay effectively, we will guide you through the process of analyzing a poem with skill and finesse. By mastering the art of poetry analysis, you can unlock the deeper layers of meaning hidden within the lines of a poem and gain a deeper appreciation for the art of poetry.
When analyzing a poem, it’s essential to understand the context in which it was written. Consider the historical, cultural, and social background that influenced the poet and the poem itself. Research the time period in which the poem was written, the poet’s biography, and any significant events or movements that may have impacted the poet’s work.
Furthermore, pay attention to the poet’s intentions and motivations for writing the poem. Understanding the context can provide valuable insights into the poem’s themes, symbols, and stylistic choices. By delving into the context, you can deepen your interpretation and appreciation of the poem’s meaning.
Examining the structure of a poem is crucial in understanding the poet’s intentions and the overall impact of the work. Consider the poem’s form, including the stanza structure, line length, and rhyme scheme. Look for patterns in the organization of the poem, such as repetition, enjambment, or other structural techniques. Pay attention to the rhythm and meter of the poem, as this can contribute to the tone and mood of the piece. By analyzing the structure of the poem, you can uncover deeper meanings and insights that may not be immediately apparent.
One important aspect of crafting a poem analysis essay is identifying the key themes and symbols within the poem. Themes are recurring ideas or messages that the poet conveys through the poem, while symbols are objects, characters, or elements that represent deeper meanings.
When analyzing a poem, pay attention to the themes that emerge as you read. Consider what the poet is trying to communicate about topics such as love, nature, life, or death. Look for recurring symbols or images that carry symbolic meaning, such as birds symbolizing freedom or light symbolizing hope.
By identifying the key themes and symbols in a poem, you can gain a deeper understanding of the poet’s message and the significance of the poem as a whole. This analysis can help you craft a thoughtful and insightful essay that explores the poem’s meaning in depth.
One key aspect to consider when analyzing a poem is its tone and mood. The tone of a poem refers to the attitude or feelings that the poet expresses towards the subject matter. It can be playful, serious, sarcastic, melancholic, or any other emotion that the poet conveys through the language and imagery used in the poem. On the other hand, the mood of a poem is the overall feeling or atmosphere that the poem evokes in the reader. The mood can be somber, joyful, contemplative, or any other emotional response that the reader experiences when reading the poem. To analyze the tone and mood of a poem, pay attention to the language, imagery, and metaphors used by the poet, as these elements can reveal the underlying emotions and attitudes that the poet is trying to convey.
When analyzing a poem, it is crucial to support your interpretations with evidence directly from the text. This evidence can include specific lines, phrases, or stanzas that illustrate the themes, imagery, or language used by the poet.
For example: If you are discussing the theme of love in a poem, quote lines where the poet describes emotions, interactions, or relationships to demonstrate how the theme is developed throughout the poem.
Remember: Providing textual evidence not only strengthens your analysis but also shows your deep engagement with the poem and your ability to support your interpretations with concrete examples.
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Dreams' vs 'harlem' by langston hughes: meaning and comparison.
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Poetry (from the Greek poiesis, "making"), is a form of literature that uses aesthetic and often rhythmic qualities of language − such as phonaesthetics, sound symbolism, and metre − to evoke meanings in addition to, or in place of, a prosaic ostensible meaning.
Sonnet, shi, villanelle, limerick, tanka, haiku, khlong, khlong si suphap, ode
Narrative poetry, lyric poetry, epic poetry, satirical poetry, elegy, verse fable, dramatic poetry, speculative poetry, prose poetry, light poetry
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