How to Write a Poetry Explication First, create a double column note for your poem to help you make

inferences and track your thinking as you read the poem. After you have created your notes, synthesize this information by writing an explication. Your explication should be approximately one page typed, doublespaced (but that will depend on the length and complexity of the poem you choose to analyse). Below is a guide for writing a poetry explication. It provides some excellent suggestions about what to look for when analysing a poem.

Preparation
1. Read the poem silently, then read it aloud. Repeat as necessary. 2. Consider the poem as a dramatic situation in which a speaker addresses an audience or another character. In this way, begin your analysis by identifying and describing the speaking voice or voices, the conflicts or ideas, and the language used in the poem.

The large issues

Determine the basic design of the poem by considering the who, what, when, where, and why of the dramatic situation. What is being dramatized? What conflicts or themes does the poem present, address, or question? Who is the speaker? Define and describe the speaker and his/her voice. What does the speaker say? Who is the audience? Are other characters involved? What happens in the poem? Consider the plot or basic design of the action. How are the dramatized conflicts or themes introduced, sustained, resolved, etc.? When does the action occur? What is the date and/or time of day? Where is the speaker? Describe the physical location of the dramatic moment. Why does the speaker feel compelled to speak at this moment? What is his/her motivation?

The details
To analyze the design of the poem, we must focus on the poem's parts, namely how the poem dramatizes conflicts or ideas in language. By concentrating on the parts, we develop our understanding of the poem's structure, and we gather support and evidence for our interpretations. Some of the details we should consider include the following: Form: Does the poem represent a particular form (sonnet, sestina, etc.)? Does the poem present any unique variations from the traditional structure of that form? Figurative Language: Look for similes, metaphors, personification, imagery, etc. What effect does this language have on your understanding of the poem. Syntax: Consider the subjects, verbs, and objects of each statement and what these elements reveal about the speaker. Do any statements have convoluted or vague syntax? Vocabulary: Why does the poet choose one word over another in each line? Do any of the words have multiple or archaic meanings that add other meanings to the line? Use the Oxford English Dictionary as a resource.

The patterns
As you analyze the design line by line, look for certain patterns to develop which provide insight into the dramatic situation, the speaker's state of mind, or the poet's use of details. Some of the most common patterns include the following: Rhetorical Patterns: Look for statements that follow the same format. Rhyme: Consider the significance of the end words joined by sound; in a poem with no rhymes, consider the importance of the end words. Patterns of Sound: Alliteration and assonance create sound effects and often cluster significant words. Visual Patterns: How does the poem look on the page? Rhythm and Meter: Consider how rhythm and meter influence our perception of the speaker and his/her language.

Basic terms for talking about meter

Meter (from the Greek metron, meaning measure) refers principally to the recurrence of regular beats in a poetic line. In this way, meter pertains to the structure of the poem as it is written. The most common form of meter in English verse since the 14th century is accentualsyllabic meter, in which the basic unit is the foot. A foot is a combination of two or three stressed and/or unstressed syllables. The following are the four most common metrical feet in English poetry: (1) IAMBIC (the noun is "iamb"): an unstressed syllable followed by a stressed syllable, a pattern which comes closest to approximating the natural rhythm of speech. Note line 23 from Shelley's "Stanzas Written in Dejection, Near Naples":

(2) TROCHAIC (the noun is "trochee"): a stressed followed by an unstressed syllable, as in the first line of Blake's "Introduction" to Songs of Innocence:

(3) ANAPESTIC (the noun is "anapest"): two unstressed syllables followed by a stressed syllable, as in the opening to Byron's "The Destruction of Sennacherib":

(4) DACTYLIC (the noun is "dactyl"): a stressed syllable followed by two unstressed syllables, as in Thomas Hardy's "The Voice":

Meter also refers to the number of feet in a line:

Monometer Dimeter Trimeter Tetrameter Pentameter Hexameter one two three four five six

Any number above six (hexameter) is heard as a combination of smaller parts; for example, what we might call heptameter (seven feet in a line) is indistinguishable (aurally) from successive lines of tetrameter and trimeter (4-3). To scan a line is to determine its metrical pattern. Perhaps the best way to begin scanning a line is to mark the natural stresses on the polysyllabic words. Take Shelley's line:

Then mark the monosyllabic nouns, verbs, adjectives, and adverbs that are normally stressed:

Then fill in the rest:

Then divide the line into feet:

Then note the sequence:

The line consists of four iambs; therefore, we identify the line as iambic tetrameter.

