poetic devices essay pdf

Literary Devices & Terms

An acrostic is a piece of writing in which a particular set of letters—typically the first letter of each line, word, or paragraph—spells out a word or phrase with special significance to the text. Acrostics... (read full acrostic explanation with examples) An acrostic is a piece of writing in which a particular set of letters—typically the first letter of each line,... (read more)

An allegory is a work that conveys a hidden meaning—usually moral, spiritual, or political—through the use of symbolic characters and events. The story of "The Tortoise and The Hare" is a well-known allegory with a... (read full allegory explanation with examples) An allegory is a work that conveys a hidden meaning—usually moral, spiritual, or political—through the use of symbolic characters and... (read more)

Alliteration is a figure of speech in which the same sound repeats in a group of words, such as the “b” sound in: “Bob brought the box of bricks to the basement.” The repeating sound... (read full alliteration explanation with examples) Alliteration is a figure of speech in which the same sound repeats in a group of words, such as the... (read more)

In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to other literary works, famous individuals, historical events, or philosophical ideas, and they do so in... (read full allusion explanation with examples) In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to... (read more)

An anachronism is a person or a thing placed in the wrong time period. For instance, if a novel set in Medieval England featured a trip to a movie-theater, that would be an anachronism. Although... (read full anachronism explanation with examples) An anachronism is a person or a thing placed in the wrong time period. For instance, if a novel set... (read more)

Anadiplosis is a figure of speech in which a word or group of words located at the end of one clause or sentence is repeated at or near the beginning of the following clause or... (read full anadiplosis explanation with examples) Anadiplosis is a figure of speech in which a word or group of words located at the end of one... (read more)

An analogy is a comparison that aims to explain a thing or idea by likening it to something else. For example, a career coach might say, "Being the successful boss or CEO of a company... (read full analogy explanation with examples) An analogy is a comparison that aims to explain a thing or idea by likening it to something else. For... (read more)

An anapest is a three-syllable metrical pattern in poetry in which two unstressed syllables are followed by a stressed syllable. The word "understand" is an anapest, with the unstressed syllables of "un" and "der" followed... (read full anapest explanation with examples) An anapest is a three-syllable metrical pattern in poetry in which two unstressed syllables are followed by a stressed syllable.... (read more)

Anaphora is a figure of speech in which words repeat at the beginning of successive clauses, phrases, or sentences. For example, Martin Luther King's famous "I Have a Dream" speech contains anaphora: "So let freedom... (read full anaphora explanation with examples) Anaphora is a figure of speech in which words repeat at the beginning of successive clauses, phrases, or sentences. For... (read more)

An antagonist is usually a character who opposes the protagonist (or main character) of a story, but the antagonist can also be a group of characters, institution, or force against which the protagonist must contend.... (read full antagonist explanation with examples) An antagonist is usually a character who opposes the protagonist (or main character) of a story, but the antagonist can... (read more)

Antanaclasis is a figure of speech in which a word or phrase is repeated within a sentence, but the word or phrase means something different each time it appears. A famous example of antanaclasis is... (read full antanaclasis explanation with examples) Antanaclasis is a figure of speech in which a word or phrase is repeated within a sentence, but the word... (read more)

Anthropomorphism is the attribution of human characteristics, emotions, and behaviors to animals or other non-human things (including objects, plants, and supernatural beings). Some famous examples of anthropomorphism include Winnie the Pooh, the Little Engine that Could, and Simba from... (read full anthropomorphism explanation with examples) Anthropomorphism is the attribution of human characteristics, emotions, and behaviors to animals or other non-human things (including objects, plants, and supernatural beings). Some famous... (read more)

Antimetabole is a figure of speech in which a phrase is repeated, but with the order of words reversed. John F. Kennedy's words, "Ask not what your country can do for you, ask what you... (read full antimetabole explanation with examples) Antimetabole is a figure of speech in which a phrase is repeated, but with the order of words reversed. John... (read more)

Antithesis is a figure of speech that juxtaposes two contrasting or opposing ideas, usually within parallel grammatical structures. For instance, Neil Armstrong used antithesis when he stepped onto the surface of the moon in 1969... (read full antithesis explanation with examples) Antithesis is a figure of speech that juxtaposes two contrasting or opposing ideas, usually within parallel grammatical structures. For instance,... (read more)

An aphorism is a saying that concisely expresses a moral principle or an observation about the world, presenting it as a general or universal truth. The Rolling Stones are responsible for penning one of the... (read full aphorism explanation with examples) An aphorism is a saying that concisely expresses a moral principle or an observation about the world, presenting it as... (read more)

Aphorismus is a type of figure of speech that calls into question the way a word is used. Aphorismus is used not to question the meaning of a word, but whether it is actually appropriate... (read full aphorismus explanation with examples) Aphorismus is a type of figure of speech that calls into question the way a word is used. Aphorismus is... (read more)

Aporia is a rhetorical device in which a speaker expresses uncertainty or doubt—often pretended uncertainty or doubt—about something, usually as a way of proving a point. An example of aporia is the famous Elizabeth Barrett... (read full aporia explanation with examples) Aporia is a rhetorical device in which a speaker expresses uncertainty or doubt—often pretended uncertainty or doubt—about something, usually as... (read more)

Apostrophe is a figure of speech in which a speaker directly addresses someone (or something) that is not present or cannot respond in reality. The entity being addressed can be an absent, dead, or imaginary... (read full apostrophe explanation with examples) Apostrophe is a figure of speech in which a speaker directly addresses someone (or something) that is not present or... (read more)

Assonance is a figure of speech in which the same vowel sound repeats within a group of words. An example of assonance is: "Who gave Newt and Scooter the blue tuna? It was too soon!" (read full assonance explanation with examples) Assonance is a figure of speech in which the same vowel sound repeats within a group of words. An example... (read more)

An asyndeton (sometimes called asyndetism) is a figure of speech in which coordinating conjunctions—words such as "and", "or", and "but" that join other words or clauses in a sentence into relationships of equal importance—are omitted.... (read full asyndeton explanation with examples) An asyndeton (sometimes called asyndetism) is a figure of speech in which coordinating conjunctions—words such as "and", "or", and "but"... (read more)

A ballad is a type of poem that tells a story and was traditionally set to music. English language ballads are typically composed of four-line stanzas that follow an ABCB rhyme scheme. (read full ballad explanation with examples) A ballad is a type of poem that tells a story and was traditionally set to music. English language ballads... (read more)

A ballade is a form of lyric poetry that originated in medieval France. Ballades follow a strict rhyme scheme ("ababbcbc"), and typically have three eight-line stanzas followed by a shorter four-line stanza called an envoi.... (read full ballade explanation with examples) A ballade is a form of lyric poetry that originated in medieval France. Ballades follow a strict rhyme scheme ("ababbcbc"),... (read more)

Bildungsroman is a genre of novel that shows a young protagonist's journey from childhood to adulthood (or immaturity to maturity), with a focus on the trials and misfortunes that affect the character's growth. (read full bildungsroman explanation with examples) Bildungsroman is a genre of novel that shows a young protagonist's journey from childhood to adulthood (or immaturity to maturity),... (read more)

Blank verse is the name given to poetry that lacks rhymes but does follow a specific meter—a meter that is almost always iambic pentameter. Blank verse was particularly popular in English poetry written between the... (read full blank verse explanation with examples) Blank verse is the name given to poetry that lacks rhymes but does follow a specific meter—a meter that is... (read more)

A cacophony is a combination of words that sound harsh or unpleasant together, usually because they pack a lot of percussive or "explosive" consonants (like T, P, or K) into relatively little space. For instance, the... (read full cacophony explanation with examples) A cacophony is a combination of words that sound harsh or unpleasant together, usually because they pack a lot of... (read more)

A caesura is a pause that occurs within a line of poetry, usually marked by some form of punctuation such as a period, comma, ellipsis, or dash. A caesura doesn't have to be placed in... (read full caesura explanation with examples) A caesura is a pause that occurs within a line of poetry, usually marked by some form of punctuation such... (read more)

Catharsis is the process of releasing strong or pent-up emotions through art. Aristotle coined the term catharsis—which comes from the Greek kathairein meaning "to cleanse or purge"—to describe the release of emotional tension that he... (read full catharsis explanation with examples) Catharsis is the process of releasing strong or pent-up emotions through art. Aristotle coined the term catharsis—which comes from the... (read more)

Characterization is the representation of the traits, motives, and psychology of a character in a narrative. Characterization may occur through direct description, in which the character's qualities are described by a narrator, another character, or... (read full characterization explanation with examples) Characterization is the representation of the traits, motives, and psychology of a character in a narrative. Characterization may occur through... (read more)

Chiasmus is a figure of speech in which the grammar of one phrase is inverted in the following phrase, such that two key concepts from the original phrase reappear in the second phrase in inverted... (read full chiasmus explanation with examples) Chiasmus is a figure of speech in which the grammar of one phrase is inverted in the following phrase, such... (read more)

The word cinquain can refer to two different things. Historically, it referred to any stanza of five lines written in any type of verse. More recently, cinquain has come to refer to particular types of... (read full cinquain explanation with examples) The word cinquain can refer to two different things. Historically, it referred to any stanza of five lines written in... (read more)

A cliché is a phrase that, due to overuse, is seen as lacking in substance or originality. For example, telling a heartbroken friend that there are "Plenty of fish in the sea" is such a... (read full cliché explanation with examples) A cliché is a phrase that, due to overuse, is seen as lacking in substance or originality. For example, telling... (read more)

Climax is a figure of speech in which successive words, phrases, clauses, or sentences are arranged in ascending order of importance, as in "Look! Up in the sky! It's a bird! It's a plane! It's... (read full climax (figure of speech) explanation with examples) Climax is a figure of speech in which successive words, phrases, clauses, or sentences are arranged in ascending order of... (read more)

The climax of a plot is the story's central turning point—the moment of peak tension or conflict—which all the preceding plot developments have been leading up to. In a traditional "good vs. evil" story (like many superhero movies)... (read full climax (plot) explanation with examples) The climax of a plot is the story's central turning point—the moment of peak tension or conflict—which all the preceding plot... (read more)

Colloquialism is the use of informal words or phrases in writing or speech. Colloquialisms are usually defined in geographical terms, meaning that they are often defined by their use within a dialect, a regionally-defined variant... (read full colloquialism explanation with examples) Colloquialism is the use of informal words or phrases in writing or speech. Colloquialisms are usually defined in geographical terms,... (read more)

Common meter is a specific type of meter that is often used in lyric poetry. Common meter has two key traits: it alternates between lines of eight syllables and lines of six syllables, and it... (read full common meter explanation with examples) Common meter is a specific type of meter that is often used in lyric poetry. Common meter has two key... (read more)

A conceit is a fanciful metaphor, especially a highly elaborate or extended metaphor in which an unlikely, far-fetched, or strained comparison is made between two things. A famous example comes from John Donne's poem, "A... (read full conceit explanation with examples) A conceit is a fanciful metaphor, especially a highly elaborate or extended metaphor in which an unlikely, far-fetched, or strained... (read more)

Connotation is the array of emotions and ideas suggested by a word in addition to its dictionary definition. Most words carry meanings, impressions, or associations apart from or beyond their literal meaning. For example, the... (read full connotation explanation with examples) Connotation is the array of emotions and ideas suggested by a word in addition to its dictionary definition. Most words... (read more)

Consonance is a figure of speech in which the same consonant sound repeats within a group of words. An example of consonance is: "Traffic figures, on July Fourth, to be tough." (read full consonance explanation with examples) Consonance is a figure of speech in which the same consonant sound repeats within a group of words. An example... (read more)

A couplet is a unit of two lines of poetry, especially lines that use the same or similar meter, form a rhyme, or are separated from other lines by a double line break. (read full couplet explanation with examples) A couplet is a unit of two lines of poetry, especially lines that use the same or similar meter, form... (read more)

A dactyl is a three-syllable metrical pattern in poetry in which a stressed syllable is followed by two unstressed syllables. The word “poetry” itself is a great example of a dactyl, with the stressed syllable... (read full dactyl explanation with examples) A dactyl is a three-syllable metrical pattern in poetry in which a stressed syllable is followed by two unstressed syllables.... (read more)

Denotation is the literal meaning, or "dictionary definition," of a word. Denotation is defined in contrast to connotation, which is the array of emotions and ideas suggested by a word in addition to its dictionary... (read full denotation explanation with examples) Denotation is the literal meaning, or "dictionary definition," of a word. Denotation is defined in contrast to connotation, which is... (read more)

The dénouement is the final section of a story's plot, in which loose ends are tied up, lingering questions are answered, and a sense of resolution is achieved. The shortest and most well known dénouement, it could be... (read full dénouement explanation with examples) The dénouement is the final section of a story's plot, in which loose ends are tied up, lingering questions are answered, and... (read more)

A deus ex machina is a plot device whereby an unsolvable conflict or point of tension is suddenly resolved by the unexpected appearance of an implausible character, object, action, ability, or event. For example, if... (read full deus ex machina explanation with examples) A deus ex machina is a plot device whereby an unsolvable conflict or point of tension is suddenly resolved by... (read more)

Diacope is a figure of speech in which a word or phrase is repeated with a small number of intervening words. The first line of Anna Karenina by Leo Tolstoy, "Happy families are all alike;... (read full diacope explanation with examples) Diacope is a figure of speech in which a word or phrase is repeated with a small number of intervening... (read more)

Dialogue is the exchange of spoken words between two or more characters in a book, play, or other written work. In prose writing, lines of dialogue are typically identified by the use of quotation marks... (read full dialogue explanation with examples) Dialogue is the exchange of spoken words between two or more characters in a book, play, or other written work.... (read more)

Diction is a writer's unique style of expression, especially his or her choice and arrangement of words. A writer's vocabulary, use of language to produce a specific tone or atmosphere, and ability to communicate clearly... (read full diction explanation with examples) Diction is a writer's unique style of expression, especially his or her choice and arrangement of words. A writer's vocabulary,... (read more)

Dramatic irony is a plot device often used in theater, literature, film, and television to highlight the difference between a character's understanding of a given situation, and that of the audience. More specifically, in dramatic... (read full dramatic irony explanation with examples) Dramatic irony is a plot device often used in theater, literature, film, and television to highlight the difference between a... (read more)

A dynamic character undergoes substantial internal changes as a result of one or more plot developments. The dynamic character's change can be extreme or subtle, as long as his or her development is important to... (read full dynamic character explanation with examples) A dynamic character undergoes substantial internal changes as a result of one or more plot developments. The dynamic character's change... (read more)

An elegy is a poem of serious reflection, especially one mourning the loss of someone who died. Elegies are defined by their subject matter, and don't have to follow any specific form in terms of... (read full elegy explanation with examples) An elegy is a poem of serious reflection, especially one mourning the loss of someone who died. Elegies are defined... (read more)

End rhyme refers to rhymes that occur in the final words of lines of poetry. For instance, these lines from Dorothy Parker's poem "Interview" use end rhyme: "The ladies men admire, I’ve heard, / Would shudder... (read full end rhyme explanation with examples) End rhyme refers to rhymes that occur in the final words of lines of poetry. For instance, these lines from... (read more)

An end-stopped line is a line of poetry in which a sentence or phrase comes to a conclusion at the end of the line. For example, the poet C.P. Cavafy uses end-stopped lines in his... (read full end-stopped line explanation with examples) An end-stopped line is a line of poetry in which a sentence or phrase comes to a conclusion at the... (read more)

Enjambment is the continuation of a sentence or clause across a line break. For example, the poet John Donne uses enjambment in his poem "The Good-Morrow" when he continues the opening sentence across the line... (read full enjambment explanation with examples) Enjambment is the continuation of a sentence or clause across a line break. For example, the poet John Donne uses... (read more)

An envoi is a brief concluding stanza at the end of a poem that can either summarize the preceding poem or serve as its dedication. The envoi tends to follow the same meter and rhyme... (read full envoi explanation with examples) An envoi is a brief concluding stanza at the end of a poem that can either summarize the preceding poem... (read more)

Epanalepsis is a figure of speech in which the beginning of a clause or sentence is repeated at the end of that same clause or sentence, with words intervening. The sentence "The king is dead,... (read full epanalepsis explanation with examples) Epanalepsis is a figure of speech in which the beginning of a clause or sentence is repeated at the end... (read more)

An epigram is a short and witty statement, usually written in verse, that conveys a single thought or observation. Epigrams typically end with a punchline or a satirical twist. (read full epigram explanation with examples) An epigram is a short and witty statement, usually written in verse, that conveys a single thought or observation. Epigrams... (read more)

An epigraph is a short quotation, phrase, or poem that is placed at the beginning of another piece of writing to encapsulate that work's main themes and to set the tone. For instance, the epigraph of Mary... (read full epigraph explanation with examples) An epigraph is a short quotation, phrase, or poem that is placed at the beginning of another piece of writing to... (read more)

Epistrophe is a figure of speech in which one or more words repeat at the end of successive phrases, clauses, or sentences. In his Gettysburg Address, Abraham Lincoln urged the American people to ensure that,... (read full epistrophe explanation with examples) Epistrophe is a figure of speech in which one or more words repeat at the end of successive phrases, clauses,... (read more)

Epizeuxis is a figure of speech in which a word or phrase is repeated in immediate succession, with no intervening words. In the play Hamlet, when Hamlet responds to a question about what he's reading... (read full epizeuxis explanation with examples) Epizeuxis is a figure of speech in which a word or phrase is repeated in immediate succession, with no intervening... (read more)

Ethos, along with logos and pathos, is one of the three "modes of persuasion" in rhetoric (the art of effective speaking or writing). Ethos is an argument that appeals to the audience by emphasizing the... (read full ethos explanation with examples) Ethos, along with logos and pathos, is one of the three "modes of persuasion" in rhetoric (the art of effective... (read more)

Euphony is the combining of words that sound pleasant together or are easy to pronounce, usually because they contain lots of consonants with soft or muffled sounds (like L, M, N, and R) instead of consonants with harsh, percussive sounds (like... (read full euphony explanation with examples) Euphony is the combining of words that sound pleasant together or are easy to pronounce, usually because they contain lots of consonants with soft... (read more)

Exposition is the description or explanation of background information within a work of literature. Exposition can cover characters and their relationship to one another, the setting or time and place of events, as well as... (read full exposition explanation with examples) Exposition is the description or explanation of background information within a work of literature. Exposition can cover characters and their... (read more)

An extended metaphor is a metaphor that unfolds across multiple lines or even paragraphs of a text, making use of multiple interrelated metaphors within an overarching one. So while "life is a highway" is a... (read full extended metaphor explanation with examples) An extended metaphor is a metaphor that unfolds across multiple lines or even paragraphs of a text, making use of... (read more)

An external conflict is a problem, antagonism, or struggle that takes place between a character and an outside force. External conflict drives the action of a plot forward. (read full external conflict explanation with examples) An external conflict is a problem, antagonism, or struggle that takes place between a character and an outside force. External conflict... (read more)

The falling action of a story is the section of the plot following the climax, in which the tension stemming from the story's central conflict decreases and the story moves toward its conclusion. For instance, the traditional "good... (read full falling action explanation with examples) The falling action of a story is the section of the plot following the climax, in which the tension stemming from... (read more)

