5 Paragraph Poem Analysis Essays
Every author and poet have 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.
Poetry analysis is simply . Normally, this review is conducted and recorded within the structure of a literary analysis essay. This type of essay writing requires one to take a deeper look at both the choices that a poet made and the overall effects of those choices. These papers require an in-depth analysis of all of the parts that were used to form a work of poetry.
Table Of Contents
Steps To Take Pre-Writing
In order to compose a poetry analysis essay, one must first read the poem carefully. It is definitely important to reread the literary piece several times so as to get a full grasp of the numerous ideas and concepts. This also gives you an opportunity to make 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 rhyming 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.
After covering the technical aspects of a poem, it is best to learn about the background of the poem. This means that one may 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 conducting an analysis of that poem.
The final element of writing a poetry analysis essay is a part of the 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.
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 state about what the poet may have meant and include evidence for these theories.
However, it is important to generally pick a side among the various theories that you have created. Though the author could have tried to portray several different ideas in theories, .
The writer should be careful to not mistake this with choosing a favorite opinion or biased one. They should be defending the one that carries the most weight or offers the most validation! As the essay is to be an analysis, opinions are to be avoided in favor of facts and conjectures that are backed by evidence from the work.
How To Choose A Topic
A great way to choose a topic for a poetry analysis essay is to decide on a topic that would deal with information that one is already familiar with. For example, if the choice of the poem to analyze is up to the writer, then it may be beneficial for the writer to choose a poem that he/she has encountered before. If the choice is to be made between different subject areas within a poem, then the writer could find it easier to choose to focus on writing about an area that plays to his/her strengths, so that the statements made in the essay are conveyed
A poetry analysis essay may seem like a daunting writing assignment at first, but if the topic, outline, and paper are composed following the aforementioned steps, the paper will no doubt, turn out very well.
Poetry Analysis Essay Outline
An outline for a poetry analysis essay can be very simple, as it is just a guideline for the writer to build upon as the first draft is written. It would probably be best to put the title of the paper at the top of a page, then place a Roman numeral one (I) underneath, preceding the word “introduction”.
Under this, one 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.
After that portion of the outline is finished, one can move on to the body paragraphs. Each of the Roman numerals used to label this part of the outline should denote a different subject area with respect to the poem that will be discussed in the essay. Letters under these numerals may be followed by subtopics within each subject area that are to be dealt within individual paragraphs (or sentences, if it is to be a shorter essay) within the body of the paper.
The final section of the outline is where the last Roman numeral is used in front of the word “conclusion”. The conclusion of the paper should contain a restatement of the thesis, preferably in different, yet recognizable wording. It should also include an overall concluding statement about your summarized viewpoint of the analyzed piece.
Poetry Analysis Essay Example
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When it comes to poetry analysis, the tricky thing is to pinpoint literary devices and explain their meaning. When you pinpoint a literary device used in the poem (e.g. an anaphora) you want to explain its effect in the poem, not simply state that the author of the poem used an anaphora. As the article articulates, the structure and background of the poem is very important, but in case of analysis, it is of utmost importance to stress how background, structure, and literary devices influence the overall meaning of the poem as a whole. What message is it sending and what is it trying to say? Other literary devices that you should pay attention to are diction, imagery, and allusion. The background of the author will not always be available to you. For example, while you are taking an AP exam, pay attention to specific images and words that they use or the cultural references they make can really help you pinpoint where the author is from and assist you in writing your essay.
Have A Poem To Analyze and Feel Stumped?
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This post is written by NCTE member Kim Zarins.
[Disclaimer: I don’t have a PhD in composition studies. My PhD is in English with a focus on medieval literature. Besides teaching college literature courses, I write creatively, and my debut young adult novel comes out in September. I am joining the debate on the five-paragraph essay in response to Kathleen Rowlands’ smart “Slay the Monster” journal article, because I think high school and college teachers can work together and set up our students for success—and the five-paragraph essay is setting them up for a really tough time in college. Students don’t find their voices this way and come to college hating how they sound in writing, particularly in the essay form.