I got rhythm
Rhythm refers particularly to the way a line is voiced, i.e., how one speaks the line. Often, when a reader reads a line of verse, choices of stress and unstress may need to be made. For example, the first line of Keats' "Ode on Melancholy" presents the reader with a problem: No, no, go not to Lethe, neither twist If we determine the regular pattern of beats (the meter) of this line, we will most likely identify the line as iambic pentameter. If we read the line this way, the statement takes on a musing, somewhat disinterested tone. However, because the first five words are monosyllabic, we may choose to read the line differently. In fact, we may be tempted, especially when reading aloud, to stress the first two syllables equally, making the opening an emphatic, directive statement. Note that monosyllabic words allow the meaning of the line to vary according to which words we choose to stress when reading (i.e., the choice of rhythm we make).

The first line of Milton's Paradise Lost presents a different type of problem. Of Man's First Disobedience, and the Fruit Again, this line is predominantly iambic, but a problem occurs with the word Disobedience. If we read strictly by the meter, then we must fuse the last two syllables of the word. However, if we read the word normally, we have a breakage in the line's metrical structure. In this way, the poet forges a tension between meter and rhythm: does the word remain contained by the structure, or do we choose to stretch the word out of the normal foot, thereby disobeying the structure in which it was made? Such tension adds meaning to the poem by using meter and rhythm to dramatize certain conflicts. In this example, Milton forges such a tension to present immediately the essential conflicts that lead to the fall of Adam and Eve.

Writing the explication

The explication should follow the same format as the preparation: begin with the large issues and basic design of the poem and work through each line to the more specific details and patterns.

The first paragraph

The first paragraph should present the large issues; it should inform the reader which conflicts are dramatized and should describe the dramatic situation of the speaker. The explication does not require a formal introductory paragraph; the writer should simply start explicating immediately. According to UNC 's Professor William Harmon, the foolproof way to begin any explication is with the following sentence: "This poem dramatizes the conflict between " Such a beginning ensures that you will introduce the major conflict or theme in the poem and organize your explication accordingly. Here is an example. A student's explication of Wordsworth's "Composed upon Westminster Bridge" might begin in the following way: This poem dramatizes the conflict between appearance and reality, particularly as this conflict relates to what the speaker seems to say and what he really says. From Westminster Bridge, the speaker looks at London at sunrise, and he explains that all people should be struck by such a beautiful scene. The speaker notes that the city is silent, and he points to several specific objects, naming them only in general terms: "Ships, towers, domes, theatres, and temples" (6). After describing the "glittering" aspect of these objects, he asserts that these city places are just as beautiful in the morning as country places like "valley, rock, or hill" (8,10). Finally, after describing his deep feeling of calmness, the speaker notes how the "houses seem asleep" and that "all that mighty heart is lying still" (13, 14). In this way, the speaker seems to say simply that London looks beautiful in the morning.

The next paragraphs

The next paragraphs should expand the discussion of the conflict by focusing on details of form, rhetoric, syntax, and vocabulary. In these paragraphs, the writer should explain the poem line by line in terms of these details, and he or she should incorporate important elements of rhyme, rhythm, and meter during this discussion. The student's explication continues with a topic sentence that directs the discussion of the first five lines:

However, the poem begins with several oddities that suggest the speaker is saying more than what he seems to say initially. For example, the poem is an Italian sonnet and follows the abbaabbacdcdcd rhyme scheme. The fact that the poet chooses to write a sonnet about London in an Italian form suggests that what he says may not be actually praising the city. Also, the rhetoric of the first two lines seems awkward compared to a normal speaking voice: "Earth has not anything to show more fair. / Dull would he be of soul who could pass by" (1-2). The odd syntax continues when the poet personifies the city: "This City now doth, like a garment, wear / The beauty of the morning" (4-5). Here, the city wears the morning's beauty, so it is not the city but the morning that is beautiful ...

The conclusion??
The explication has no formal concluding paragraph; do not simply restate the main points of the introduction! The end of the explication should focus on sound effects or visual patterns as the final element of asserting an explanation. Or, as does the undergraduate here, the writer may choose simply to stop writing when he or she reaches the end of the poem: The poem ends with a vague statement: "And all that mighty heart is lying still!" In this line, the city's heart could be dead, or it could be simply deceiving the one observing the scene. In this way, the poet reinforces the conflict between the appearance of the city in the morning and what such a scene and his words actually reveal.

Tips to keep in mind

1. Refer to the speaking voice in the poem as the speaker" or "the poet." For example, do not write, "In this poem, Wordsworth says that London is beautiful in the morning." However, you can write, "In this poem, Wordsworth presents a speaker who" We cannot absolutely identify Wordsworth with the speaker of the poem, so it is more accurate to talk about "the speaker" or "the poet" in an explication.

2. Use the present tense when writing the explication. The poem, as a work of literature, continues to exist! 3. To avoid unnecessary uses of the verb "to be" in your compositions, the following list suggests some verbs you can use when writing the explication:
dramatizes presents illustrates characterizes asserts posits enacts connects portrays contrasts juxtaposes suggests implies shows addresses emphasizes stresses accentuates enables

underlines