Figurative language is language that contains or uses figures of speech. When people use the term "figurative language," however, they often do so in a slightly narrower way. In this narrower definition, figurative language refers... (read full figurative language explanation with examples) Figurative language is language that contains or uses figures of speech. When people use the term "figurative language," however, they... (read more)

A figure of speech is a literary device in which language is used in an unusual—or "figured"—way in order to produce a stylistic effect. Figures of speech can be broken into two main groups: figures... (read full figure of speech explanation with examples) A figure of speech is a literary device in which language is used in an unusual—or "figured"—way in order to... (read more)

A character is said to be "flat" if it is one-dimensional or lacking in complexity. Typically, flat characters can be easily and accurately described using a single word (like "bully") or one short sentence (like "A naive... (read full flat character explanation with examples) A character is said to be "flat" if it is one-dimensional or lacking in complexity. Typically, flat characters can be easily... (read more)

Foreshadowing is a literary device in which authors hint at plot developments that don't actually occur until later in the story. Foreshadowing can be achieved directly or indirectly, by making explicit statements or leaving subtle... (read full foreshadowing explanation with examples) Foreshadowing is a literary device in which authors hint at plot developments that don't actually occur until later in the... (read more)

Formal verse is the name given to rhymed poetry that uses a strict meter (a regular pattern of stressed and unstressed syllables). This two-line poem by Emily Dickinson is formal verse because it rhymes and... (read full formal verse explanation with examples) Formal verse is the name given to rhymed poetry that uses a strict meter (a regular pattern of stressed and... (read more)

Free verse is the name given to poetry that doesn’t use any strict meter or rhyme scheme. Because it has no set meter, poems written in free verse can have lines of any length, from... (read full free verse explanation with examples) Free verse is the name given to poetry that doesn’t use any strict meter or rhyme scheme. Because it has... (read more)

Hamartia is a literary term that refers to a tragic flaw or error that leads to a character's downfall. In the novel Frankenstein, Victor Frankenstein's arrogant conviction that he can usurp the roles of God... (read full hamartia explanation with examples) Hamartia is a literary term that refers to a tragic flaw or error that leads to a character's downfall. In... (read more)

Hubris refers to excessive pride or overconfidence, which drives a person to overstep limits in a way that leads to their downfall. In Greek mythology, the legend of Icarus involves an iconic case of hubris:... (read full hubris explanation with examples) Hubris refers to excessive pride or overconfidence, which drives a person to overstep limits in a way that leads to... (read more)

Hyperbole is a figure of speech in which a writer or speaker exaggerates for the sake of emphasis. Hyperbolic statements are usually quite obvious exaggerations intended to emphasize a point, rather than be taken literally.... (read full hyperbole explanation with examples) Hyperbole is a figure of speech in which a writer or speaker exaggerates for the sake of emphasis. Hyperbolic statements... (read more)

An iamb is a two-syllable metrical pattern in poetry in which one unstressed syllable is followed by a stressed syllable. The word "define" is an iamb, with the unstressed syllable of "de" followed by the... (read full iamb explanation with examples) An iamb is a two-syllable metrical pattern in poetry in which one unstressed syllable is followed by a stressed syllable.... (read more)

An idiom is a phrase that conveys a figurative meaning that is difficult or impossible to understand based solely on a literal interpretation of the words in the phrase. For example, saying that something is... (read full idiom explanation with examples) An idiom is a phrase that conveys a figurative meaning that is difficult or impossible to understand based solely on... (read more)

Imagery, in any sort of writing, refers to descriptive language that engages the human senses. For instance, the following lines from Robert Frost's poem "After Apple-Picking" contain imagery that engages the senses of touch, movement,... (read full imagery explanation with examples) Imagery, in any sort of writing, refers to descriptive language that engages the human senses. For instance, the following lines... (read more)

Internal rhyme is rhyme that occurs in the middle of lines of poetry, instead of at the ends of lines. A single line of poetry can contain internal rhyme (with multiple words in the same... (read full internal rhyme explanation with examples) Internal rhyme is rhyme that occurs in the middle of lines of poetry, instead of at the ends of lines.... (read more)

Irony is a literary device or event in which how things seem to be is in fact very different from how they actually are. If this seems like a loose definition, don't worry—it is. Irony is a... (read full irony explanation with examples) Irony is a literary device or event in which how things seem to be is in fact very different from how... (read more)

Juxtaposition occurs when an author places two things side by side as a way of highlighting their differences. Ideas, images, characters, and actions are all things that can be juxtaposed with one another. For example,... (read full juxtaposition explanation with examples) Juxtaposition occurs when an author places two things side by side as a way of highlighting their differences. Ideas, images,... (read more)

A kenning is a figure of speech in which two words are combined in order to form a poetic expression that refers to a person or a thing. For example, "whale-road" is a kenning for... (read full kenning explanation with examples) A kenning is a figure of speech in which two words are combined in order to form a poetic expression... (read more)

A line break is the termination of one line of poetry, and the beginning of a new line. (read full line break explanation with examples) A line break is the termination of one line of poetry, and the beginning of a new line. (read more)

Litotes is a figure of speech and a form of understatement in which a sentiment is expressed ironically by negating its contrary. For example, saying "It's not the best weather today" during a hurricane would... (read full litotes explanation with examples) Litotes is a figure of speech and a form of understatement in which a sentiment is expressed ironically by negating... (read more)

Logos, along with ethos and pathos, is one of the three "modes of persuasion" in rhetoric (the art of effective speaking or writing). Logos is an argument that appeals to an audience's sense of logic... (read full logos explanation with examples) Logos, along with ethos and pathos, is one of the three "modes of persuasion" in rhetoric (the art of effective... (read more)

A metaphor is a figure of speech that compares two different things by saying that one thing is the other. The comparison in a metaphor can be stated explicitly, as in the sentence "Love is... (read full metaphor explanation with examples) A metaphor is a figure of speech that compares two different things by saying that one thing is the other.... (read more)

Meter is a regular pattern of stressed and unstressed syllables that defines the rhythm of some poetry. These stress patterns are defined in groupings, called feet, of two or three syllables. A pattern of unstressed-stressed,... (read full meter explanation with examples) Meter is a regular pattern of stressed and unstressed syllables that defines the rhythm of some poetry. These stress patterns... (read more)

Metonymy is a type of figurative language in which an object or concept is referred to not by its own name, but instead by the name of something closely associated with it. For example, in... (read full metonymy explanation with examples) Metonymy is a type of figurative language in which an object or concept is referred to not by its own... (read more)

The mood of a piece of writing is its general atmosphere or emotional complexion—in short, the array of feelings the work evokes in the reader. Every aspect of a piece of writing can influence its mood, from the... (read full mood explanation with examples) The mood of a piece of writing is its general atmosphere or emotional complexion—in short, the array of feelings the work evokes... (read more)

A motif is an element or idea that recurs throughout a work of literature. Motifs, which are often collections of related symbols, help develop the central themes of a book or play. For example, one... (read full motif explanation with examples) A motif is an element or idea that recurs throughout a work of literature. Motifs, which are often collections of... (read more)

A narrative is an account of connected events. Two writers describing the same set of events might craft very different narratives, depending on how they use different narrative elements, such as tone or point of view. For... (read full narrative explanation with examples) A narrative is an account of connected events. Two writers describing the same set of events might craft very different narratives,... (read more)

Onomatopoeia is a figure of speech in which words evoke the actual sound of the thing they refer to or describe. The “boom” of a firework exploding, the “tick tock” of a clock, and the... (read full onomatopoeia explanation with examples) Onomatopoeia is a figure of speech in which words evoke the actual sound of the thing they refer to or... (read more)

An oxymoron is a figure of speech in which two contradictory terms or ideas are intentionally paired in order to make a point—particularly to reveal a deeper or hidden truth. The most recognizable oxymorons are... (read full oxymoron explanation with examples) An oxymoron is a figure of speech in which two contradictory terms or ideas are intentionally paired in order to... (read more)

A paradox is a figure of speech that seems to contradict itself, but which, upon further examination, contains some kernel of truth or reason. Oscar Wilde's famous declaration that "Life is much too important to be... (read full paradox explanation with examples) A paradox is a figure of speech that seems to contradict itself, but which, upon further examination, contains some kernel... (read more)

Parallelism is a figure of speech in which two or more elements of a sentence (or series of sentences) have the same grammatical structure. These "parallel" elements can be used to intensify the rhythm of... (read full parallelism explanation with examples) Parallelism is a figure of speech in which two or more elements of a sentence (or series of sentences) have... (read more)

Parataxis is a figure of speech in which words, phrases, clauses, or sentences are set next to each other so that each element is equally important. Parataxis usually involves simple sentences or phrases whose relationships... (read full parataxis explanation with examples) Parataxis is a figure of speech in which words, phrases, clauses, or sentences are set next to each other so... (read more)

A parody is a work that mimics the style of another work, artist, or genre in an exaggerated way, usually for comic effect. Parodies can take many forms, including fiction, poetry, film, visual art, and... (read full parody explanation with examples) A parody is a work that mimics the style of another work, artist, or genre in an exaggerated way, usually... (read more)

Pathetic fallacy occurs when a writer attributes human emotions to things that aren't human, such as objects, weather, or animals. It is often used to make the environment reflect the inner experience of a narrator... (read full pathetic fallacy explanation with examples) Pathetic fallacy occurs when a writer attributes human emotions to things that aren't human, such as objects, weather, or animals.... (read more)

Pathos, along with logos and ethos, is one of the three "modes of persuasion" in rhetoric (the art of effective speaking or writing). Pathos is an argument that appeals to an audience's emotions. When a... (read full pathos explanation with examples) Pathos, along with logos and ethos, is one of the three "modes of persuasion" in rhetoric (the art of effective... (read more)

Personification is a type of figurative language in which non-human things are described as having human attributes, as in the sentence, "The rain poured down on the wedding guests, indifferent to their plans." Describing the... (read full personification explanation with examples) Personification is a type of figurative language in which non-human things are described as having human attributes, as in the... (read more)

Plot is the sequence of interconnected events within the story of a play, novel, film, epic, or other narrative literary work. More than simply an account of what happened, plot reveals the cause-and-effect relationships between... (read full plot explanation with examples) Plot is the sequence of interconnected events within the story of a play, novel, film, epic, or other narrative literary... (read more)

Point of view refers to the perspective that the narrator holds in relation to the events of the story. The three primary points of view are first person, in which the narrator tells a story from... (read full point of view explanation with examples) Point of view refers to the perspective that the narrator holds in relation to the events of the story. The... (read more)

Polyptoton is a figure of speech that involves the repetition of words derived from the same root (such as "blood" and "bleed"). For instance, the question, "Who shall watch the watchmen?" is an example of... (read full polyptoton explanation with examples) Polyptoton is a figure of speech that involves the repetition of words derived from the same root (such as "blood"... (read more)

Polysyndeton is a figure of speech in which coordinating conjunctions—words such as "and," "or," and "but" that join other words or clauses in a sentence into relationships of equal importance—are used several times in close... (read full polysyndeton explanation with examples) Polysyndeton is a figure of speech in which coordinating conjunctions—words such as "and," "or," and "but" that join other words... (read more)

The protagonist of a story is its main character, who has the sympathy and support of the audience. This character tends to be involved in or affected by most of the choices or conflicts that... (read full protagonist explanation with examples) The protagonist of a story is its main character, who has the sympathy and support of the audience. This character... (read more)

A pun is a figure of speech that plays with words that have multiple meanings, or that plays with words that sound similar but mean different things. The comic novelist Douglas Adams uses both types... (read full pun explanation with examples) A pun is a figure of speech that plays with words that have multiple meanings, or that plays with words... (read more)

A quatrain is a four-line stanza of poetry. It can be a single four-line stanza, meaning that it is a stand-alone poem of four lines, or it can be a four-line stanza that makes up... (read full quatrain explanation with examples) A quatrain is a four-line stanza of poetry. It can be a single four-line stanza, meaning that it is a... (read more)

A red herring is a piece of information in a story that distracts readers from an important truth, or leads them to mistakenly expect a particular outcome. Most often, the term red herring is used to refer... (read full red herring explanation with examples) A red herring is a piece of information in a story that distracts readers from an important truth, or leads them... (read more)

In a poem or song, a refrain is a line or group of lines that regularly repeat, usually at the end of a stanza in a poem or at the end of a verse in... (read full refrain explanation with examples) In a poem or song, a refrain is a line or group of lines that regularly repeat, usually at the... (read more)

Repetition is a literary device in which a word or phrase is repeated two or more times. Repetition occurs in so many different forms that it is usually not thought of as a single figure... (read full repetition explanation with examples) Repetition is a literary device in which a word or phrase is repeated two or more times. Repetition occurs in... (read more)

A rhetorical question is a figure of speech in which a question is asked for a reason other than to get an answer—most commonly, it's asked to make a persuasive point. For example, if a... (read full rhetorical question explanation with examples) A rhetorical question is a figure of speech in which a question is asked for a reason other than to... (read more)

A rhyme is a repetition of similar sounds in two or more words. Rhyming is particularly common in many types of poetry, especially at the ends of lines, and is a requirement in formal verse.... (read full rhyme explanation with examples) A rhyme is a repetition of similar sounds in two or more words. Rhyming is particularly common in many types... (read more)

A rhyme scheme is the pattern according to which end rhymes (rhymes located at the end of lines) are repeated in works poetry. Rhyme schemes are described using letters of the alphabet, such that all... (read full rhyme scheme explanation with examples) A rhyme scheme is the pattern according to which end rhymes (rhymes located at the end of lines) are repeated... (read more)

The rising action of a story is the section of the plot leading up to the climax, in which the tension stemming from the story's central conflict grows through successive plot developments. For example, in the story of "Little... (read full rising action explanation with examples) The rising action of a story is the section of the plot leading up to the climax, in which the tension stemming... (read more)

A character is said to be "round" if they are lifelike or complex. Round characters typically have fully fleshed-out and multi-faceted personalities, backgrounds, desires, and motivations. Jay Gatsby in F. Scott Fitzgerald's The Great Gatsby... (read full round character explanation with examples) A character is said to be "round" if they are lifelike or complex. Round characters typically have fully fleshed-out and... (read more)

Satire is the use of humor, irony, sarcasm, or ridicule to criticize something or someone. Public figures, such as politicians, are often the subject of satire, but satirists can take aim at other targets as... (read full satire explanation with examples) Satire is the use of humor, irony, sarcasm, or ridicule to criticize something or someone. Public figures, such as politicians,... (read more)

A sestet is a six-line stanza of poetry. It can be any six-line stanza—one that is, itself, a whole poem, or one that makes up a part of a longer poem. Most commonly, the term... (read full sestet explanation with examples) A sestet is a six-line stanza of poetry. It can be any six-line stanza—one that is, itself, a whole poem,... (read more)

Setting is where and when a story or scene takes place. The where can be a real place like the city of New York, or it can be an imagined location, like Middle Earth in... (read full setting explanation with examples) Setting is where and when a story or scene takes place. The where can be a real place like the... (read more)

Sibilance is a figure of speech in which a hissing sound is created within a group of words through the repetition of "s" sounds. An example of sibilance is: "Sadly, Sam sold seven venomous serpents to Sally and... (read full sibilance explanation with examples) Sibilance is a figure of speech in which a hissing sound is created within a group of words through the repetition... (read more)

A simile is a figure of speech that directly compares two unlike things. To make the comparison, similes most often use the connecting words "like" or "as," but can also use other words that indicate... (read full simile explanation with examples) A simile is a figure of speech that directly compares two unlike things. To make the comparison, similes most often... (read more)

Traditionally, slant rhyme referred to a type of rhyme in which two words located at the end of a line of poetry themselves end in similar—but not identical—consonant sounds. For instance, the words "pact" and... (read full slant rhyme explanation with examples) Traditionally, slant rhyme referred to a type of rhyme in which two words located at the end of a line... (read more)

A soliloquy is a literary device, most often found in dramas, in which a character speaks to him or herself, relating his or her innermost thoughts and feelings as if thinking aloud. In some cases,... (read full soliloquy explanation with examples) A soliloquy is a literary device, most often found in dramas, in which a character speaks to him or herself,... (read more)

A sonnet is a type of fourteen-line poem. Traditionally, the fourteen lines of a sonnet consist of an octave (or two quatrains making up a stanza of 8 lines) and a sestet (a stanza of... (read full sonnet explanation with examples) A sonnet is a type of fourteen-line poem. Traditionally, the fourteen lines of a sonnet consist of an octave (or... (read more)

A spondee is a two-syllable metrical pattern in poetry in which both syllables are stressed. The word "downtown" is a spondee, with the stressed syllable of "down" followed by another stressed syllable, “town”: Down-town. (read full spondee explanation with examples) A spondee is a two-syllable metrical pattern in poetry in which both syllables are stressed. The word "downtown" is a... (read more)

A stanza is a group of lines form a smaller unit within a poem. A single stanza is usually set apart from other lines or stanza within a poem by a double line break or... (read full stanza explanation with examples) A stanza is a group of lines form a smaller unit within a poem. A single stanza is usually set... (read more)

A character is said to be "static" if they do not undergo any substantial internal changes as a result of the story's major plot developments. Antagonists are often static characters, but any character in a... (read full static character explanation with examples) A character is said to be "static" if they do not undergo any substantial internal changes as a result of... (read more)

Stream of consciousness is a style or technique of writing that tries to capture the natural flow of a character's extended thought process, often by incorporating sensory impressions, incomplete ideas, unusual syntax, and rough grammar. (read full stream of consciousness explanation with examples) Stream of consciousness is a style or technique of writing that tries to capture the natural flow of a character's... (read more)

A syllogism is a three-part logical argument, based on deductive reasoning, in which two premises are combined to arrive at a conclusion. So long as the premises of the syllogism are true and the syllogism... (read full syllogism explanation with examples) A syllogism is a three-part logical argument, based on deductive reasoning, in which two premises are combined to arrive at... (read more)

Symbolism is a literary device in which a writer uses one thing—usually a physical object or phenomenon—to represent something more abstract. A strong symbol usually shares a set of key characteristics with whatever it is... (read full symbolism explanation with examples) Symbolism is a literary device in which a writer uses one thing—usually a physical object or phenomenon—to represent something more... (read more)

Synecdoche is a figure of speech in which, most often, a part of something is used to refer to its whole. For example, "The captain commands one hundred sails" is a synecdoche that uses "sails"... (read full synecdoche explanation with examples) Synecdoche is a figure of speech in which, most often, a part of something is used to refer to its... (read more)

A theme is a universal idea, lesson, or message explored throughout a work of literature. One key characteristic of literary themes is their universality, which is to say that themes are ideas that not only... (read full theme explanation with examples) A theme is a universal idea, lesson, or message explored throughout a work of literature. One key characteristic of literary... (read more)

The tone of a piece of writing is its general character or attitude, which might be cheerful or depressive, sarcastic or sincere, comical or mournful, praising or critical, and so on. For instance, an editorial in a newspaper... (read full tone explanation with examples) The tone of a piece of writing is its general character or attitude, which might be cheerful or depressive, sarcastic or sincere, comical... (read more)

A tragic hero is a type of character in a tragedy, and is usually the protagonist. Tragic heroes typically have heroic traits that earn them the sympathy of the audience, but also have flaws or... (read full tragic hero explanation with examples) A tragic hero is a type of character in a tragedy, and is usually the protagonist. Tragic heroes typically have... (read more)

A trochee is a two-syllable metrical pattern in poetry in which a stressed syllable is followed by an unstressed syllable. The word "poet" is a trochee, with the stressed syllable of "po" followed by the... (read full trochee explanation with examples) A trochee is a two-syllable metrical pattern in poetry in which a stressed syllable is followed by an unstressed syllable.... (read more)

Understatement is a figure of speech in which something is expressed less strongly than would be expected, or in which something is presented as being smaller, worse, or lesser than it really is. Typically, understatement is... (read full understatement explanation with examples) Understatement is a figure of speech in which something is expressed less strongly than would be expected, or in which something... (read more)

Verbal irony occurs when the literal meaning of what someone says is different from—and often opposite to—what they actually mean. When there's a hurricane raging outside and someone remarks "what lovely weather we're having," this... (read full verbal irony explanation with examples) Verbal irony occurs when the literal meaning of what someone says is different from—and often opposite to—what they actually mean.... (read more)

A villanelle is a poem of nineteen lines, and which follows a strict form that consists of five tercets (three-line stanzas) followed by one quatrain (four-line stanza). Villanelles use a specific rhyme scheme of ABA... (read full villanelle explanation with examples) A villanelle is a poem of nineteen lines, and which follows a strict form that consists of five tercets (three-line... (read more)

A zeugma is a figure of speech in which one "governing" word or phrase modifies two distinct parts of a sentence. Often, the governing word will mean something different when applied to each part, as... (read full zeugma explanation with examples) A zeugma is a figure of speech in which one "governing" word or phrase modifies two distinct parts of a... (read more)

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12.14: Sample Student Literary Analysis Essays

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• Page ID 40514

• Heather Ringo & Athena Kashyap
• City College of San Francisco via ASCCC Open Educational Resources Initiative

The following examples are essays where student writers focused on close-reading a literary work.

