Introduction to Poetry

Poetry is a compact language that expresses complex feelings. To understand the

multiple meanings of a poem, readers must examine its words and phrasing from the
perspectives of rhythm, sound, images, obvious meaning, and implied meaning. Readers
then need to organize responses to the verse into a logical, point-by-point explanation.
A good beginning involves asking questions that apply to most poetry.

Poets must make deliberate decisions about every aspect of their poem. Things like a
poem’s structure, its title, and even its use of punctuation are deliberate decisions made
by the poet to reinforce—or sometimes contradict—the overarching theme or message
of the poem.

There is no right or wrong way to read a poem.

The beauty of poetry is that it’s open to interpretation. Yes, some images can only mean
one thing, but the best poems mean something different to everyone. That’s not
because they’re poorly written, but because we project our own experiences onto what
we read.

In this paper, we’re going to look at some of the areas you can analyse when reading a
poem. Because there are so many different kinds of poetry, this isn’t an exhaustive list.
It will give you some ideas of how to get started, though.
I. Context of the Poem
Clear answers to the following questions can help establish the context of a poem and
form the foundation of understanding:
Who wrote the poem? Does the poet's life suggest any special point of view, such as a
political affiliation, religious sect, career interest, musical talent, family or personal
problems, travel, or handicap — for example, T. S. Eliot's conversion to Anglicanism,
Amy Lowell's aristocratic background, …etc?
When was the poem written and in what country? Knowing something about the poet's
life, times, and culture helps readers understand what's in a poem and why.
Does the poem appear in the original language? If not, readers should consider that
translation can alter the language and meaning of a poem.
Is the poem part of a special collection or series? Examples of such series and collections
include Edna St. Vincent Millay's sonnets.
Does the poem belong to a particular period or literary movement?
 II. Style of the Poem
Into what category does the poem fit?
Readers should apply definitions of the many categories to determine which describes
the poem's length and style:
Is it an epic, a long poem about a great person or national hero?
Is it a lyric, a short, musical verse?
Is it a narrative, a poem that tells a story?
III. Title of the Poem
Is the title's meaning obvious?
Does it imply multiple possibilities?
Is there an obvious antithesis?
Is there historical significance to the title?
IV. Repetition in the Poem
Readers should read through a poem several times, at least once aloud. If it is a long
poem, readers should concentrate on key passages and look for repetition of specific
words, phrases, or verses in the poem.
If readers note repetition in the poem, they should decide why certain information
seems to deserve the repetition.
V. Opening and Closing Lines of the Poem
Does the poet place significant information or emotion in these places?
Does the poet intend to leave a lasting impression by closing with a particular thought?
VI. Passage of Time in the Poem
Can readers pin down a time frame? What details specify time?
Does the poet name a particular month or season?
Is there a clear passage of time?
How long is the period of time? Are there gaps?
VII. Speaker of the Poem
Who is the speaker? Is the person male or female?
Does the voice speak in first person (I, me, my, mine)?
Does the speaker talk directly to a second person?
Is the voice meant to be universal — for example, applicable to either sex at any time or
place?
VIII. Names of Characters
Does the name of a character suggest extra meaning?
 IX. Basic Details of the Poem
Is the poet deliberately concealing information from the readers?
Why does the poet leave out significant facts? Are readers supposed to fill in the blanks?
X. Culture
Does the poem stress cultural details, such as the behavior, dress, or speech habits of a
particular group or a historical period or event?
Are any sections written in dialect, slang, or foreign words?
XI. Fantasy versus Reality
Is the poem an obvious fantasy?
XII. Mood and Tone of the Poem
What is the mood of the poem? Is it cheerful or jolly like limericks? Is it mysterious,
provocative, fearful, or brooding?
Does the mood change within the body of the work? Why does the mood shift? Where
does the shift begin?
What is the poet's tone? Is it satiric, serious, mock serious, playful, somber, brash, or
teasingly humorous?
Does the poet admire, agree with, ridicule, or condemn the speaker?
Is there an obvious reason for the poet's attitude?
Does the poet withhold judgment?
XIII. Themes of the Poem
Locating and identifying theme is crucial to understanding dominant ideas; theme is the
poem's essence.
Is the subject youth, loss, renewal, patriotism, nature, love? Are there several themes?
How do these themes relate to each other?
Is the poet merely teasing or entertaining or trying to teach a lesson?
Does the poet emphasize the theme by means of personification, or controlling images?
XIV. Rhythm of the Poem
Is there a dominant rhythm? Does it dance, frolic, meander, slither, or march?
Is it conversational, like a scene from a drama? Is it a droning monologue, as found in a
journal, diary, or confessional?
Does the rhythm relate to the prevalent theme of the poem? Or does it seem at odds
with the theme?
Does the rhythm increase or decrease in speed? Why?
 XV. Use of the Senses in the Poem
Are these impressions pleasant, unpleasant, or neutral?
Does the poet concentrate on a single sense or a burst of sensation?
XVI. Imagery in the Poem
Are there concrete images or pictures that the poet wants readers to see?
Are the pictures created by means of comparisons — for instance, metaphor or simile?
Do inanimate objects take on human traits (personification)?
Does the speaker talk to inanimate objects or to such abstract ideas as freedom?
XVII. Language of the Poem
Does the poet stress certain sounds, such as pleasant sounds (euphony) or harsh letter
combinations (cacophony)?
Are certain sounds repeated (alliteration, sibilance)?
Are words linked by approximate rhyme?
Is there a rhyme scheme or sound pattern at the ends of lines?
Does rhyming occur within a line (internal rhyme)?
XVIII. Drawing Conclusions
After answering the questions presented in this introduction, readers should paraphrase
or restate the poem in everyday words, as though talking to someone on the telephone.
A summary of the poem should emphasize a pattern of details, sounds, or rhythm. For
example, do various elements of the poem lead readers to believe that the poet is
describing an intense experience? Is the poet defining something, such as parenthood,
risking a life, curiosity, marriage, religious faith, or aging? Is the poet telling a story event
by event? Does the poet want to sway the reader's opinion?
Before reaching a conclusion about the meaning of a poem, readers should summarize
their personal responses. Are they emotionally moved or touched by the poem? Are
they entertained or repulsed, terrified or stirred to agree? Do words and phrases stick in
their memory? How has the poet made an impression? And most important, why?