As a high-school survivor of this form and now a teacher occasionally receiving it from students trying their best, I have to say I hate this abomination. I hate it so much, I decided to be naughty and condemn the five-paragraph essay in a five-paragraph essay. Here you go. Enjoy. Or not.]
From the dawn of time, or at least the dawn of the modern high school, the five-paragraph essay has been utilized in high school classrooms. Despite this long tradition, the five-paragraph essay is fatally flawed. It cheapens a student’s thesis, essay flow and structure, and voice.
First, the five-paragraph essay constricts an argument beyond usefulness or interest. In principle it reminds one of a three-partitioned dinner plate. The primary virtue of such dinner plates is that they are conveniently discarded after only one use, much like the essays themselves. The secondary virtue is to keep different foods from touching each other, like the three-body paragraphs. However, when eating from a partitioned plate, a diner might have a bite of burger, then a spoonful of baked beans, then back to the burger, and then the macaroni salad. The palate satisfies its complex needs for texture, taste, choice, and proportion. Not so for the consumers of the five-paragraph essay, who must move through Point 1, then Point 2, and then Point 3. No exceptions. It is arbitrary force-feeding to the point of indigestion. After the body paragraphs, and if readers have not already expired, they may read the Conclusion, which is actually a summary of the Introduction. There is no sense of building one’s argument or of proportion.
Second, critical thinking skills and the organization of the essay’s flow are impaired when a form must be plugged and filled with rows of stunted seeds that will never germinate. If we return to the partitioned-plate analogy, foods are separated, but in food, there is a play in blending flavors, pairing them so that the sum is greater than the individual parts. Also, there is typically dessert. Most people like dessert and anticipate it eagerly. In the five-paragraph essay there is no anticipation, only homogeneity, tedium, and death. Each bite is not food for thought but another dose of the same. It is like Miss Trunchbull in the Roald Dahl novel, forcing the little boy to eat chocolate cake until he bursts—with the exception that no one on this planet would mistake the five-paragraph essay for chocolate cake. I only reference the scene’s reluctant, miserable consumption past all joy or desire.
Third, the five-paragraph form flattens a writer’s voice more than a bully’s fist flattens an otherwise perky, loveable face. Even the most gifted writer cannot sound witty in a five-paragraph essay, which makes one wonder why experts assign novice writers this task. High school students suffer to learn this form, only to be sternly reprimanded by college professors who insist that writers actually say something. Confidence is shattered, and students can’t articulate a position, having only the training of the five-paragraph essay dulling their critical reasoning skills. Moreover, unlike Midas whose touch turns everything to gold, everything the five-paragraph essay touches turns to lead. A five-paragraph essay is like a string of beads with no differentiation, such as a factory, rather than an individual, might produce. No matter how wondrous the material, the writer of a five-paragraph essay will sound reductive, dry, and unimaginative. Reading over their own work, these writers will wonder why they ever bothered with the written word to begin with, when they sound so inhuman. A human’s voice is not slotted into bins of seven to eleven sentences apiece. A human voice meanders—but meaning guides the meandering. Voice leans and wends and backtracks. It does not scoop blobs of foodstuff in endless rows. If Oliver Twist were confronted with such blobs of written porridge, he would not ask for more.
In conclusion, the five-paragraph essay is an effective way to remove all color and joy from this earth. It would be better to eat a flavorless dinner from a partitioned plate than to read or write a five-paragraph essay. It would be better to cut one’s toenails, because at least the repetitive task of clipping toenails results in feet more comfortably suited to sneakers, allowing for greater movement in this world. The five-paragraph essay, by contrast, cuts all mirth and merit and motion from ideas until there is nothing to stand upon at all, leaving reader and writer alike flat on their faces. Such an essay form is the very three-partitioned tombstone of human reason and imagination.
Kim Zarins is a medievalist and an Associate Professor of English at the California State University at Sacramento. Her debut young adult novel, Sometimes We Tell the Truth (Simon & Schuster/Simon Pulse, pub date Sept 6), retells Chaucer’s Canterbury Tales with modern American teens traveling to Washington D.C. Find her on Twitter @KimZarins.