While reading these examples, ask yourself the following questions:

• What is the essay's thesis statement, and how do you know it is the thesis statement?
• What is the main idea or topic sentence of each body paragraph, and how does it relate back to the thesis statement?
• Where and how does each essay use evidence (quotes or paraphrase from the literature)?
• What are some of the literary devices or structures the essays analyze or discuss?
• How does each author structure their conclusion, and how does their conclusion differ from their introduction?

Example 1: Poetry

Victoria Morillo

Instructor Heather Ringo

3 August 2022

How Nguyen’s Structure Solidifies the Impact of Sexual Violence in “The Study”

Stripped of innocence, your body taken from you. No matter how much you try to block out the instance in which these two things occurred, memories surface and come back to haunt you. How does a person, a young boy , cope with an event that forever changes his life? Hieu Minh Nguyen deconstructs this very way in which an act of sexual violence affects a survivor. In his poem, “The Study,” the poem's speaker recounts the year in which his molestation took place, describing how his memory filters in and out. Throughout the poem, Nguyen writes in free verse, permitting a structural liberation to become the foundation for his message to shine through. While he moves the readers with this poignant narrative, Nguyen effectively conveys the resulting internal struggles of feeling alone and unseen.

The speaker recalls his experience with such painful memory through the use of specific punctuation choices. Just by looking at the poem, we see that the first period doesn’t appear until line 14. It finally comes after the speaker reveals to his readers the possible, central purpose for writing this poem: the speaker's molestation. In the first half, the poem makes use of commas, em dashes, and colons, which lends itself to the idea of the speaker stringing along all of these details to make sense of this time in his life. If reading the poem following the conventions of punctuation, a sense of urgency is present here, as well. This is exemplified by the lack of periods to finalize a thought; and instead, Nguyen uses other punctuation marks to connect them. Serving as another connector of thoughts, the two em dashes give emphasis to the role memory plays when the speaker discusses how “no one [had] a face” during that time (Nguyen 9-11). He speaks in this urgent manner until the 14th line, and when he finally gets it off his chest, the pace of the poem changes, as does the more frequent use of the period. This stream-of-consciousness-like section when juxtaposed with the latter half of the poem, causes readers to slow down and pay attention to the details. It also splits the poem in two: a section that talks of the fogginess of memory then transitions into one that remembers it all.

In tandem with the fluctuating nature of memory, the utilization of line breaks and word choice help reflect the damage the molestation has had. Within the first couple of lines of the poem, the poem demands the readers’ attention when the line breaks from “floating” to “dead” as the speaker describes his memory of Little Billy (Nguyen 1-4). This line break averts the readers’ expectation of the direction of the narrative and immediately shifts the tone of the poem. The break also speaks to the effect his trauma has ingrained in him and how “[f]or the longest time,” his only memory of that year revolves around an image of a boy’s death. In a way, the speaker sees himself in Little Billy; or perhaps, he’s representative of the tragic death of his boyhood, how the speaker felt so “dead” after enduring such a traumatic experience, even referring to himself as a “ghost” that he tries to evict from his conscience (Nguyen 24). The feeling that a part of him has died is solidified at the very end of the poem when the speaker describes himself as a nine-year-old boy who’s been “fossilized,” forever changed by this act (Nguyen 29). By choosing words associated with permanence and death, the speaker tries to recreate the atmosphere (for which he felt trapped in) in order for readers to understand the loneliness that came as a result of his trauma. With the assistance of line breaks, more attention is drawn to the speaker's words, intensifying their importance, and demanding to be felt by the readers.

Most importantly, the speaker expresses eloquently, and so heartbreakingly, about the effect sexual violence has on a person. Perhaps what seems to be the most frustrating are the people who fail to believe survivors of these types of crimes. This is evident when he describes “how angry” the tenants were when they filled the pool with cement (Nguyen 4). They seem to represent how people in the speaker's life were dismissive of his assault and who viewed his tragedy as a nuisance of some sorts. This sentiment is bookended when he says, “They say, give us details , so I give them my body. / They say, give us proof , so I give them my body,” (Nguyen 25-26). The repetition of these two lines reinforces the feeling many feel in these scenarios, as they’re often left to deal with trying to make people believe them, or to even see them.

It’s important to recognize how the structure of this poem gives the speaker space to express the pain he’s had to carry for so long. As a characteristic of free verse, the poem doesn’t follow any structured rhyme scheme or meter; which in turn, allows him to not have any constraints in telling his story the way he wants to. The speaker has the freedom to display his experience in a way that evades predictability and engenders authenticity of a story very personal to him. As readers, we abandon anticipating the next rhyme, and instead focus our attention to the other ways, like his punctuation or word choice, in which he effectively tells his story. The speaker recognizes that some part of him no longer belongs to himself, but by writing “The Study,” he shows other survivors that they’re not alone and encourages hope that eventually, they will be freed from the shackles of sexual violence.

Works Cited

Nguyen, Hieu Minh. “The Study” Poets.Org. Academy of American Poets, Coffee House Press, 2018, https://poets.org/poem/study-0 .

Example 2: Fiction

Todd Goodwin

Professor Stan Matyshak

Advanced Expository Writing

Sept. 17, 20—

Poe’s “Usher”: A Mirror of the Fall of the House of Humanity

Right from the outset of the grim story, “The Fall of the House of Usher,” Edgar Allan Poe enmeshes us in a dark, gloomy, hopeless world, alienating his characters and the reader from any sort of physical or psychological norm where such values as hope and happiness could possibly exist. He fatalistically tells the story of how a man (the narrator) comes from the outside world of hope, religion, and everyday society and tries to bring some kind of redeeming happiness to his boyhood friend, Roderick Usher, who not only has physically and psychologically wasted away but is entrapped in a dilapidated house of ever-looming terror with an emaciated and deranged twin sister. Roderick Usher embodies the wasting away of what once was vibrant and alive, and his house of “insufferable gloom” (273), which contains his morbid sister, seems to mirror or reflect this fear of death and annihilation that he most horribly endures. A close reading of the story reveals that Poe uses mirror images, or reflections, to contribute to the fatalistic theme of “Usher”: each reflection serves to intensify an already prevalent tone of hopelessness, darkness, and fatalism.

It could be argued that the house of Roderick Usher is a “house of mirrors,” whose unpleasant and grim reflections create a dark and hopeless setting. For example, the narrator first approaches “the melancholy house of Usher on a dark and soundless day,” and finds a building which causes him a “sense of insufferable gloom,” which “pervades his spirit and causes an iciness, a sinking, a sickening of the heart, an undiscerned dreariness of thought” (273). The narrator then optimistically states: “I reflected that a mere different arrangement of the scene, of the details of the picture, would be sufficient to modify, or perhaps annihilate its capacity for sorrowful impression” (274). But the narrator then sees the reflection of the house in the tarn and experiences a “shudder even more thrilling than before” (274). Thus the reader begins to realize that the narrator cannot change or stop the impending doom that will befall the house of Usher, and maybe humanity. The story cleverly plays with the word reflection : the narrator sees a physical reflection that leads him to a mental reflection about Usher’s surroundings.

The narrator’s disillusionment by such grim reflection continues in the story. For example, he describes Roderick Usher’s face as distinct with signs of old strength but lost vigor: the remains of what used to be. He describes the house as a once happy and vibrant place, which, like Roderick, lost its vitality. Also, the narrator describes Usher’s hair as growing wild on his rather obtrusive head, which directly mirrors the eerie moss and straw covering the outside of the house. The narrator continually longs to see these bleak reflections as a dream, for he states: “Shaking off from my spirit what must have been a dream, I scanned more narrowly the real aspect of the building” (276). He does not want to face the reality that Usher and his home are doomed to fall, regardless of what he does.

Although there are almost countless examples of these mirror images, two others stand out as important. First, Roderick and his sister, Madeline, are twins. The narrator aptly states just as he and Roderick are entombing Madeline that there is “a striking similitude between brother and sister” (288). Indeed, they are mirror images of each other. Madeline is fading away psychologically and physically, and Roderick is not too far behind! The reflection of “doom” that these two share helps intensify and symbolize the hopelessness of the entire situation; thus, they further develop the fatalistic theme. Second, in the climactic scene where Madeline has been mistakenly entombed alive, there is a pairing of images and sounds as the narrator tries to calm Roderick by reading him a romance story. Events in the story simultaneously unfold with events of the sister escaping her tomb. In the story, the hero breaks out of the coffin. Then, in the story, the dragon’s shriek as he is slain parallels Madeline’s shriek. Finally, the story tells of the clangor of a shield, matched by the sister’s clanging along a metal passageway. As the suspense reaches its climax, Roderick shrieks his last words to his “friend,” the narrator: “Madman! I tell you that she now stands without the door” (296).

Roderick, who slowly falls into insanity, ironically calls the narrator the “Madman.” We are left to reflect on what Poe means by this ironic twist. Poe’s bleak and dark imagery, and his use of mirror reflections, seem only to intensify the hopelessness of “Usher.” We can plausibly conclude that, indeed, the narrator is the “Madman,” for he comes from everyday society, which is a place where hope and faith exist. Poe would probably argue that such a place is opposite to the world of Usher because a world where death is inevitable could not possibly hold such positive values. Therefore, just as Roderick mirrors his sister, the reflection in the tarn mirrors the dilapidation of the house, and the story mirrors the final actions before the death of Usher. “The Fall of the House of Usher” reflects Poe’s view that humanity is hopelessly doomed.

Poe, Edgar Allan. “The Fall of the House of Usher.” 1839. Electronic Text Center, University of Virginia Library . 1995. Web. 1 July 2012. < http://etext.virginia.edu/toc/modeng/public/PoeFall.html >.

Example 3: Poetry

Amy Chisnell

Professor Laura Neary

Writing and Literature

April 17, 20—

Don’t Listen to the Egg!: A Close Reading of Lewis Carroll’s “Jabberwocky”

“You seem very clever at explaining words, Sir,” said Alice. “Would you kindly tell me the meaning of the poem called ‘Jabberwocky’?”

“Let’s hear it,” said Humpty Dumpty. “I can explain all the poems that ever were invented—and a good many that haven’t been invented just yet.” (Carroll 164)

In Lewis Carroll’s Through the Looking-Glass , Humpty Dumpty confidently translates (to a not so confident Alice) the complicated language of the poem “Jabberwocky.” The words of the poem, though nonsense, aptly tell the story of the slaying of the Jabberwock. Upon finding “Jabberwocky” on a table in the looking-glass room, Alice is confused by the strange words. She is quite certain that “ somebody killed something ,” but she does not understand much more than that. When later she encounters Humpty Dumpty, she seizes the opportunity at having the knowledgeable egg interpret—or translate—the poem. Since Humpty Dumpty professes to be able to “make a word work” for him, he is quick to agree. Thus he acts like a New Critic who interprets the poem by performing a close reading of it. Through Humpty’s interpretation of the first stanza, however, we see the poem’s deeper comment concerning the practice of interpreting poetry and literature in general—that strict analytical translation destroys the beauty of a poem. In fact, Humpty Dumpty commits the “heresy of paraphrase,” for he fails to understand that meaning cannot be separated from the form or structure of the literary work.

Of the 71 words found in “Jabberwocky,” 43 have no known meaning. They are simply nonsense. Yet through this nonsensical language, the poem manages not only to tell a story but also gives the reader a sense of setting and characterization. One feels, rather than concretely knows, that the setting is dark, wooded, and frightening. The characters, such as the Jubjub bird, the Bandersnatch, and the doomed Jabberwock, also appear in the reader’s head, even though they will not be found in the local zoo. Even though most of the words are not real, the reader is able to understand what goes on because he or she is given free license to imagine what the words denote and connote. Simply, the poem’s nonsense words are the meaning.

Therefore, when Humpty interprets “Jabberwocky” for Alice, he is not doing her any favors, for he actually misreads the poem. Although the poem in its original is constructed from nonsense words, by the time Humpty is done interpreting it, it truly does not make any sense. The first stanza of the original poem is as follows:

’Twas brillig, and the slithy toves

Did gyre and gimble in the wabe;

All mimsy were the borogroves,

An the mome raths outgrabe. (Carroll 164)

If we replace, however, the nonsense words of “Jabberwocky” with Humpty’s translated words, the effect would be something like this:

’Twas four o’clock in the afternoon, and the lithe and slimy badger-lizard-corkscrew creatures

Did go round and round and make holes in the grass-plot round the sun-dial:

All flimsy and miserable were the shabby-looking birds

with mop feathers,

And the lost green pigs bellowed-sneezed-whistled.

By translating the poem in such a way, Humpty removes the charm or essence—and the beauty, grace, and rhythm—from the poem. The poetry is sacrificed for meaning. Humpty Dumpty commits the heresy of paraphrase. As Cleanth Brooks argues, “The structure of a poem resembles that of a ballet or musical composition. It is a pattern of resolutions and balances and harmonizations” (203). When the poem is left as nonsense, the reader can easily imagine what a “slithy tove” might be, but when Humpty tells us what it is, he takes that imaginative license away from the reader. The beauty (if that is the proper word) of “Jabberwocky” is in not knowing what the words mean, and yet understanding. By translating the poem, Humpty takes that privilege from the reader. In addition, Humpty fails to recognize that meaning cannot be separated from the structure itself: the nonsense poem reflects this literally—it means “nothing” and achieves this meaning by using “nonsense” words.

Furthermore, the nonsense words Carroll chooses to use in “Jabberwocky” have a magical effect upon the reader; the shadowy sound of the words create the atmosphere, which may be described as a trance-like mood. When Alice first reads the poem, she says it seems to fill her head “with ideas.” The strange-sounding words in the original poem do give one ideas. Why is this? Even though the reader has never heard these words before, he or she is instantly aware of the murky, mysterious mood they set. In other words, diction operates not on the denotative level (the dictionary meaning) but on the connotative level (the emotion(s) they evoke). Thus “Jabberwocky” creates a shadowy mood, and the nonsense words are instrumental in creating this mood. Carroll could not have simply used any nonsense words.

For example, let us change the “dark,” “ominous” words of the first stanza to “lighter,” more “comic” words:

’Twas mearly, and the churly pells

Did bimble and ringle in the tink;

All timpy were the brimbledimps,

And the bip plips outlink.

Shifting the sounds of the words from dark to light merely takes a shift in thought. To create a specific mood using nonsense words, one must create new words from old words that convey the desired mood. In “Jabberwocky,” Carroll mixes “slimy,” a grim idea, “lithe,” a pliable image, to get a new adjective: “slithy” (a portmanteau word). In this translation, brighter words were used to get a lighter effect. “Mearly” is a combination of “morning” and “early,” and “ringle” is a blend of “ring” and "dingle.” The point is that “Jabberwocky’s” nonsense words are created specifically to convey this shadowy or mysterious mood and are integral to the “meaning.”

Consequently, Humpty’s rendering of the poem leaves the reader with a completely different feeling than does the original poem, which provided us with a sense of ethereal mystery, of a dark and foreign land with exotic creatures and fantastic settings. The mysteriousness is destroyed by Humpty’s literal paraphrase of the creatures and the setting; by doing so, he has taken the beauty away from the poem in his attempt to understand it. He has committed the heresy of paraphrase: “If we allow ourselves to be misled by it [this heresy], we distort the relation of the poem to its ‘truth’… we split the poem between its ‘form’ and its ‘content’” (Brooks 201). Humpty Dumpty’s ultimate demise might be seen to symbolize the heretical split between form and content: as a literary creation, Humpty Dumpty is an egg, a well-wrought urn of nonsense. His fall from the wall cracks him and separates the contents from the container, and not even all the King’s men can put the scrambled egg back together again!

Through the odd characters of a little girl and a foolish egg, “Jabberwocky” suggests a bit of sage advice about reading poetry, advice that the New Critics built their theories on. The importance lies not solely within strict analytical translation or interpretation, but in the overall effect of the imagery and word choice that evokes a meaning inseparable from those literary devices. As Archibald MacLeish so aptly writes: “A poem should not mean / But be.” Sometimes it takes a little nonsense to show us the sense in something.

Brooks, Cleanth. The Well-Wrought Urn: Studies in the Structure of Poetry . 1942. San Diego: Harcourt Brace, 1956. Print.

Carroll, Lewis. Through the Looking-Glass. Alice in Wonderland . 2nd ed. Ed. Donald J. Gray. New York: Norton, 1992. Print.

MacLeish, Archibald. “Ars Poetica.” The Oxford Book of American Poetry . Ed. David Lehman. Oxford: Oxford UP, 2006. 385–86. Print.

Attribution

• Sample Essay 1 received permission from Victoria Morillo to publish, licensed Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International ( CC BY-NC-SA 4.0 )
• Sample Essays 2 and 3 adapted from Cordell, Ryan and John Pennington. "2.5: Student Sample Papers" from Creating Literary Analysis. 2012. Licensed Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported ( CC BY-NC-SA 3.0 )

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The 27 Poetic Devices You Need to Know

Alex Simmonds

The term "poetic device" refers to anything used by a poet—including sounds, shapes, rhythms, phrases, and words—to enhance the literal meaning of their poem . This could mean using rhythm and sound to pull the reader into the world of the poem, or adding figurative meaning to their literal words.

How Many Poetic Devices Are There?