POETIC DEVICES & LITERARY TERMS USE IN POETRY ANALYSIS

ALLITERATION - is the repetition of initial consonant sounds.

ALLUSION - is a direct or indirect reference to a familiar figure, place or event from
history, literature, mythology.
APOSTROPHE - a figure of speech in which a person not present is addressed.
ASSONANCE - is a close repetition of similar vowel sounds, usually in stressed syllables.
ATMOSPHERE / MOOD - is the prevailing feeling that is created in a story or poem.
Ballad: A narrative poem composed of quatrains (iambic tetrameter alternating with
iambic trimeter) rhyming x-a-x-a. Ballads may use refrains.
CONNOTATION - the emotional suggestions attached to words beyond their strict
definitions.
CONSONANCE - the close repetition of identical consonant sounds before and after
different vowels.
CONTRAST - the comparison of things that are different.
COUPLET: two successive rhyming lines. Couplets end the pattern of a Shakespearean
sonnet.
EXTENDED METAPHOR - an implied comparison between two things which are
essentially not alike. These points of comparison are continued throughout the
selection.
FIGURATIVE LANGUAGE - Language used in such a way as to force words out of their
literal meanings by emphasizing their connotations to bring new insight and feeling to
the subject.
Foot (prosody): A measured combination of heavy and light stresses. The numbers of
feet are given below. monometer (1 foot) dimeter (2 feet) trimeter (3 feet) tetrameter
(4 feet) pentameter (5 feet) hexameter (6 feet) heptameter or septenary (7 feet)
IMAGERY - is the representation through language of sense experience. The image
most often suggests a mental picture, but an image may also represent a sound, smell,
taste or tactile experience.
IRONY - is a literary device which reveals concealed or contradictory meanings.
METAPHOR - a comparison between two things which are essentially dissimilar. The
comparison is implied rather than directly stated.
METAPHSYICAL CONCEIT: An elaborate and extended metaphor or simile that links two
apparently unrelated fields or subjects in an unusual and surprising conjunction of ideas.
The term is commonly applied to the metaphorical language of a number of early
seventeenth-century poets, particularly John Donne. Example: stiff twin compasses//the
joining together of lovers like legs of a compass. See "To His Coy Mistress"
METER - any regular pattern of rhythm based on stressed and unstressed syllables.
METONYMY - use of a closely related idea for the idea itself.
OCTAVE: The first eight lines of an Italian or Petrarchan sonnet, unified by rhythm,
rhyme, and topic.
ONOMATOPOEIA - the use of words which sound like what they mean.
OXYMORON - two words placed close together which are contradictory, yet have truth
in them.
PARADOX - a statement in which there is an apparent contradiction which is actually
true.
PERSONIFICATION - giving human attributes to an animal, object or idea.
PETRARCHAN SONNET: A sonnet (14 lines of rhyming iambic pentameter) that divides
into an octave (8) and sestet (6). There is a "volta," or "turning" of the subject matter
between the octave and sestet.
REFRAIN: repeated word or series of words in response or counterpoint to the main
verse, as in a ballad.
RHYME - words that sound alike
RHYME SCHEME - any pattern of rhymes in poetry. Each new sound is assigned the next
letter in the alphabet.
RHYTHM - a series of stressed or accented syllables in a group of words, arranged so
that the reader expects a similar series to follow.
SHAKESPEAREAN SONNET: A fourteen-line poem written in iambic pentameter,
composed of three quatrains and a couplet rhyming abab cdcd efef gg.
SIMILE - a comparison between two things which are essentially dissimilar. The
comparison is directly stated through words such as like, as, than or resembles.
SONNET: A closed form consisting of fourteen lines of rhyming iambic pentameter.
SPEAKER - the "voice" which seems to be telling the poem. Not the same as the poet;
this is like a narrator.
Stanza: A group of poetic lines corresponding to paragraphs in prose; the meters and
rhymes are usually repeating or systematic.
SYMBOL - a symbol has two levels of meaning, a literal level and a figurative level.
Characters, objects, events and settings can all be symbolic in that they represent
something else beyond themselves.
SYNEDOCHE - the use of a part for the whole idea.
THEME - is the central idea of the story, usually implied rather than directly stated. It is
the writer's idea about life and can be implied or directly stated through the voice of the
speaker. It should not be confused with moral or plot.
TONE - is the poet's attitude toward his/her subject or readers. it is similar to tone of
voice but should not be confused with mood or atmosphere. An author's tone might be
sarcastic, sincere, humourous . . .
TROPE - a figure of speech in which a word is used outside its literal meaning. Simile
and metaphor are the two most common tropes.
UNDERSTATEMENT - this is saying less than what you mean in the service of truth.
VOICE - the creating and artistic intelligence that we recognize behind any speaker.

Best.