Poetic devices—form, poetic devices—diction, poetic devices—punctuation, how to identify poetic devices.

There are hundreds, possibly even thousands, of different literary devices open to poets, some of them very obscure having not been used for centuries, and so this article will divide them into categories— Poetic Form , Poetic Diction , and Poetic Punctuation —and concentrate on the most used poetic devices, with examples, in each category.

First, we’ll look at poetic devices relating to form. Poetic form refers to how the poem is structured using stanzas, line length, rhyme, and rhythm. Clever use of poetic form can enhance the meaning or emotion the poet is trying to achieve.

What Are the Basic Poetic Devices of Form?

Again, there are a huge variety of formal choices open to a poet, but for the purposes of this article we can divide them into three categories: fixed verse , blank verse and free verse .

#1: Fixed Verse

Fixed verse poems follow traditional forms, based on formal rhyme schemes and specific patterns of stanza, refrain, and meter.

Types of fixed verse include limerick , haiku , ballad , villanelle , sestina , and rondeau . The most used, however, are odes and sonnets .

Odes are short, lyrical poems that are used to express emotions and praise. The Ode originated in ancient Greece as a way of praising an athletic victory, but later was adopted by the Romantics to convey emotion through intense or lofty language.

Odes vary in style and form but are nearly always formally structured. One of the most famous examples is Shelley’s Ode to the West Wind which is a poem written in iambic pentameter (combining an unstressed syllable followed by a stressed syllable in groups of five.) The poem praises the quality of the wind and is a strong invocation of the poet as bringer of political change:

Perhaps the most famous type of fixed verse, the sonnet uses iambic pentameter in a fourteen-line poem, with a rhyme scheme of abab cdcd efef gg .

This fixed rhyme scheme can prompt unconventional phrasing, and gives the sonnet a sense of superiority over conventional speech, whilst at the same time the rhythm of the iambic pentameter keeps it feeling natural.

The sonnet has traditionally been used as a way of declaring love, most famously by Shakespeare in his 154-sonnet sequence that dramatized love, beauty, and the passing of time.

Whilst the most famous of these is Sonnet 18 ( "Shall I compare thee to a summer’s day?" ) Sonnet 60, which examines the nature of passing time and its effect on human life, is worth looking at:

#2: Blank verse

Blank verse poems comprise unrhymed lines that use a regular meter—basically, a non-rhyming iambic pentameter.

Blank verse is the most influential of all English poetical forms and has regularly been used by all the great poets throughout the centuries.

Christopher Marlowe used blank verse first, but once again it was Shakespeare who made the form his own. The most famous example in Shakespeare’s work is the "to be, or not to be" soliloquy from Hamlet (although in this speech, he doesn’t stick religiously to the ten syllables of iambic pentameter).

Notice how the rhythm accentuates the feeling of grandness as all of life and death are considered:

#3: Free Verse

Free verse poems remove the need for both formal rhyme and formal metric rhythm schemes. This allows the poem to be shaped completely by the poet. Removing this formality often allows the poet a far greater canvas on which to play.

A fantastic example of free verse poetry is the short, imagist poem This Is Just to Say by William Carlos Williams.

Next, we’ll look at devices of poetic diction. "Poetic diction" means the sounds , meanings , and rhythms that make up the language or "operating system" of poetry. These types of devices are what the poet uses to establish the feel and atmosphere of the poem.

Poetic Devices of Sound

These are poetic devices that use specific sonic effects to evoke emotions or thoughts, in the readers of the poem. The following examples represent some of the most common sonic literary devices in poetry:

#4. Alliteration

Alliteration is when two or more words start with the same consonant sound are used to emphasize an idea or action and create an emotional response.

A snake, slithering slyly , for example, enhances the sense of the snake’s deviousness and danger. Whereas if a poet uses p’s , d’s or b’s in a row, it gives their poem a strong, booming, drumbeat like sound:

Bore up his branching head: scarce from his mould Behemoth , biggest born of earth, upheaved His vastness Paradise Lost: The Seventh Book —John Milton

#5. Assonance

Whereas alliteration repeats the same consonant sounds at the start of words, assonance is repetition of vowel sounds (anywhere within the word) on the same or following lines of a poem to give a musical, internal rhyme. The sound will be a vowel sound, but doesn’t have to use a vowel, meaning you could rhyme some and mud , for example.

William Blake is well known for his use of assonance, such as the repeating “i” and “y” sounds in The Tyger :

#6: Consonance

Consonance is a similar device to alliteration and assonance in that it involves repetition of sounds. But consonance consists of repeating consonant sounds at the end (and sometimes middle) rather than beginning of words.

Once again, we can look at The Tyger above, but this time considering the repeated “r” sounds in burning , bright , and forests . Similarly, the “t” sound is also repeated throughout, in night , bright , Tyger .

#7: Cacophony

Cacophony involves the use of unpleasant, nasty, or harsh sounds (mainly consonants) to give the impression of chaos, disorder or dread, as in Lewis Carroll’s poem Jabberwocky :

Beware the Jabberwock, my son! The jaws that bite, the claws that catch! Beware the Jubjub bird, and shun The frumious Bandersnatch!

#8: Euphony

On the other hand, euphony is the repetition of harmonious, musical sounds that are pleasant to read or hear. This is achieved through the use of soft consonant sounds such as m , n , w , r , f , and h and through vibrating consonants such as s , sh , and th .

#9: Onomatopoeia

Onomatopoeia is a literary and poetic device wherein words are employed to imitate sounds associated with what they describe. Examples include smash , crack , ripple , jangling .

Poetic Devices of Meaning

Poets also have several poetic devices available which allow them to tease out the intended meaning of the poem without having to be too literal.

#10: Allusion

Allusion is an indirect reference to a person, place, thing, history, mythology, or work of art, that the poet wants to acknowledge as relevant to the poem’s meaning.

TS Eliot’s The Waste Land begins with an allusion (indeed the whole poem is packed with them), announcing "April is the cruellest month, breeding / Lilacs out of the dead land" which alludes to and contrasts the opening of The Canterbury Tales in which the coming of April is a joyous occasion.

#11: Conceit

Conceit is an elaborate metaphor that runs throughout the entire poem to compare two things that do not really belong together. In contrast to simple metaphors though, a conceit will be something far more fanciful and unlikely.

In To the Harbormaster by Frank O’Hara, for example, the lover is the harbormaster and the narrator a metaphysical seafarer, trying to reach his lover.

Irony in poetry refers mainly to ‘dramatic irony’, in which the reader has important knowledge that the characters do not. The most famous example of this is in Romeo and Juliet , in which (spoiler alert), the audience knows Juliet isn’t dead, but can’t do anything about Romeo committing suicide.

#13: Metaphor

Metaphor is used in poetry to directly compare people, objects or ideas. Whereas similes compare using "like" or "as," metaphors declare that a thing "is" something else— he is the apple of my eye , for example—in order to to reach for a deeper understanding of the comparison.

In Hope Is the Thing with Feathers , Emily Dickinson compares hope to a bird:

#14: Paradox

As a poetic device, paradox refers to a phrase that is self-contradictory but reveals a larger truth. In Julius Caesar , for example, Shakespeare wrote that "Cowards die many times before their deaths / The valiant never taste of death but once."

#15: Personification

Personification is when an inanimate object, animal or idea is given human characteristics; for example, "the wind whispered through the trees." Thus in Mirror , Silvia Plath writes from the perspective of the mirror:

I am silver and exact. I have no preconceptions. Whatever I see I swallow immediately.

#16: Rhetorical Question

In poetry and literature, a rhetorical question is a question that is not looking for an answer, rather is being asked to make a point. In the poem cited earlier, Ode to the West Wind , Shelley asks in the final line:

O Wind, If Winter comes, can Spring be far behind?

#17: Simile

The simile, like the metaphor, offers another device for comparison. However, a simile is much more blatant and uses like or as to draw the comparison. Robert Frost uses simile in his poem Design :

#18: Symbolism

Poets use symbolism to convey hidden meanings. Places, objects, and actions can all be symbols, with many layers of meaning tied to them. Symbolism adds depth to the literal meaning of the poem.

Thus, in The Pasture , by Robert Frost, "to clean the pasture spring" is to push sin away and "wait to watch the water clear" is to wait until the heart is sin-free:

I’m going out to clean the pasture spring; I’ll only stop to rake the leaves away (And wait to watch the water clear, I may): I sha’n’t be gone long.—You come too. The Pasture —Robert Frost

Poetic Devices of Rhythm

Devices of rhythm are those that give the poem a rhythmic effect and in doing so allow the poet to stress certain elements of meaning and emotion.

#19: Caesura

Caesura means a break or pause in the verse to allow one phrase to finish and another to begin. This can be used both to allow a natural flow to the poem, or alternatively, to add dramatic pauses, show contrast and create drama and tension.

For example, Emily Dickinson’s poem I’m Nobody! Who Are You? uses caesura in the following places:

I’m nobody! || Who are you? Are you nobody too? Then there’s a pair of us || Don’t tell! They’d banish us, || – you know!

#20: Enjambment

Enjambment is the continuation of a phrase or sentence beyond the poetic line break and sometimes beyond the couplet or stanza, without the pause that you would expect from a full stop or other punctuation.

It encourages the reader to keep reading, whilst controlling the rhythm and flow of their reading. This is best exemplified in Between Walls by William Carlos Williams, in which the whole poem consists of a single sentence split into 10 enjambed lines:

Meter is the rhythm of the poem itself, measured in the length and number of ‘feet’ in each line. The most widely recognized of these is the iambic pentameter—which we discussed in the section on sonnet—a form that replicates and amplifies the rhythm of natural speech and gives a regular, heartbeat like feel to the verse.

The pattern of iambic pentameter—five feet, each containing a stressed and unstressed syllable—goes like this:

Shall I |comp ARE |thee TO | a SUM | mers DAY ?

As well as the iamb , other meters include the anapest (unstressed, unstressed, stressed), the trochee (stressed, unstressed) and the dactyl (stressed, unstressed, unstressed).

Rhyme is the most obvious of poetic devices, using repeating patterns of similar sounds, to create musicality and rhythm and give the poem symmetry. One of the most common rhymes is the couplet, which is two lines that rhyme together.

The following example is a simple two-line poem called The Cow by Ogden Nash:

The cow is of the bovine ilk; One end is moo, the other, milk.

Whilst this end rhyme form is the most well-known, many poets also utilize internal rhymes. So, in The Rime of the Ancient Mariner , Coleridge writes:

In mist or cloud , on mast or shroud Whiles all the night through fog-smoke white

#23: Repetition

The repetition of certain words or phrases is a method of indirectly stressing emotions or ideas and reinforcing the central point of the poem. Repetition can be used with words, phrases, lines, and even full verses.

One of the most famous poems of the 20th century, Do Not Go Gentle Into That Good Night by Dylan Thomas, repeats two lines throughout the poem. Here it is within ProWritingAid’s Echoes report

Whereas in normal writing, punctuation has a utilitarian purpose, in poetry it can be used as a tool of expression or artistic choice.

#24: Apostrophe

In poetry, the term apostrophe doesn't refer to the same type of punctuation as you would expect, rather it is a poetic device to show that the speaker is addressing someone who is not present in the poem.

Apostrophe is usually invoked using the letter O as a punctuation mark, indicating someone is being addressed. Thus in To Morning , Blake addresses the morning star, as the huntress Diana:

O holy virgin! clad in purest white, Unlock heav’n’s golden gates, and issue forth.

In poetry, commas show a pause and a separation of elements as well as allowing you to remove "and" from a line. In In Memoriam A. H. H. OBIIT MDCCCXXXIII Tennyson uses commas in multiple ways:

Ring out, wild bells, to the wild sky, The flying cloud, the frosty light: The year is dying in the night; Ring out, wild bells, and let him die.

#26: Exclamation Mark

Poets use exclamation marks to express exhilaration, excitement, joy, surprise, or to add emphasis.

As an example, Emily Dickinson’s use of exclamation marks, along with dashes, was essential to her style—that of a young, energetic poet, brimming with life:

#27: Question Mark

As discussed in the section on rhetorical questions above, question marks are often used by poets to suggest a brief contemplative moment in the poem to consider the question being posed.

In this article we have looked at the main types and examples of literary devices in poetry, but there are hundreds more we couldn’t cover, such as anaphora , epistrophe , litotes , and zeugma , to name but a few. As with all things, the more poetry that you read (and write) and the more you take an interest, the quicker you will recognize the creative use of poetic devices. Continually ask yourself, "what are the poetic devices in the poem I am reading?"

Then, as you begin to use them in your own poetry, the first and most important lesson is- don’t overuse them. Less is often more with poetry, so avoid alliterative odes to mum’s favorite vase, full of symbolism and packed with caesura and exclamation marks!

If you’re unsure that you’re getting the balance right, you can use the Alliteration Report (or the Clichés and Redundancies Report ) in ProWritingAid to keep your poetry natural and free flowing.

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Sat / act prep online guides and tips, the 20 poetic devices you must know.

General Education

Looking to spice up your writing? Poetic devices are the salt and pepper (and, if you get really into them, the saffron and caraway) of writing; when deployed effectively, they add flavor and texture to your work.

But what is a poetic device? Do they only work in poetry? In this article, we’ll cover what they are, when you can use them, and how to better understand their function in any literary form!

What Is a Poetic Device?

At its most basic, a poetic device is a deliberate use of words, phrases, sounds, and even shapes to convey meaning. That sounds so broad that it could basically encompass any form of written expression, but poetic devices are generally used to heighten the literal meaning of words by considering sound, form, and function.

There are a lot of poetic devices, just as there are a lot of literary and rhetorical devices. Anything that impacts the way a poem or other written work looks or sounds is a type of poetic device, including devices that are also classified as literary or rhetorical devices .

Consider your writing—whether it’s an essay, poem, or non-fiction article—as a meal you’re cooking. You use good ingredients and put a lot of care into the dish, so you know it’s going to taste good. But there are ways to make it taste even better, little additions that can bring out the taste of each ingredient to make it even tastier—a pinch of salt, a touch of cumin.

That’s what poetic devices do. Like the metaphor I used in the last paragraph, poetic devices infuse literal meanings (what words actually say) with figurative meanings (implications, unexpected connotations, and so on) . You might have gotten the point that poetic devices improve writing without me comparing them to spices, but that metaphor added flavor and enhanced the meaning that was already there.

But metaphors are only one method of enhancing your writing. A poem about a horse may use a hoofbeat rhythm (otherwise known as an anapest or dactyl, depending on which syllable is stressed— da-da-DUH  for the former and DUH-da-da for the latter) to really draw the reader in. The reader doesn’t have to notice the hoofbeat rhythm for it to be effective, either; often, a rhythm helps readers remember what they’ve read without them necessarily realizing it.

One important thing to remember is that literary devices, like spices, are great in moderation, but overpowering if overused. Nobody wants to eat a bowl of pepper, just like nobody wants to read something if its meaning is totally obscured by flowery language. You don’t have to hold back entirely—many wonderful poets, essayists, and authors can use flowery language to great effect—but do make sure that your poetic devices are enhancing rather than overshadowing your point.

Writers commonly use literary devices in poetry to help make their points memorable or their language more evocative. You’ve likely used poetic devices without thinking about it, but deliberate use can make your writing even stronger!

20 Top Poetic Devices to Remember

There are tons of poetic devices out there—it would be nearly impossible to list all of them. But to get you started, we've compiled some of the most common poetry terms, along with a few of the more interesting ones!

An allegory is a story, poem, or other written work that can be interpreted to have a secondary meaning.

Aesop’s Fables are examples of allegories, as they are ostensibly about one thing (such as “The Ant and the Grasshopper” ) but actually have a secondary meaning. Fables are particularly literal examples of allegories, but there are many others, as well, such as George Orwell’s Animal Farm or Christina Rossetti’s “Goblin Fruit.”

Alliteration

Alliteration is the repetition of a sound or letter at the beginning of multiple words in a series.

“Once upon a midnight dreary, while I pondered, weak and weary…”  -  Edgar Allen Poe, “The Raven”

Poe uses alliteration with the “wh,” sound at the beginning of multiple words. The repetition here mimics the sound of the wind (something you might hear on a dreary night), and also sounds a little soothing—something that’s interrupted in the next couple of lines by a different sound, just as Poe interrupts his soothing, round vowel sounds with repetition of the ‘p’ sound in “suddenly there came a tapping, / As of some one gently rapping, rapping at my chamber door….”

An allusion is an indirect reference to something.

“The Cunninghams are country folks, farmers, and the crash hit them hardest.”

- Harper Lee, To Kill a Mockingbird

Lee isn’t speaking of a literal crash—she’s referencing the stock market crash of the late 1920s, which left many people without money. Scout, To Kill a Mockingbird ’s narrator, references the stock market crash in a way that’s appropriate for her context, which readers can gather from the novel’s setting.

Using this allusion allows Lee to do some quick scene-setting. Not only does it establish the novel firmly within its setting, but it also shows that Scout herself is a clear part of that setting —she speaks to the audience in the way that a child of that era would speak, giving the story a greater sense of realism.

An apostrophe is a poetic device where the writer addresses a person or thing that isn’t present with an exclamation.

“O stranger of the future! O inconceivable being! awhatever the shape of your house, no matter how strange and colorless the clothes you may wear, I bet nobody there likes a wet dog either. I bet everybody in your pub even the children, pushes her away.” - Billy Collins, “To A Stranger Born In Some Distant Country Hundreds Of Years From Now”

Though we know from the title that Collins is addressing a stranger from the future, in the final stanza of the poem he addresses that stranger directly. Apostrophe was particularly common in older forms of poetry, going all the way back to Ancient Greece —many works of Greek literature begin with an invocation of the Muses, typically by saying something like, “Sing in me, O Muse.” Because the narrator of Collins’ poem is calling out to someone in the future, he mimics the language of the past and situates this poem in a larger context.

Assonance is the repetition of vowel or diphthong sounds in one or more words found close together.

“ Hear the loud alarum bells—                  Brazen bells!/ What tale of terror, now, their turbulency tells!        In the startled ear of night        How they scream out their affright!         Too much horrified to speak,          They can only shriek, shriek,                  Out of tune….” - Edgar Allen Poe, “The Bells”

When Poe talks about alarm bells, he uses sharp, high-pitch vowels to echo their sound: notice the repetition of long “e” and “i” sounds, both of which sound a bit like screams.

Blank Verse

Blank verse refers to poetry written without rhyme, especially if that poetry is written in iambic pentameter.

“But, woe is me, you are so sick of late, So far from cheer and from your former state, That I distrust you. Yet, though I distrust, Discomfort you, my lord, it nothing must. …” - William Shakespeare, “Hamlet”

Many of Shakespeare’s plays are written in blank verse, including much of “Hamlet.” Here, the dialog is without rhymes, which makes it sound more realistic, but it still follows a strict meter—iambic pentameter. This lends it a sense of grandiosity beyond if Shakespeare had tried to mimic natural speech, and the deliberate space of stressed and unstressed syllables gives it a satisfying sense of rhythm.

Consonance is the repetition of specific consonant sounds in close proximity.

“Tyger Tyger, burning bright, In the forests of the night; What immortal hand or eye, Could frame thy fearful symmetry?” - William Blake, “The Tyger”

Black repeatedly uses multiple sounds in the first stanza of this famous poem. One of the most prominent is ‘r,’ which shows up in every line of the first stanza, and almost every line of the poem as a whole. As Blake is writing about the tiger, he’s musing on its fearsome nature and where it comes from, with the repeated ‘r’ sound mimicking the tiger’s growl like a small, subtle threat in the poem’s background.

An enjambment is the continuation of a sentence beyond a line break, couplet, or stanza without an expected pause.

“What happens to a dream deferred?        Does it dry up       like a raisin in the sun?       Or fester like a sore—       And then run?       Does it stink like rotten meat?       Or crust and sugar over—       like a syrupy sweet?        Maybe it just sags       like a heavy load.         Or does it explode? ” - Langston Hughes, “Harlem”

Hughes plays with multiple methods of ending lines in this poem, including enjambment. The first two lines of the second stanza and the second-to-last stanza are examples of enjambment, as the thought continues from one line to the next without any punctuation. Notice the way these lines feel in comparison to the others, especially the second example, isolated in its own stanza. The way it’s written mimics the exhaustion of carrying a heavy load, as you can’t pause for breath the way that you do with the lines ended with punctuation.

Irony has a few different meanings. The most common is the use of tone or exaggeration to convey a meaning opposite to what's being literally said. A second form of irony is situational irony, in which a situation or event contradicts expectations, usually in a humorous fashion. A third form is dramatic irony, where the audience of a play, movie, or other piece of art is aware of something that the characters are not.

Basic irony, where what someone says doesn't match what they mean, might look something like this:

"Yeah, I  love dogs," she said dryly, holding the miniature poodle at arm's length as hives sprang up along her arms.

Situational irony would include things like a police station getting robbed or a marriage counselor getting a divorce—we would expect police to be able to resist getting robbed and a marriage counselor to be able to save their own marriage, so the fact that these unexpected things occur is darkly funny. 

One of the most famous examples of dramatic irony is in  Romeo and Juliet . The audience knows that Juliet isn't dead when Romeo comes to find her in the tomb, but obviously can't stop Romeo from killing himself to be with her. Unlike other forms of irony, dramatic irony often isn't funny—it heightens tension and increases audience investment, but doesn't necessarily have to make people laugh.

A metaphor is when a writer compares one thing to another.

“An emotional rollercoaster” is a common example of a metaphor—so common, in fact, that it’s become cliche. Experiencing multiple emotions in a short period of time can feel a lot like riding a roller coaster, as you have a series of extreme highs and lows.

Meter refers to the rhythm of a poem or other written work as it’s expressed through the number and length of the feet in each line.

“But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun. Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief…” - William Shakespeare, Romeo and Juliet

Shakespeare famously wrote frequently in iambic pentameter ,  a specific type of meter containing five iambic feet. Iambs are a foot—a unit of rhythm—consisting of one unstressed and one stressed syllable. In the first line of this passage, you have five iambs, which produces a sort of heartbeat-esque rhythm.

“But soft / what light / through yon- / -der win- / -dow breaks ?”

Meter like this gives readers expectations about how each line will go, which can be very useful if you want to subvert them, such as how Shakespeare does in Hamlet :

“To be / or not / to be / that is / the ques- / -ion.”

Because we expect iambic pentameter, the rule-breaking here clues us in that something isn’t right with Hamlet.

An ode is a short lyrical poem, often in praise of something.

“Thou still unravish'd bride of quietness,        Thou foster-child of silence and slow time, Sylvan historian, who canst thus express        A flowery tale more sweetly than our rhyme: What leaf-fring'd legend haunts about thy shape        Of deities or mortals, or of both,                In Tempe or the dales of Arcady?        What men or gods are these? What maidens loth? What mad pursuit? What struggle to escape?                What pipes and timbrels? What wild ecstasy?” - John Keats, “Ode on a Grecian Urn”

Keats’ “Ode on a Grecian Urn” covers all the required bases of the ode—it’s short at just five stanzas, it’s lyrical (the language is clearly elevated above regular speech), and it’s written in praise of a scene on an imagined Grecian urn, which preserves the beauty of several scenes for eternity.

Though Keats’ ode here may be in earnest, the deliberate use of language far outside our normal method of speaking often makes the form ripe for satire. In this case, Keats is using this language to discuss beauty and truth, two rather lofty themes that work in tandem with the lofty language.

A pun is a play on words, using multiple meanings or similar sounds to make a joke.

"Mine is a long and a sad tale!" said the Mouse, turning to Alice, and sighing.  "It is a long tail, certainly," said Alice, looking down with wonder at the Mouse's tail; "but why do you call it sad?" And she kept on puzzling about it while the Mouse was speaking...." - Lewis Carroll, Alice’s Adventures in Wonderland

Here, Alice clearly misunderstands what the mouse is saying—he says ‘tale,’ referring to his long and sad story, and she hears ‘tail,’ referring to his literal tail. The result is a misunderstanding between the two that ends with Alice looking rude and uncaring.

Though it makes Alice look bad, it’s quite entertaining for the reader. The world of Wonderland is full of strangeness, so it’s not really a surprise that Alice wouldn’t understand what’s happening. However, in this case it’s a legitimate misunderstanding, heightening the comedy as Alice’s worldview is once again shaken.

Repetition is fairly self-explanatory—it’s the process of repeating certain words or phrases.

“Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light. Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night. Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay, Rage, rage against the dying of the light. Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way, Do not go gentle into that good night.” - Dylan Thomas, “Do Not Go Gentle Into That Good Night”

Throughout this poem, Thomas repeats the lines, “Do not go gentle into that good night,” and “Rage, rage against the dying of the light.” The two lines don’t appear together until the final couplet of the poem, cementing their importance in relation to one another. But before that, the repetition of each line clues you in to their importance. No matter what else is said, the repetition tells you that it all comes back to those two lines.

Rhetorical Question

A rhetorical question is a question asked to make a point rather than in expectation of an answer.

“Look at me! Look at my arm! I have ploughed and planted, and gathered into barns, and no man could head me! And ain't I a woman? I could work as much and eat as much as a man - when I could get it - and bear the lash as well! And ain't I a woman? I have borne thirteen children, and seen most all sold off to slavery, and when I cried out with my mother's grief, none but Jesus heard me! And ain't I a woman?” - Sojourner Truth, “Ain’t I a Woman?”

Sojourner Truth’s question to the Women’s Convention of 1981 in Akron, Ohio isn’t a question that needs an answer. Of course she’s a woman—she, as well as everybody else in the audience, knew that perfectly well. However, Sojourner Truth was a black woman in the time of slavery. Many white women wouldn’t have considered her to be part of the women’s rights movement despite her gender.

By asking the question, Sojourner Truth is raising the point that she is a woman, and therefore should be part of the conversation about women’s rights. “Ain’t I a woman?” isn’t a question of gender, but a question of race—if it’s a conference about women’s rights, why weren’t black women included? By asking a question about an undeniable truth, Sojourner Truth was in fact pointing out the hypocrisy of the conference.

A rhyme is a repetition of syllables at the end of words, often at the end of a line of poetry, but there are many unique kinds of rhymes .

“It was many and many a year ago,    In a kingdom by the sea, That a maiden there lived whom you may know    By the name of Annabel Lee; And this maiden she lived with no other thought    Than to love and be loved by me.” - Edgar Allen Poe, “Annabel Lee”

Poe’s poem starts off with a fairly typical ABAB rhyme scheme—the first line rhymes with the third, the second with the fourth. However, in line five, we get a jarring line that does not rhyme, which is carried through the rest of the poem. The rhyming sounds hearken back to classic songs and stories, but is undone by something that doesn’t sound right, just as the classic love story of the narrator and Annabel Lee is undone by tragedy.

Rhythm refers to the pattern of long, short, stressed, and unstressed syllables in writing.

“Double, double toil and trouble; Fire burn and caldron bubble. Fillet of a fenny snake, In the caldron boil and bake…” - William Shakespeare, Macbeth

In this scene from Macbeth, the witches are positioned as being strange and unnatural, and the rhyme scheme Shakespeare uses is also unnatural. It lends the passage a sing-song quality that isn’t present in other parts of the play, which is easy to get stuck in your head. This is important, because their prophecies also get stuck in Macbeth’s head, leading him to commit his horrible crimes.

A sonnet is a fourteen-line poem with a strict rhyme scheme, often written in iambic pentameter.

“How do I love thee? Let me count the ways. I love thee to the depth and breadth and height My soul can reach, when feeling out of sight For the ends of being and ideal grace. I love thee to the level of every day’s Most quiet need, by sun and candle-light. I love thee freely, as men strive for right; I love thee purely, as they turn from praise. I love thee with the passion put to use In my old griefs, and with my childhood’s faith. I love thee with a love I seemed to lose With my lost saints. I love thee with the breath, Smiles, tears, of all my life; and, if God choose, I shall but love thee better after death.” - Elizabeth Barrett Browning, “How Do I Love Thee”

Sonnets were a standard poetry format for a long time—Shakespeare famously wrote sonnets, as did poets like Browning. As with blank verse, sonnets are often written in iambic pentameter, which gives the writing a sense of realism, as it’s not quite as affected as other rhythms, but also makes it feel purposeful and different from natural speech.

Because sonnets have a rhyme scheme, they feel removed again from realistic speech. But that works in form’s favor— the rigid structure encourages unconventional word use (hence the memorability of “How do I love thee? Let me count the ways.”) and marks poems in this style as having a kind of heightened reality. Because blank and free verse arose later, writing sonnets in modern times gives poems a classic or even intentionally antiquated feeling, which can work in the poet’s favor.

How to Identify and Analyze Poetic Devices

It’s nearly impossible to remember every poetic device, but teaching yourself to identify and analyze them is a great way to increase your vocabulary and writing ability. To learn more about them, you can:

Reading widely in a variety of literary forms—poetry, prose, essays, non-fiction, and so on—is one of the best ways to learn more poetic devices. You may not notice them all, but challenge yourself to find one example of a poetic device every time you read. Remember, there are lots of kinds of poetic devices; they don’t always have to be things you’d only find in poetry.

The more you read, the more exposed you are to different kinds of writing styles. If you read widely, you’ll see more people using language creatively—when you see something interesting, make note of it and see if it’s a poetic device you can use in your own writing!

Use Them In Your Own Writing

Identifying them is great, but to really understand poetic devices, try using them. Not every device is right for every situation, but playing a little with your language can reveal to you exactly how these devices work. Challenge yourself to use new devices to get a better appreciation for how they can elevate your writing.

Question Poetic Devices

When you come upon a poetic device in something you’re reading, ask yourself what the author is doing with it. What purpose does alliteration serve in a specific context? Why did I choose to use that spices metaphor earlier in this article? Was it effective or confusing?

The more you think about these devices, the more you’ll get a feel for how they work and why writers use them. Understanding the different ways they can be used will help you discover how to use them better, so don’t be afraid to start questioning how and why professionals do it!

Key Tips for Literary Devices in Poetry

Enhancing your writing with poetic devices is great, but there are a few things to keep in mind to be sure you’re doing it right.

First, don’t overuse them. Poetic devices can be great for making your writing sound more interesting or to deliver information in a more impactful manner, but too much really stands out. Alliteration is great, but an alliterative sonnet that’s an allusion to Greek literature can feel a little gimmicky. Even too much alliteration can quickly feel hackneyed if it’s not done with a purpose. Ask yourself why you’re using these devices and trim them if you can’t think of a reason—restraint is as much a part of good writing as the skillful use of a poetic device.

Don’t forget that poetic devices are good for more than just poetry. A well-written essay can use a great metaphor. A sonnet can be written in plain English for a great effect. An article for your school newspaper might be improved with a little alliteration. Feel free to experiment with how and when these devices are used—adding in an unexpected poetic device is a great way to elevate your writing.

What’s Next?

Poetic devices are just one of the many kinds of tools you can use to enhance your writing. Check out this list of rhetorical devices for even more things you can do to liven up your work!

Want even more poetic devices? Check out this article on personification , which covers examples of this device in both poetry and literature!

Dylan Thomas' "Do Not Go Gentle Into That Good Night," is a great example of repetition, but there's a lot more to it than that! This article will give you some in-depth information on the meaning of Dylan Thomas' poem , including how to analyze it!

Melissa Brinks graduated from the University of Washington in 2014 with a Bachelor's in English with a creative writing emphasis. She has spent several years tutoring K-12 students in many subjects, including in SAT prep, to help them prepare for their college education.

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• 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.

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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.

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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:

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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!

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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.

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Poetic Devices List: 27 Main Poetic Devices with Examples

by Fija Callaghan

Emerging poets tend to fall into one of two camps.

The first are those who seek to embrace any and all poetic devices they can find and pile them one on top of the other, creating an architectural marvel not entirely dissimilar to a literary jenga puzzle—also known as Art.

The second are those who sit down at a desk/café table/riverside and throw up a beautiful storm of emotions onto the page, creating something so full of shadow and light and color that it could easily be mistaken for a post-impressionist painting or the remnants of a small child’s lunch. This, they assure us, is also Art.

The truth is, most poetry will fall somewhere in the middle. Many poets will begin learning about the technical literary devices used in poetry, read other poets who have used poetic devices successfully, and practice them in their own work until they become a part of their poet’s voice. Then they’ll allow them to surface naturally as they put their emotions down onto the page.

If you read any poetry at all (and if you haven’t, stop reading this, go do that, and come back), you’re probably well on your way. Many of the things we’re going to show you in this list of poetic devices are things you’ll probably recognize from other poems and stories you’ve read in the past.

What are poetic devices?

Poetic devices are techniques and methods writers use to construct effective poems. These poetic devices work on the levels of line-by-line syntax and rhythm, which make your poetry engaging and memorable; and they work on the deeper, thematic level, which makes your poetry matter to the reader.

Poetic devices are the literary techniques that give your poetry shape, brightness, and contrast.

Some of these poetic literary devices you probably already use instinctively. All poetry comes from a place within ourselves that recognizes the power of story and song, and writers have formed these devices in poetry over time as a way for us to communicate that with each other.

While you’re reading about these elements of poetry, see if you can look back at your own work and find where these poetic devices are already beginning to shine through naturally. Then you’ll be able to refine them even more to make your poetry the best it can be.

27 poetic devices used in poetry

Here are some of the literary devices you’ll be able to add to your poet’s toolkit:

1. Alliteration

Hearkening back to the days when poetry was mostly sung or read out loud, this literary device uses repeating opening sounds at the start of a series of successive words, giving them a lovely musical quality. The “Wicked Witch of the West” is an example of alliteration. So are “political power play” and “false friends.”

“Cold cider” is not an example of alliteration, because even though the words begin with the same letter, they don’t have the same sound. A ”sinking circus,” on the other hand, kicks off each word with the same sound even though they look different on the page.

2. Allusion

Allusion is where the poet makes an indirect reference to something outside of the poem, whether that’s a real person, a well-known mythological cycle, or a struggle that’s happening in the world we know. Sometimes this is simply to draw a parallel that the reader will easily understand, but often allusions are used to hint at something that it would be insensitive, or even dangerous, to directly acknowledge.

In Edgar Allen Poe’s The Raven , the bird in question is described as “perched upon a bust of Pallas just above my chamber door.” Some of the poem’s readers may recognize Pallas as a reference to Pallas Athena, Greek goddess of wisdom. This allusion shows that the narrator has a high respect for learning.

3. Anaphora

Anaphora is the act of beginning a series of successive sentences or clauses (sentence fragments) with the same phrase. It’s an older literary device that many writers instinctively still use today, knowing that it lends a unique emphasis and rhythm even if they don’t know the specific term for it. You may have even used it yourself without realizing it!

One of the most famous uses of anaphora in English literature comes from Charles Dickens’ A Tale of Two Cities : “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of darkness.”

It goes on like this for a while, and the audience falls into not only a comfortable rhythm but a sense of audience participation; they begin to anticipate the words as they come, giving them a feeling of singing along to a song they’ve never heard. The repetition at the beginning of each line also draws attention to the contrasting ideas that Dickens is introducing.

This can be particularly effective in a narrative poem, or a poetic form that acts like a short story.

4. Assonance

Also called “vowel rhyme,” assonance is a poetic device that repeats vowel sounds in a word or phrase to create rhythm ( we’ll talk about rhythm a little more later on ). “Go slow down that lonely road” is an example of well-balanced assonance: we hear similar sounds in the “oh,” “go,” and “slow,” and then later in “lonely” and “road” (there’s also a bit of a clever eye rhyme in “slow down”—you’ll learn about eye rhymes when we talk about rhyme down below ). Don’t the deep, repetitive vowels just make you want to snuggle down into them?

You’ll probably find yourself using repeating vowel sounds in your poetry already, because the words just seem to naturally settle in together. As you progress, you’ll be able to see where those balanced vowels are beginning to shine through and then emphasize them even more.

5. Blank Verse

Blank verse is poetry that’s written in a regular meter, but with unrhymed line. It falls somewhere between formal and free verse poetry. While blank verse never has a formal rhyme scheme, it does have a formal meter (you’ll read more about meter a bit further on ).

Most blank verse is written in iambic pentameter, which was popularized by Shakespeare in his plays. “But soft! What light through yonder window breaks?” is a famous example—it doesn’t rhyme, but it follows a pattern of a ten syllable line with alternating unstressed and stressed syllables. Try reading it out loud.

Some blank verse uses internal rhyme, or words that rhyme within a line rather than at the end. Blank verse is a great way to add a poetic levity to writing that would otherwise read like prose.

6. Chiasmus

A chiasmus (a word that brings to mind the word “chimera”, coincidentally enough) is a stylized literary device that plays with the reversal of words or ideas.

Sometimes the words might be used together in a different way—“Never let a Fool Kiss You, or a Kiss Fool You”—or sometimes it may be the concepts of the idea that are presented in reflection—“My heart burned with anguish, and chilled was my body when I heard of his death”—with “heart” and “body” as parallels bookending the contrasting ideas of “burned” and “chilled.”

Like anaphora , chiasmus can draw attention to a contrasting idea and make a memorable impression on the reader.

7. Consonance

Compared to assonance , consonance is the repetition of consonant sounds in a word or phrase. Repeated consonants can occur at the beginning, middle, or ending of a word. You may recognize this from classic children’s tongue twisters like “Betty Botter bought some butter but she said the butter’s bitter”… the repeated B’s and T’s add a jig-and-reel quality to the speech.

You can also use this technique to add musicality and tone to the names of characters, such as the soft consonant sounds of Holly Golightly’s gentle L’s or the Dread Pirate Roberts’ guttural R’s.

In poetry, repeating consonant sounds often cause the reader to stop and linger over the phrase a little longer, teasing out both its music and its meaning (notice the consonance in “linger, little, longer” and “music” and “meaning”?).

8. Enjambment

Enjambment, from a Middle French word meaning “to step over,” is a poetic device in which a thought or an idea in a poem carries over from one line to another without pause. For example, T. S, Eliot’s The Waste Land says, “April is the cruelest month, breeding / Lilacs out of the dead land, mixing / Memory and desire.”

Instead of ending his lines on the comma, where we would normally think to pause in our speech, he includes the verb in the line before moving into the next one. This gives the poem a very different rhythm and complexity than it otherwise would have had.

Enjambment can also be used to create tension and surprise as the story you’re telling through your poem twists and turns.

9. Epistrophe

Unlike to anaphora , epistrophe is a literary device in which successive sentences or sentence fragments end with the same phrase. Our ears naturally attune to the landing point of any given word grouping, and so writers and speakers can use this tool to draw particular attention to a word or idea.

One famous example is Abraham Lincoln’s speech, “A government of the people, by the people, for the people”. We hear this word grouping “the people” landing three consecutive times. This same technique can be used to instill a mood in your poem by landing on evocative words such as “dark,” “gone,” or “again.”

10. Imagery

Imagery one of the most important poetic devices—it’s how you make the big ideas in your poem, as well as the poem’s meaning, come alive for the reader.

Poets will make the most of their limited space by using strong visual, auditory, olfactory, and even tactile sensations to give the reader a sense of time and place. It’s popular in both poetry and prose fiction.

In T. S. Eliot’s Preludes , he says, “… the burnt-out ends of smoky days. And now a gusty shower wraps the grimy scraps of withered leaves about your feet.” This little excerpt is brimming with an intense vision of the scene that plays with all five of the senses. It makes us feel like we’re there.

11. Juxtaposition

Juxtaposition is contrast—comparing dark with light, heroes with villains, night with day, beauty with cruelty. “All’s fair in love and war” is a famous example of juxtaposition—the idea puts two normally conflicting concepts side by side to make us reconsider the relationship they have to each other.

Juxtaposition as a literary device can be lighthearted, such as a friendship between a lion and a mouse, or it can give power and emotional resonance to a scene, such as young soldiers leaving for grim battle on a perfectly beautiful summer’s day. Effective use of juxtaposition can change the tone of an entire poem.

12. Metaphor

Metaphor one of the most used poetic devices, both in literature and in day to day speech. It presents one thing as another completely different thing so as to draw a powerful comparison of images.

“Love is a battlefield” is a metaphor that equates a broad, thematic idea (love) with something we all have at least a basic understanding of (a battlefield). It shows us that there are aspects in each that are also present in the other.

Metaphors can also be implied, when the poet uses a colorful image to suggest something about a character or an action; for instance, “the article sparked a new conversation,” giving the article a quality akin to a flame struck in the darkness.

Rather than stating its literal meaning, a metaphor makes the meaning of the entire poem even stronger.

Meter is the way in which rhythm is measured in a poem. It’s a pattern that functions on two basic premises: the number of syllables in a line of poetry, and how each syllable is either stressed (given emphasis, such as the first syllable of “nature”) or unstressed.

We express the type of meter the poem follows also in two parts: the structure of stressed and unstressed syllables, and how many of them there are in a single line.

There are many kinds of formal meter. Perhaps the most famous one is iambic pentameter, made famous by the sonnets Shakespeare wrote—a fourteen line poem in which the iamb (one unstressed syllable followed by one stressed syllable, like “toNIGHT,” “beLONG,” “beCOME”) is repeated five times in a line.

But there can be many other kinds of meter, depending on how many metrical feet (like an iamb) appear per line. For example, iambic tetrameter uses the same structure as iambic pentameter but with only eight syllables instead of ten.

14. Metonym

Similar to a metaphor , a metonym is a poetic device which uses an image or idea to stand in place of something.

This can be visual, such as in road signs or computer icons, where a downwards arrow stands in place of the concept for “download,” or it can be literary.

To say “the White House is in discussion” usually refers to a group of elected government officials, rather than an actual constructed house that has been painted white.

A “mother tongue” is a native language, and “the press” is often used as a broad metonym for journalists. Some metonyms are no longer in use, and can be worked into poems to show setting and context—for instance, “hot ice” to mean stolen diamonds.

A motif is a symbol or idea that appears repeatedly to help support what the poet is trying to communicate. In poetry, motifs are often things with which we already have a cultural relationship—bodies of water to represent purity, sunrises to represent new beginnings, storm clouds to represent dramatic change.

When these ideas are used once in your poem, they’re a poetic device called symbolism . To be a motif, they’d need to be used in repetition, with each interval creating stronger and stronger links between the themes of the poem and the reader’s understanding of the world.

Myths and legends are perhaps the greatest reservoir of creativity the poet has at their disposal. Though often used interchangeably, myths are stories that tell of how something came to be—for example Noah’s ark, or the story behind the Giant’s Causeway in Ireland. Legends are stories that blur the lines of myth and history, for instance the Greek heroes in the saga of Troy.

It’s worth looking to the stories from your own region and cultural background for inspiration. Contrary to what some might say, there’s also nothing wrong with embracing the stories of other cultures so long as they are done with reverence and respect.

Henry Wadsworth Longfellow, an American poet of European descent, wrote beautifully about Native American myths in his Song of Hiawatha .

17. Onomatopoeia

Onomatopoeia are great poetic devices for adding rhythm and sensory presence to your work. Onomatopoeia are words that, when spoken out loud, imitate sounds like what they’re intended to mean.

“Buzzing,” for instance, is a verb that relates to the action of a traveling bee, but spoken aloud it sounds like the actual sound bees make. “Murmuring,” “humming,” and “smacking” all sound like the actions that they refer to. In poetry, you can have a lot of fun experimenting with onomatopoeia to make your reader feel like they’re in the poem alongside you.

18. Personification

Personification is a poetic device that gives a non-human entity—whether that’s an animal, a plant, or a cantankerous dancing candlestick—human characteristics, actions, and feelings. Sometimes this might be so extreme as to create an entirely human character with a nonhuman shape. Many, many Disney movies follow this pattern.

In poetry, very often the personification is more subtle; “the waves stretching their white fingers up towards the sun,” or “shadows leering down accusingly” are both examples of more subtle personification. These fanciful images come from the narrator’s relationship to the moment in time and their environment.

19. Repetition

Repetition is used both as a poetic device and as an aspect of story structure, particularly when dealing in motifs . In poetry, using the same word or phrase repeatedly allows the reader or listener to settle into a comfortable rhythm, offering them a sense of familiarity even if they’ve never heard that particular piece before.

It can also be used to bring seemingly unrelated lines and stanzas back to the same idea. You can write poems with repeating words or phrases, or you can repeat broader ideas that you come back to again and again as the poem progresses.

When most people think of rhyming words they tend to think of what’s called a “perfect rhyme,” in which the final consonants, final vowels, and the number of syllables in an ending word match completely. These are rhymes like “table” and “fable”, or “sound” and “ground.”

But there are many different kinds of rhymes. Other types include slant rhymes (in which some of the consonants or the vowels match, but not all—for example, “black” and “blank”), internal rhymes (perfect rhymes that are used for rhythmic effect inside a line of poetry, for instance “double, double, toil and trouble)”, and eye rhymes (words that look like they should rhyme only when read and not heard aloud, like “date” and “temperate,” or “love” and “move”).

The rhyme scheme, or pattern of rhyming lines, a poem uses can have a big impact on the poem’s mood and language.

The true purpose of a rhyme scheme is to give your poetry rhythm , which is the shape and pattern a poem takes. What it comes down to is getting your words inside the reader’s bones. Rhyme is one way to do this, and meter is another. So are line-level poetic devices like assonance , consonance , and alliteration .

The length of your lines and your style of language will also play a part; quick, short words in quick, short lines of poetry give the poem a snappy feel, while longer, more indulgent lines will slow down the rhythm. The rhythm of the poem should match the story that it’s telling.

It’s a good idea to experiment with different kinds of rhythm in your poetry, though many poets develop a comfortable rhythmic place in which their poetry feels most at home.

Similes often get lumped together with metaphors as poetic devices that express the similarities between two seemingly unrelated ideas. They serve a very similar purpose in poetry, but are approached slightly differently. Where a metaphor uses one idea to stand in place for another, a simile simply draws a comparison between these two things.

Examples of similes are Shakespeare’s “Her hair, like golden threads, play’d with her breath” and Langston Hughes’ “What happens to a dream deferred? Does it dry up like a raisin in the sun?” The word “like” in these examples is the hint that we’re looking at a simile, and not a metaphor.

Using similes is a great way to impart sensory imagery and to get your readers to think about something in a new way.

23. Symbolism

We looked at motifs earlier as recurring symbols in a poem. Not all symbolism is recurring, but all of it should support what the poet is trying to say as a larger whole.

Symbols in poetry might be sensory images, they might be metaphors for a real life issue, or they might be cultural icons with which we already have deeply-ingrained associations.

Examples could be a skull to represent death, a dove to represent peace, or the sun and the moon to represent masculine and feminine polarities. By tapping into this pre-existing cultural consciousness, the poet has an entirely new language with which to communicate.

24. Synecdoche

Synecdoche is similar to a metonym , in that it takes a small part of something to represent something bigger. But rather than looking at something symbolically representative of a whole, synecdoche is a poetic device that looks at a physical part of that whole. To say “give me a hand”, for instance, means “give me assistance” (which may or may not involve an actual hand), or “all hands on deck” to mean “all bodies, hands and feet included.”

It can sometimes be used in the opposite way too, using a larger picture to represent a smaller part. For example, to say “New York is up against Chicago” probably doesn’t refer to an actual civil war between two warring cities—most likely you’re just talking about a smaller part of a whole, like a sports team.

Tmesis, apart from being a word that kind of looks like a sneeze, is another dialectal poetic device. It comes from a Greek word meaning “to cut,” and involves cutting a word in half for emphasis. Sometimes this is colloquial, like “abso-bloody-lutely” or “fan-bloody-tastic” (really, any time an irate British person sticks “bloody” into a perfectly serviceable word).

It’s also used in poetry and poetic prose to add emphasis to the idea. In Romeo and Juliet , Romeo says, “This is not Romeo, he’s some other where”, interjecting “other” into “somewhere” for emphasis. Tmesis is a fun poetic device to play around with, that allows you to begin looking at words in a different way.

Tone is the not-entirely-quantifiable mood, or atmosphere, of your piece. Some poets are great at crafting dark, haunting poetry; others write poems full of soft sunshine that make you think of a languid summer morning in the grass.

You may find that different themes and messages require different moods, but very likely you’ll find yourself settling into one signature atmosphere as you develop your poet’s voice.

The best way to do this is to read poems of all different tones and styles to see which resonate best with you. You could also try making “mood banks” of words to play around with in your poetry, either as lists or as little bits of paper á la “magnetic poetry.”

Words like “night,” “silence,” and “howl” conjure up one idea; words like “sunday,” “popcorn,” and “sparrow” conjure up something very different.

A zeugma, as well as being your new secret weapon in Scrabble, is a poetic device that was used quite a lot in old Greek poetry but isn’t seen as much these days—largely because it’s difficult to do well. It’s when a poet uses a word in one sentence to mean two different things, often meaning a literal one, and one meaning a figurative one.

For example, “he lost his passport and his temper” or “I left my heart and my favorite scarf in Santa Fé” are two instances where the verb is used in both literal and figurative ways.

How to use poetic devices

Seeing the range of word-level tools available to you as a writer can be both exciting and a little overwhelming. As you can see, the twenty-six unassuming little letters of the English language carry within them a world of possibility—the poet just needs to know how to make them dance.

There are two ways to begin working with poetic devices, both of them essential: the first is to read. Read classic poetry, modern poetry, free verse, blank verse, poetry written by men and women of all walks of life. Look at ways other artists have used these poetic devices effectively, and see which moments in their work resonate with you the most. Then ask yourself why and what you can do to bring that light into your own poetry.

The second is to write. The poet and novelist Margaret Atwood famously said, “You become a writer by writing. There is no other way.” Reading poetry and reading about poetry is an important part of understanding technique, but the only real way to get these poetic devices in your bones and blood is to begin.

If you’ve started writing your own poetry already, go back and look at some of your earlier work. Can you spot any of the poetic devices from this list?

Many of these literary devices work because they resonate with our innate human instincts for rhythm and storytelling. You probably already use some of them without realizing it. See where you can pick out these little seeds and bring them to life even more.

As you progress, your awareness of technical literary devices in poetry such as assonance, epistrophe, metonymy, and poetic form will become as natural as a musician who no longer needs to look at the keys—they simply form a part of your poet’s voice.

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What do the words “anaphora,” “enjambment,” “consonance,” and “euphony” have in common? They are all literary devices in poetry—and important poetic devices, at that. Your poetry will be greatly enriched by mastery over the items in this poetic devices list, including mastery over the sound devices in poetry.

This article is specific to the literary devices in poetry. Before you read this article, make sure you also read our list of common literary devices across both poetry and prose, which discusses metaphor, juxtaposition, and other essential figures of speech.

We will be analyzing and identifying poetic devices in this article, using the poetry of Margaret Atwood, Louise Glück, Shakespeare, and others. We also examine sound devices in poetry as distinct yet essential components of the craft.

Literary Devices in Poetry: Poetic Devices List

Let’s examine the essential literary devices in poetry, with examples. Try to include these poetic devices in your next finished poems!

1. Anaphora

Anaphora describes a poem that repeats the same phrase at the beginning of each line. Sometimes the anaphora is a central element of the poem’s construction; other times, poets only use anaphora in one or two stanzas, not the whole piece.

Consider “ The Delight Song of Tsoai-talee ” by N. Scott Momaday.

I am a feather on the bright sky I am the blue horse that runs in the plain I am the fish that rolls, shining, in the water I am the shadow that follows a child I am the evening light, the lustre of meadows I am an eagle playing with the wind I am a cluster of bright beads I am the farthest star I am the cold of dawn I am the roaring of the rain I am the glitter on the crust of the snow I am the long track of the moon in a lake I am a flame of four colors I am a deer standing away in the dusk I am a field of sumac and the pomme blanche I am an angle of geese in the winter sky I am the hunger of a young wolf I am the whole dream of these things

You see, I am alive, I am alive I stand in good relation to the earth I stand in good relation to the gods I stand in good relation to all that is beautiful I stand in good relation to the daughter of Tsen-tainte You see, I am alive, I am alive

This poem is an experiment in metaphor: how many ways can the self be reproduced after “I am”? The simple “I am” anaphora draws attention towards the poet’s increasing need to define himself, while also setting the poet up for a series of well-crafted poetic devices.

Anaphora describes a poem that repeats the same phrase at the beginning of each line.

The self shapes the core of Momaday’s poem, as emphasized by the anaphora. Still, our eye isn’t drawn to the column of I am’s, but rather to Momaday’s stunning metaphors for selfhood.

A conceit is, essentially, an extended metaphor. Which, when you think about it, it’s kind of stuck-up to have a fancy word for an extended metaphor, so a conceit is pretty conceited, don’t you think?

In order for a metaphor to be a conceit, it must run through the entire poem and be the poem’s central device. Consider the poem “ The Flea ” by John Donne. The speaker uses the flea as a conceit for physical relations, arguing that two bodies have already intermingled if they’ve shared the odious bed bug. With the flea as a conceit for intimacy, Donne presents a poem both humorous and strangely erotic.

A conceit must run through the entire poem as the poem’s central device.

The conceit ranks among the most powerful literary devices in poetry.In your own poetry, you can employ a conceit by exploring one metaphor in depth. For example, if you were to use matchsticks as a metaphor for love, you could explore love in all its intensity: love as a stroke of luck against a matchbox strip, love as wildfire, love as different matchbox designs, love as phillumeny, etc.

3. Apostrophe

Don’t confuse this with the punctuation mark for possessive nouns—the literary device apostrophe is different. Apostrophe describes any instance when the speaker talks to a person or object that is absent from the poem. Poets employ apostrophe when they speak to the dead or to a long lost lover, but they also use apostrophe when writing an Ode to a Grecian Urn or an Ode to the Women in Long Island .

Apostrophe is often employed in admiration or longing, as we often talk about things far away in wistfulness or praise. Still, try using apostrophe to express other emotions: express joy, grief, fear, anger, despair, jealousy, or ecstasy, as this poetic device can prove very powerful for poetry writers.

4. Metonymy & Synecdoche

Metonymy and synecdoche are very similar poetic devices, so we’ll include them as one item. A metonymy is when the writer replaces “a part for a part,” choosing one noun to describe a different noun. For example, in the phrase “the pen is mightier than the sword,” the pen is a metonymy for writing and the sword is a metonymy for fighting.

Metonymy: a part for a part.

In this sense, metonymy is very similar to symbolism, because the pen represents the idea of writing. The difference is, a pen is directly related to writing, whereas symbols are not always related to the concepts they represent. A dove might symbolize peace, but doves, in reality, have very little to do with peace.

Synecdoche is a form of metonymy, but instead of “a part for a part,” the writer substitutes “a part for a whole.” In other words, they represent an object with only a distinct part of the object. If I described your car as “a nice set of wheels,” then I’m using synecdoche to refer to your car. I’m also using synecdoche if I call your laptop an “overpriced sound system.”

Synecdoche: a part for a whole.

Since metonymy and synecdoche are forms of symbolism, they appear regularly in poetry both contemporary and classic. Take, for example, this passage from Shakespeare’s A Midsommar Night’s Dream :

Shakespeare makes it seem like the poet’s pen gives shape to airy wonderings, when in fact it’s the poet’s imagination. Thus, the pen becomes metonymous for the magic of poetry—quite a lofty comparison which only a bard like Shakespeare could say.

5. Enjambment & End-Stopped Lines

Poets have something at their disposal which prose writers don’t: the mighty line break. Line breaks and stanza breaks help guide the reader through the poem, and while these might not be hardline “literary devices in poetry,” they’re important to understanding the strategies of poetry writing.

Line breaks can be one of two things: enjambed or end-stopped. End-stopped lines are lines which end on a period or on a natural break in the sentence. Enjambment, by contrast, refers to a line break that interrupts the flow of a sentence: either the line usually doesn’t end with punctuation, and the thought continues on the next line.

Let’s see enjambed and end-stopped lines in action, using “ The Study ” by Hieu Minh Nguyen.

Most of the poem’s lines are enjambed, using very few end-stops, perhaps to mirror the endless weight of midsummer. Suddenly, the poem shifts to end-stops at the end, and the mood of the poem transitions: suddenly the poem is final, concrete in its horror, horrifying perhaps for its sincerity and surprising shift in tone.

Line breaks and stanza breaks help guide the reader through the poem.

Enjambment and end-stopping are ways of reflecting and refracting the poem’s mood. Spend time in your own poetry determining how the mood of your poems shift and transform, and consider using this poetry writing strategy to reflect that.

Zeugma (pronounced: zoyg-muh) is a fun little device you don’t see often in contemporary poetry—it was much more common in ancient Greek and Latin poetry, such as the poetry of Ovid. This might not be an “essential” device, but if you use it on your own poetry, you’ll stand out for your mastery of language and unique stylistic choices.

A zeugma occurs when one verb is used to mean two different things for two different objects. For example, I might say “He ate some pasta, and my heart out.” To eat pasta and eat someone’s heart out are two very different definitions for ate: one consumption is physical, the other is conceptual. The key here is to only use “ate” once in the sentence, as a zeugma should surprise the reader.

Now, take this excerpt from Ovid’s Heroides 7 :

Can you identify the zeugmas? “Bear” and “weigh” are both used literally and figuratively, bearing weight to the speaker’s laments.

Zeugmas are a largely classical device, because the constraints of ancient poetic meter were quite strict, and the economic nature of Latin encouraged the use of zeugma. Nonetheless, try using it in your own poetry—you might surprise yourself!

7. Repetition

Strategic repetition of certain phrases can reinforce the core of your poem.

Last but not least among the topliterary devices in poetry, repetition is key. We’ve already seen repetition in some of the aforementioned poetic devices, like anaphora and conceit. Still, repetition deserves its own special mention.

Strategic repetition of certain phrases can reinforce the core of your poem. In fact, some poetry forms require repetition, such as the villanelle . In a villanelle, the first line must be repeated in lines 6, 12, and 18; the third line must be repeated in lines 9, 15, and 19.

See this repetition in action in Sylvia Plath’s “ Mad Girl’s Love Song. ” Notice how the two repeated lines reinforce the subjects of both love and madness—perhaps finding them indistinguishable? Take note of this masterful repetition, and see where you can strategically repeat lines in your own poetry, too.

Sound Devices in Poetry

The other half of this article analyzes the different sound devices in poetry. These poetic sound devices are primarily concerned with the musicality of language, and they are powerful poetic devices for altering the poem’s mood and emotion—often in subtle, surprising ways.

What are sound devices in poetry, and how do you use them? Let’s explore these other literary devices in poetry, with examples.

8. Internal & End Rhyme

When you think about poetry, the first thing you probably think of is “rhyme.” Yes, many poems rhyme, especially poetry in antiquity. However, contemporary poetry largely looks down upon poetry with strict rhyme schemes, and you’re far more likely to see internal rhyming than end rhyming.

Internal rhyme is just what it sounds like: two rhyming words juxtaposed inside of the line, rather than at the end of the line. See internal rhyme in action Edgar Allan Poe’s famous “ The Raven ”:

Each of the rhymes have been assigned their own highlighted color. I’ve also highlighted examples of alliteration, which this article covers next.

Despite “The Raven’s” macabre, dreary undertones, the play with language in this poem is entertaining and, quite simply, fun. Not only does it draw readers into the poem, it makes the poem memorable—after all, poetry used to rhyme because rhyme schemes helped people remember the poetry, long before people had access to pen and paper.

Why does contemporary poetry frown at rhyme schemes? It’s not the rhyming itself that’s odious; rather, contemporary poetry is concerned with fresh, unique word choice, and rhyme schemes often limit the poet’s language, forcing them to use words which don’t quite fit.

contemporary poetry is concerned with fresh, unique word choice, and rhyme schemes often limit the poet’s language

If you can write a rhyming poem with precise, intelligent word choice, you’re an exception to the rule—and far more skilled at poetry than most. Perhaps you should have been born a bard in the 16th century, blessed with the king’s highest graces, splayed dramatically on a decadent chaise longue with maroon upholstery, dining on grapes and cheese.

9. Alliteration

Alliteration is a powerful, albeit subtle, means of controlling the poem’s mood.

One of the more defining sound devices in poetry, alliteration refers to the succession of words with similar sounds. For example: this sentence, so assiduously steeped in “s” sounds, was sculpted alliteratively.

Alliteration is a powerful, albeit subtle, means of controlling the poem’s mood. A series of s’es might make the poem sound sinister, sneaky, or sharp; by contrast, a series of b’s, d’s, and p’s will give the poem a heavy, percussive sound, like sticks against a drum.

Emily Dickenson puts alliteration to play in her brief poem “ Much Madness .” The poem is a cacophonous mix of s, m, and a sounds, and in this cacophony, the reader gets a glimpse into the mad array of the poet’s brain.

Alliteration can be further dissected; in fact, we could spend this entire article talking about alliteration if we wanted to. What’s most important is this: playing with alliterative sounds is a crucial aspect of poetry writing, helping readers experience the mood of your poetry.

10. Consonance & Assonance

Along with alliteration, consonance and assonance share the title for most important sound devices in poetry. Alliteration refers specifically to the sounds at the beginning: consonance and assonance refer to the sounds within words. Technically, alliteration is a form of consonance or assonance, and both can coexist powerfully on the same line.

Consonance refers to consonant sounds, whereas assonance refers to vowel sounds. You are much more likely to read examples of consonance, as there are many more consonants in the English alphabet, and these consonants are more highly defined than vowel sounds. Though assonance is a tougher poetic sound device, it still shows up routinely in contemporary poetry.

In fact, we’ve already seen examples of assonance in our section on internal rhyme! Internal rhymes often require assonance for the words to sound similar. To refer back to “The Raven,” the first line has assonance with the words “dreary,” “weak,” and “weary.” Additionally, the third line has consonance with “nodded, nearly napping.”

These poetic sound devices point towards one of two sounds: euphony or cacophony.

11. Euphony & Cacophony

Poems that master musicality will sound either euphonious or cacophonous. Euphony, from the Greek for “pleasant sounding,” refers to words or sentences which flow pleasantly and sound sweetly. Look towards any of the poems we’ve mentioned or the examples we’ve given, and euphony sings to you like the muses.

Cacophony is a bit harder to find in literature, though certainly not impossible. Cacophony is euphony’s antonym, “unpleasant sounding,” though the effect doesn’t have to be unpleasant to the reader. Usually, cacophony occurs when the poet uses harsh, staccato sounds repeatedly. Ks, Qus, Ls, and hard Gs can all generate cacophony, like they do in this line from “Rime of the Ancient Mariner” from Samuel Taylor Coleridge:

Reading this line might not be “pleasant” in the conventional sense, but it does prime the reader to hear the speaker’s cacophonous call. Who else might sing in cacophony than the emotive, sea-worn sailor?

What’s something you still remember from high school English? Personally, I’ll always remember that Shakespeare wrote in iambic pentameter. I’ll also remember that iambic pentameter resembles a heartbeat: “love is a smoke made with the fumes of sighs .” ba- dum , ba- dum , ba- dum .

Metrical considerations are often reserved for classic poetry. When you hear someone talking about a poem using anapestic hexameter or trochaic tetrameter, they’re probably talking about Ovid and Petrarch, not Atwood and Gluck.

Still, meter can affect how the reader moves and feels your poem, and some contemporary poets write in meter.

Before I offer any examples, let’s define meter. All syllables in the English language are either stressed or unstressed. We naturally emphasize certain syllables in English based on standards of pronunciation, so while we let words like “love,” “made,” and “the” dangle, we emphasize “smoke,” “fumes,” and “sighs.”

Depending on the context, some words can be stressed or unstressed, like “is.” Assembling words into metrical order can be tricky, but if the words flow without hesitation, you’ve conquered one of the trickiest sound devices in poetry.

Common metrical types include:

• Iamb: repetitions of unstressed-stressed syllables
• Anapest: repetitions of unstressed-unstressed-stressed syllables
• Trochee: repetitions of stressed-unstressed syllables
• Dactyl: repetitions of stressed-unstressed-unstressed syllables

Finding these prosodic considerations in contemporary poetry is challenging, but not impossible. Many poets in the earliest 20th century used meter, such as Edna St. Vincent Millay. Her poem, “ Renascence ,” built upon iambic tetrameter. Still, the contemporary landscape of poetry doesn’t have many poets using meter. Perhaps the next important metrical poet is you?

Mastering the Literary Devices in Poetry

Every element of this poetic devices list could take months to master, and each of the sound devices in poetry requires its own special class. Luckily, the instructors at Writers.com know just how to sculpt poetry from language, and they’re ready to teach you, too. Take a look at our upcoming poetry courses , and take the next step in mastering the literary devices in poetry.

Sean Glatch

41 comments.

Very interesting stuff! I’m looking forward to incorporating some of these devices in my future poetry.

Incredible. Somes are new btw.

Wow … learned alot with this…. thanks

Well illustrated, simple language and easily understood. Thank you.

While thinking of an appropriate inscription for my dad’s headstone, the following two thoughts came to mind:

“He served his country with honor and he honored his wife with love.”

Can the above be described as being an example of any particular kind of literary or poetic device?

Hi Louis, good question! This is an example of polyptoton, a repetition device in which words from the same root are employed simultaneously. You can learn more about it at this article: writers.com/repetition-definition

You’re also close to using what’s called a syllepsis or zeugma. From the Greek for “a yoking,” a zeugma is when you use the same verb to mean two different things. An example: “He ate his feelings–and the cheesecake.” “Ate” is being used both figuratively and literally, “yoking” the two meanings together.

Your sentence uses honor as both a noun and a verb, which makes it a bit distinct from other zeugmas. Regardless, it’s a thoughtful sentiment and a lovely sentence. I hope this helps!

It’s called a polyptoton. Repetition, in close proximity, of different grammatical forms of the same root word. Honor/noun Honored/ verb It’s not zeugma when the word which would be yoked, is instead repeated. I discovered this literary device one day, some years into my teaching career, by reading the literary dictionary with my students. We were very happy to find the term, after several students had inquired about a passage we were analyzing, and I had no answer (except a form of repetition). The class cheered when I read it out. I can’t imagine that happening today…

Isn’t it alliteration… ‘h’ sound is repeated 🤔

It is an alliteration, zeugma, assonance, consonance

It is called a polyptoton — a literary device of repetition involving the use, in close proximity, of more than one grammatical form of the same word. In this case honor (noun) and honored (verb). Famous example: “The Greeks are strong and skilful in their strength, Fierce to their skill, and to their fierceness valiant.” Strong/strength & skilful/skill & fierce/fierceness = adjective/noun forms — in very close proximity (within a single sentence).

It’s a powerful dream of mine you just inspired me

These are very helpful! I am a poet, and I did not know about half of these! Thank you.

We’re so glad this article was helpful! Happy writing 🙂

I am definitely loving this article. I have learnt a lot.

Thank you so much for this article. it is quite refreshing and enlightening.

the article was helpful during my revisions

As apostrophe is used to make a noun possessive case, not plural. (#3)

You’re correct when it comes to the grammatical apostrophe, but as a literary device, apostrophe is specifically an address to someone or something that isn’t present in the work itself. For some odd reason, they share the same name. 🙂

You can learn more about the apostrophe literary device here . I hope this makes sense!

@Sean Glatch

I believe this comment was intended as a correction to the phrase ‘the punctuation mark for plural nouns’ used in the article. Plural nouns aren’t apostrophised, which makes that an error.

Very knowledgeable to learn, I want to learn more……

Very knowledgeable and detailed.

I think that a cool literary device to add would be irony. Its my favorite 🙂

Thanks, Patricia! We have an article on irony at this link .

Happy writing!

I am a student currently studying English Literature. Really appreciate the article and the effort put into it because its made some topics more clear to me. However, is there any place where I can find more examples of the devices Enjambement, metonymy, iambic pentameter, consonance & cacophony? Would appreciate it a bunch❤ Thank you again for the article

I’m so glad this article was helpful! We cover a few more topics in poetry writing at this article: https://writers.com/what-is-form-in-poetry

in my high school in uganda, we study about these devices that’s if you offer literature as a subject

Very helpful and relevant…

I just came here to check out some poetic devices so that I can pass through my exam…but looking at these comments made me feel like…where am I? Is this the land of the angels? Thanks for the motivation, probably not a poet but I am writing stories now, made a good one already.

Very precious knowledge . Thanks alot.

Thank you, You have taught me a lot .

Really needed this for my AP Lit class, thanks for making it so understandable!

This article was extremely informative. I love the platform. Wonderful to find other individuals passionate about language. I absolutely enjoyed the discourse.

I have learnt a lot, may God bless you forever. Thank you so much.

This was very informative to read, thank you. i do have one question. I have searched over the internet and I’m struggling to find my answer. Do you know if there’s a name for when a poem starts with a rhetorical question in the beginning line, and then answers it in the very last line. Take ‘Who’s For the Game?’ by Jessie Pope as an example. Thx

Fantastic thank you very helpful

ELA educator here; glad to have this well-written and concise information for my classroom! Thank you! Instagram @jenlee_123

Thank you very much, I have learned a lot. Hopefully I’ll do the best in my assignments.

Thank you. I polished my dusty knowledge of literature.

Thank you so much. I needed this for my AP LIT exam. Now I can write my essay – Ish Da Fish

I needed a quick review and this is perfect. Thank you.

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by  John Donne

Mark but this flea, and mark in this, How little that which thou deniest me is; It sucked me first, and now sucks thee, And in this flea our two bloods mingled be; Thou know’st that this cannot be said A sin, nor shame, nor loss of maidenhead, Yet this enjoys before it woo, And pampered swells with one blood made of two, And this, alas, is more than we would do. Oh stay, three lives in one flea spare , Where we almost, nay more than married are. This flea is you and I, and this Our marriage bed, and marriage temple is; Though parents grudge, and you, w’are met, And cloistered in these living walls of jet. Though use make you apt to kill me, Let not to that, self-murder added be, And sacrilege, three sins in killing three. Cruel and sudden, hast thou since Purpled thy nail, in blood of innocence? Wherein could this flea guilty be, Except in that drop which it sucked from thee? Yet thou triumph’st, and say’st that thou Find’st not thy self, nor me the weaker now; ’Tis true; then learn how false, fears be: Just so much honor, when thou yield’st to me, Will waste, as this flea’s death took life from thee.

Summary of The Flea

• Popularity of “The Flea”: John Donne , a famous metaphysical poet wrote “The Flea”. It was first published in 1633. The poem explains the speaker ’s utmost desire to make love to his virgin lady. Throughout the poem, he develops a logical argument to persuade her. However, the popularity of the poem lies in its sensual theme and profound love of the speaker for his lady.
• “The Flea” As a Representative of Sex: As this poem is about physical intimacy, the poet uses “flea” as an extended metaphor to demonstrate his desire to have intimacy. At the outset, he says that their blood is mixed in the body of the flea, implying that they have already been made one in the body of the tiny insect. Also, the mingling of their blood in its body is neither guilt nor a sin. Therefore, he addresses his beloved and suggests that she should not hesitate to be intimate with him. Later, when the lady attempts to kill the flea, he stops her. As he argues, he says that its a sin to kill the flea, as it contains the lives the speaker and his beloved. But, the lady readily kills the flea with her fingernail, which shows her disregard for the speaker’s argument. Thus, she chooses her purity over the man.
• Major Themes in “The Flea”: Love, sex, and seduction are the major themes crafted in the poem. The poet used a persuasive conceit of flea to show how effectively this tiny insect unites them by sucking their blood. Also, this mingling of their blood does not involve any sense of shame, sin, or guilt. He persuades his beloved through logical reasoning, but fails in his attempts, because the lady kills the flea with her fingernail that signifies the death of the speaker’s sexual desires.

Analysis of Literary Devices in “The Flea”

literary devices are tools the writers use to create meanings in their texts to enhance the poems or stories and connect the readers with the real message of the text. John Donne has also used some literary elements in this poem to express the speaker’s desire. The analysis of some of the literary devices used in this poem has been listed below.

• Assonance : Assonance is the repetition of vowel sounds in the same line such as the sound of /i/ and /e/ in “Yet this enjoys before it woo” and /i/ sound “This flea is you and I, and this”.
• Alliteration : Alliteration is the repetition of consonant sounds in the same line such as the sound of /m/ in “Our marriage bed, and marriage temple is”.
• Imagery : Imagery is used to make readers perceive things using their five senses. For example, “How little that which thou deniest me is”; “Except in that drop which it sucked from thee” and “And cloistered in these living walls of jet.”
• Personification : Personification is to give human characteristics to inanimate objects . For example, the flea is personified in the eighth line as if human pampers it, “And pampered swells with one blood made of two.”
• Metaphor : It is a figure of speech in which an implied comparison is made between the objects different in nature. For example, “flea” as an extended metaphor to express his feelings of physical intimacy. Another example is seen in lines twelve and thirteen, “This flea is you and I, and this, our marriage bed, and marriage temple is”. Here the speaker compares mingling of blood with the act of consummating the marriage.
• Enjambment : Enjambment refers to the continuation of a sentence without the pause beyond the end of a line, couplet or stanza . For example,

“Cruel and sudden, hast thou since Purpled thy nail, in blood of innocence?”

With the literary analysis , it proves that the poet has skillfully painted a vivid picture of his intense emotions.

Analysis of Poetic Devices in “The Flea”

Poetic and literary devices are the same, but a few are used only in poetry. Here is the analysis of some of the poetic devices used in this poem.

• Stanza : A stanza is a poetic form of some lines. There are three stanzas in this poem with each stanza comprising of nine lines.
• Rhyme Scheme : The rhyme scheme followed by the entire poem is AABBCCDDD.
• Rhyming Couplet: There are two constructive lines of verse in a rhyming couplet, usually in the same meter and joined by rhyme such as,

“Mark but this flea, and mark in this, How little that which thou deniest me is.”

Quotes to be Used

The lines stated below can be used when someone kills an innocent insect ruthlessly. The words like “nail” and “blood of innocence” indicate that a brutal act has been performed.

“Cruel and sudden, hast thou since Purpled thy nail, in blood of innocence? Wherein could this flea guilty be.”

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Black Woman Analyzed: Subject Matter, Themes and Poetic Devices

This tutorial will take you through a thorough analysis of “Black Woman”. “Black Woman” is a poem composed by Leopold Sedar Senghor. Leopold Senghor was a Senegalese poet, academic and politician. In fact, he was also the first president of independent Senegal.

At Cegast Academy, you can learn more about the contribution of Leopold Senghor to the independence struggle in French West Africa. In case you didn’t know, this topic is right inside the SHS/WASSCE Government syllabus.

But right now, our focus is on Leopold Senghor the poet, not the politician.

Here are the major areas we shall cover in our analysis of “Black Woman”.

• Background information
• Subject matter
• Poetic Devices

So, here we go.

Background Information

• A Government Driver on His Retirement Analyzed: Subject Matter, Themes and Poetic Devices
• All Six African Poems for WASSCE 2021-2025 (PDF -FREE)

Leopold Senghor’s poem, Black Woman, belongs to the negritude tradition in African Literature. The poet himself was a leading figure in the Negritude movement. It was a period that stretched from the 1930s to the 1950s.

So what is Negritude about? The term was coined to describe African Literature which concerns itself with the rediscovery and affirmation of the African identity. It was very much about the revival of black consciousness.

The Negritude movement started when Leopold Senghor and his compatriots in Europe at the time began to realize that it was a mistake to continue to hold European culture as superior to African ways. Many of them wrote poetry in particular to celebrate Africa and her black race.

Important Elements of Negritude Literature

Below are the recurring themes and features of Negritude literature in general, and poetry in particular (especially those coming from the writings of Leopold Senghor). You will be seeing a lot of these in the analysis of this poem, “Black Woman”, too.

• Glorification of blackness
• An idealized African culture and people
• Personification of the African continent as a beautiful black woman
• Extensive praise singing about the beauty of the black woman
• Lopsided comparison between Europe and Africa – Africa is often portrayed as an ideal environment. Europe is made to look pale in the shadow of Africa.
• A longing for Africa and her past glory
• Descriptive diction
• Hyperbolic (exaggerated) figures of speech and imagery
• Sensual or romantic allusions
• Expression of deep love and attachment to the object of admiration
• A tone that affirms the profoundness of the African cultural heritage and identity
• Nature imagery
• Imagery of Africa and Europe
• The use of the figure of speech known as apostrophe
• Major themes are: beauty, love and attachment, nostalgia, admiration
• In most cases, the poet writes from Europe where he imagines Africa in her beauty, splendour and glory.

Subject Matter of Black Woman

Next in this analysis of Black Woman is the subject matter of the poem. I’m about to show you the meaning of “Black Woman” by Leopold Senghor, the renowned Senegalese poet, academic and politician.

In Black Woman, the poet employs a combination of descriptive and narrative techniques. He also reveals to us the various identities of the black woman that make her almost complete.

OBJECTIVE TEST QUESTIONS AND ANSWERS ON BLACK WOMAN

Different Identities of the Black Woman

The poet shifts between different identities of the beloved. She is, at one time, simply a woman of startling physical beauty. Then she becomes an African woman of motherly qualities. After this, we return to the beautiful image of the beloved. Next, we see her as an object of romantic love surrendering under the power of her admirer, the “conqueror”. Her beauty then comes to the fore once more and, at the end of it all, she is a mortal being. Her beauty is not going to last forever. It is destined for destruction by death.

Beautiful Woman (Lines 1 – 3)

The poem Black Woman opens with the persona describing the striking physical beauty of the black woman. He imagines her right in front of him. This object of admiration is

The persona goes on to compare this black woman’s colour to life itself. Then, quickly, he speaks of the shape of her body (form) as an embodiment of beauty. This black woman, in effect, is extremely good-looking.

Mother (Lines 4 – 10)

The descriptive diction in the previous opening lines has changed to a narrative one.

In the lines that follow, the poet recollects his childhood spent under the motherly care of the black woman. He speaks in glowing terms about how the care and affection she showered on him played a vital role in his growth.

In your shadow I have grown up the gentleness of your hands was laid over my eyes

Europe: Beautiful Image of the Black Woman Appears

The narrative style continues as we are speedily transported to Europe. The time is midday in the Summer season, “at heart of noon”.

Africa, in the image of a beautiful black woman, appears like a vision before the persona. He beholds her stunning beauty. So powerful is this beauty that the poet feels as if he has been stricken.

And your beauty strikes me to the heart like the flash of an eagle

Romantic Lover (Lines 11 – 20)

We return to the description of the black woman. The poet portrays her as a lover. There are strong suggestions of romantic love from line 11 onwards. You can also not fail to notice the strong sexual undertones that keep coming up in the imagery evoked in these lines.

Firm-fleshed ripe fruit, sombre raptures of black wine, mouth making lyrical my mouth Savannah stretching to clear horizons

• Her flesh is firm, smooth and attractive
• She is like a ripe fruit, ready for consumption
• The liquid inside this “fruit” of the “naked” black woman is compared to black wine. She is tasty and has had an intoxicating effect on the persona.

“mouth making lyrical my mouth”

• Now the woman’s image is like the whole stretch of the Savannah grasslands of Africa. In effect, she is whole, expansive, beautiful and natural.

Then there is the “east wind” that blows across the Savannah. The east wind is cast in the image of a male lover. It can also be seen as a metaphor for the contact between Africa and the European colonialist.

The meeting between the Savannah and the east wind describes the embrace between the persona and the beloved.

There follows an eager caress between the two. The Savannah (black woman) shakes with emotion at the touch of the east wind (the masculine, more powerful conqueror)

Savannah shuddering beneath the East wind’s eager caresses

The poet then moves away from the imagery of the Savannah to that of a “carved tom tom”.

The beloved black woman is thus like a cute traditional musical instrument – a drum. And as she feels the touch of the “conqueror”, her muscles and nerves grow tense (“taut”). Her emotions get stronger and, like the tom-tom , she makes very feeble and low moaning sounds ( muttering ) at the touch of the conqueror.

Carved tom tom, taut tom tom, muttering under the Conqueror’s fingers

The sound she makes in this moment of ecstasy is solemn and deeply spiritual.

Beautiful Woman (Lines 21 – 29)

Leaving the imagery of romance behind, the poet gets back to continue his admiration for the beauty of his beloved.

• She is dark and naked
• The woman looks like the gazelle in its graceful appearance and movements
• She is like the calm oil
• Her stunning shiny beauty suggests only one thing. She could only have been formed in Paradise.
• The perfect darkness of her skin will make precious stones shine on it. Droplets of water on that dark skin will shine the same way.
• The beloved’s beauty has the power to make the persona forget about his worries. Because, her hair alone resembles the leaves on a tree while her eyes are like many suns. They will provide a shadow under which he will find comfort.

Under the shadow of your hair my care is lightened by the neighbouring suns of your eyes

These comparisons are all exaggerations. They are meant to portray this black woman as whole, larger than life and perfect.

Physical Beauty is Temporary (Lines 30 – 34)

Finally, the poet expresses disquiet over one disturbing reality. It is the mortality of the beloved woman and the impermanence of her beauty. In desperation, he intends to turn his praises of her beauty into a song (possibly this poem) so that unavoidable death will never be able to destroy it completely.

Naked woman, black woman I sing your beauty that passes, the form that fix in the Eternal Before jealous fate turn you to ashes to feed the roots of life.

Analysis of Black Woman

We are through with the meaning and subject matter of “Black Woman”. So let’s move straight ahead to analyze the poem. This is where you will get to know much about the themes and poetic devices or literary techniques in Leopold Senghor’s poem, Black Woman. And they include all the figures of speech in the poem.

The Themes in Black Woman

There are several themes in the poem, Black Woman. These themes are closely related to the overall focus of the poem. It is a celebration of the beauty and uniqueness of Africa and black people.

As stated early on, this is the central subject of Negritude Literature. All the other themes you will see discussed in this analysis of Black Woman are, therefore, connected to the call for us to see Africa in a fresh and more positive light.

Again, remember that the poet speaks of Africa as an attractive black woman. One reason for this is to make us appreciate his strong attachment to the continent.

Theme of Beauty

Physical beauty is the most prominent of the human qualities the poet celebrates in Black Woman. Aspects of this beauty of the woman that the persona admires greatly include her bright eyes, the dark skin colour, her naked form and her graceful movements.

The poet uses the beauty of the beloved as a metaphor for the positive qualities of Africa and her people. This reminds us of “I WILL PRONOUNCE YOUR NAME, NAET” another Leopold Senghor poem with similar elements.

In highly exaggerated terms, the poet paints a picture of a continent that is whole and perfect in all its ways. Indeed, the nudity of the black woman can be seen as the innocence and natural beauty of Africa as compared to the sun-baked passes of Europe. It, therefore, represents the unblemished natural state of Africa before the advent of foreign colonial domination.

Poetry, once again, has been used as an instrument of instruction. The poet is apparently calling on Africans who have failed to appreciate the beauty in their blackness to wake up and behold the huge potential in the continent. The images of the Savannah grasslands and precious stones carry a simple but direct message to those Africans who still have doubts about their identity and abilities. The natural resources, the cultural practices and the spiritual life of the people are worthy of praise and must be treasured for posterity.

The Theme of Reaffirmation or Idealization of Blackness

The poem is titled “Black Woman” for a reason. It is supposed to extol the awesomeness of being black. It is a poem that rejects, in very strong terms, the prevailing idea at the time that white is superior to black.

To properly reaffirm the virtues of black Africa, the poet makes use of such literary devices as metaphor and repetition.

For instance, he compares the beloved black woman to such objects of great value as gold and pearls. The frequent use of the words “black” and “dark” emphasize the great value the poet wants Africans to attach to their colour and culture.

Theme of Praise or Glorification of Africa

More than anything else, “Black Woman” is a praise song. The object of all this praise is the black woman. And, by extension, the black woman represents the African continent or the black race. Here are some features which show that “Black Woman” is truly meant to be a praise song.

Oral Traditions

Leopold Senghor’s poem, Black Woman is a poem rooted in his native Senegalese oral traditions. As we travel through the lines of this poem (in praise of the singer’s object of admiration), we cannot fail to cast our minds back to the oral traditions of the traveller praise-singer known as griot in this part of West Africa.

RELATED QUESTION: Consider Black Woman as a Praise Song

Sound Effects or Musical Rhythm

The lines of the poem are highly musical. Auditory imagery is used to register the sounds that shout in praise of the beloved. The musical imagery is strong in such lines and expressions as the following.

• Solemn contralto voice

Spiritual song

• I sing your beauty

The many run-on lines, pausing in the middle occasionally, create the same musical effects.

“Delights of the mind, the glinting of red

gold against your watered skin

Under the shadow of your hair my care

is lightened by the neighbouring suns of your eyes”

Again, the repetition of the same sounds and grammatical units (parallelism) create the right musical tone for this praise song.

Songs of this nature have an enduring mnemonic quality. Consider the /f/ sound that runs through the last few lines as the poet literally cries over the inevitability of death and its destructive effect on the beauty of the black woman.

“Naked woman, black woman

I sing your beauty that passes, the form

that I fix in the Eternal

Before jealous fate turn you to ashes to

feed the roots of life.”

We must also not lose sight of the refrain, “Naked woman, black woman” and “Naked woman, dark woman” that opens the majority of the stanzas.

And this is why the poet believes music is his best shot at preserving the beauty of the beloved against the imminent destruction from death.

Lastly, the poet leaves no stone unturned to make his compatriots appreciate the beauty of their blackness. He freely makes use of hyperbole to further enhance the praise element of the poem.

If it needs exaggeration to make Africans come to the realization that being black is something to be proud of, the poet is more than willing to use it.

So, like the Negritude poem that it is, Black Woman contains several exaggerated comparisons. An example is where the black woman’s eyes are compared to “suns” and to the biblical “Promised Land”.

The Theme of Womanhood

The poet in “Black Woman” evokes all the known aspects of what it means to be a woman in Africa. She is

• A mother and she cares
• Epitome of beauty
• And a sexual object.

Thus, while most of these aspects of womanhood are very positive, there are others that make the woman subservient to the domineering male persona (a “conqueror” of women) in African culture.

Theme of Nostalgia

Like most Negritude poetry, Black Woman does not only glorify the present. The poet recalls the past and shows a deep longing for those days gone by. His yearning for the past is most felt when he refers to the love and care showered on him by his gentle African mother.

“In your shadow I have grown up the

gentleness of your hands was laid over my eyes.”

However, as we have seen so far, this nostalgic feeling for his childhood goes beyond the personal. It is a longing for the unblemished innocence of pre-colonial Africa. The poet wishes to bring back the pure glory and beauty of the African landscape and culture before they were decimated by the conquering colonizer.

Now living in Europe, he gets to appreciate more the beautiful climate of his own continent.

“And now high on the sun-baked

pass, at the heart of summer, at the heart of noon,

I come upon you, my Promised Land.

• And your beauty strikes me to the heart

like the flash of an eagle.”

Other Themes and Other Ways of Putting the Same Themes

Praise for African cultural heritage

Colonialism

Cultural Alienation

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Poetic Devices in Black Woman

We shall begin with diction and imagery as we analyse the various poetic devices or literary techniques present in Black Woman. Beyond diction and imagery, there is a lot to say about other literary devices and figures of speech. We are going to do justice to all that. Let’s keep moving.

Diction and Imagery

Overall, it is relatively difficult to grasp the full meaning of Leopold Senghor’s poem, Black Woman. This is particularly so if you happen to be a first time reader. The difficulty is traceable to the occasional difficult syntax and choice of vocabulary e.g. contralto, sombre ruptures.

The unpredictable line breaks and enjambment (run-on lines) also get confusing at times.

SEE ALSO : Literary Devices and Figures of Speech 101 (PDF)

Then come the rather strange and hyperbolic comparisons e.g. black wine. solemn contralto voice is the spiritual song, pearls are stars on the night of your skin, I came upon you, my Promised Land. This should remind you of John Donne, another poet featured in the Non-African Poetry section of the WASSCE/NECO/JAMB syllabus.

This section of your analysis of Black Woman shall begin with the use of descriptive vocabulary.

MUST READ: Analysis of “The Good Morrow” by John Donne

Descriptive Diction

There is a careful and detailed description of the various parts of the woman’s body as well as her other attributes. This descriptive element makes “Black Woman” a praise song. The poet meticulously gives us interesting descriptions of the following

The woman’s build or form

Her temperament – she is calm like oil that “no breath can ruffle”

Voice – it sounds like music. Not only that. It resembles a solemn spiritual song

Preponderance or abundance of Descriptive words/adjectives

She is gentle “the gentleness of your hand”

The black woman is a motherly figure who knows how to care for her children and groom them into adults fully prepared to face life responsibly.

Also, she is passionate in her sensual feelings – shuddering, muttering, taut

Below are more adjectives found in the numerous noun phrases in this poem. The descriptive words/adjectives are the ones in bold lettering.

Naked woman

Black woman

Watered skin

Carved tom-tom

Taut tom-tom

Eager caresses

Clear horizons

Further, the beloved is imbued with a motherly disposition

Quick and fast – note the use of “athlete’s flanks” and “gazelle”.

This poem appears difficult to understand. On the whole, however, it only takes a bit of patience and close reading to begin to unravel the meaning of Black Woman. In fact, the subject matter of the poem becomes easy to grasp when, just like much of poetry, you take the lines, not as individual entities to be understood separately, but as a collection of connected descriptions about one, and the same subject. It is all to the praise and glory of the black woman and black Africa.

All the above and a lot more help to register various images on our minds. The imagery in the poem, therefore, is largely effective in developing the various themes. Because both are closely related to each other.

Images of Africa and Her Natural Environment

Call it geographical imagery and you’d be right. Words and expressions that evoke the images of the African landscape include the following

Imagery of African Womanhood

The African woman is portrayed as the very embodiment of beauty and grace. She is a spectacle of stunning beauty, a mother and a lover. Her very black skin is the primary reason for her attractive physical looks.

Black, therefore, is beautiful and must be revered rather than shied away from. So amazing is her beauty that it needs to be preserved. The poet is conscious of this sad fact. This beauty is still going to be destroyed by death sooner or later. To the poet, this is the time to stop, behold and celebrate Africa. Because life is too short. This is the main thrust of the Negritude literature message.

Love Imagery (Sensual/Sexual/Romance)

Here are some words and expressions the persona uses to evoke an atmosphere of strong love or romantic feelings

muttering under the conqueror’s fingers

Sombre ruptures

Visual Imagery/Colour Imagery

Clothed with your colour which is life

Glinting of red gold

Against your watered skin

Imagery of Conquest/Domination

Value imagery, imagery of beauty.

Gazelle limbed

Your beauty

Your form which is beauty

Glinting red gold

• Firm-fleshed ripe fruit

Other Literary Devices

Below are some equally important literary devices and figures of speech we must never ignore. That is if we are interested in doing a thorough analysis of Black Woman. These poetic techniques help to evoke the images in the poem. Consequently, they contribute to the development of the themes we’ve been discussing so far.

Repetitive use of “you”, “your”. Example:

• “I came upon you, my Promised Land

And your beauty strikes me to the heart”

Next in this analysis of Black Woman is the use of metaphor. The poet compares the physical beauty of the beloved and other qualities to the following.

Roots of life

Like the flash of an eagle

• Your colour which is life

Like the flash of an eagle”

• Suns of your eyes
• Heart of summer
• Heart of noon
• Sun-baked pass
• Under the shadow of your hair, my care

Is lightened by the neighbouring suns of your eyes

RELATED QUESTION: Comment on the poet’s use of hyperbole in Black Woman

Political/Historical: Princes of Mali

Sport – athlete’s flanks

PLEASE NOTE: The three figures of speech below (parallelism, alliteration and repetition) are associated with repetition of the same linguistic units. The repetitive strain in the poem is a deliberate sound device the poet employs to create the desired auditory imagery. Together, they go a long way to accentuate the musical tone of the poem, Black Woman.

Parallelism

• At the heart of summer, at the heart of noon
• With your colour which is life

With your form which is beauty

Alliteration

• Mouth making lyrical my mouth
• Carved tom-tom, taut tom-tom

Naked woman, black woman

We are leaving behind the above sound devices in our analysis of Black Woman. Let’s consider other figures of speech in the poem, Black Woman.

Personification

Africa itself is portrayed as a beautiful African woman with terrific human qualities such as calmness, sensuality, caring, great musical voice, and mortality

Jealous fate

Feed the roots of life

“fate” refers to death

“ashes” refers to the decomposed remains of the human body after death

Likely Exam Questions on Black Woman

Consider Leopold Senghor’s Black Woman as a praise song.

Discuss the theme of beauty in Black Woman

Highlight the various images of black Africa in Senghor’s poem, Black Woman

Discuss the poet’s use of diction and imagery in Black Woman

Describe the qualities of the beloved in Senghor’s Black Woman.

Comment on the use of repetition and hyperbole in the poem.

Examine Black Woman as a descriptive poem.

Discuss the themes of love and attachment in Black Woman.

What strikes you about the image of the black woman?

Discuss the theme of African renaissance in Black Woman by Leopold Senghor

Highlight the elements of Negritude Literature in the poem, Black Woman.

Comment on the poet’s attitude to the woman in the poem.

Discuss the theme of mortality in Leopold Senghor’s Black Woman.

Describe the encounter between the poet and the black woman.

Comment on the appropriateness of the title of Senghor’s poem, Black Woman

The poem Black Woman is about the revival of black consciousness. Comment

What elements of nostalgia can you identify in Black Woman?

Final thoughts

We’ve done it! You and I have been doing an in-depth analysis of Black Woman by Leopold Sedar Senghor. Now that we’ve brought this analysis of Black Woman to a close, I wish to thank you for your support.

So what’s next? It would be a lot of fun if you picked a couple of questions from the list above and write an essay on them. Feel free to contact me via the comment form or contact form in case you need further clarification. Meanwhile, you can find more literature study guides HERE . Thank you!

Did you find this information helpful? Then share it on your favourite social media platform for the benefit of others you care about. Thank you!

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17 thoughts on “black woman analyzed: subject matter, themes and poetic devices”.

Type here..I really enjoy the novel it give more understaning abt the beauty of africam

Hi Yunus. Thank you for the encouragement. You can find similar useful tutorials here anytime.

Sir please I can’t find the writer’s use of metaphor in black woman on the page

Hello Jessica. Kindly move down to the bottom of the post and you will see the links for the remaining two pages. Click/tap on page 3 and you will see METAPHOR on that page. Thank you.

Please there is no next page button.so far i have enjoyed your piece.please I need the analysis.

Hi Richester, It is there. Please look further down just below the ‘YOU MIGHT ALSO LIKE’ section at the bottom of the post. You will see this. Pages:1 2 3. And please let me know if you still have trouble finding the next page links. Thank you.

Thank you so very much an indeed in-depth analysis it helped me as a teacher

I’m glad it helped.

Very useful analysis

The major challenge I came across while reading this poem was trying to get the actual meanings of some words and this post gave that. I liked the way everything was broken down and also fully detailed

Thanks for your feedback. So tell me, is the meaning clearer now?

There is no click button to the next page for the continuation of the analysis on “Black Woman.”

A very good analysis, so far.

Hi Francis. Thanks for reaching out. I’ll be fixing it shortly.

Thank you very much, Sir.

My pleasure, Francis.

I really enjoy the analysis .And how everything was broken down. It gave me more insights and i really enjoyed it..

Thank you, Johannah.

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