poem and essay difference

The Difference between an Essay and a Poem

Unlike a poem, it's highly unlikely anyone will ever want to set one of your essays to music. While some poems may set out to accomplish the same goals as an essay, such as presenting an argument or telling a story, the structure, common techniques, and basic rules required for an essay are quite different than a poem.

No matter what type of essay you're asked to write, such as argumentative, expository, descriptive, or narrative, there are usually structuring requirements that must be applied. An introductory paragraph that presents your ideas, a body that lays out each of those ideas clearly, and a summary paragraph that presents some type of conclusion are the common requirements for most traditional essays.

Poems, on the other hand, can vary widely in structure. Haikus, sonnets, limericks, and ballads are all forms of poetry and each is defined by its unique and specific structure. Poems can rhyme or not rhyme, be freeform or limited to a certain number of syllables, and they can fill a book or be written in 14 lines of iambic pentameter.

Techniques for writing a good essay include presenting ordered points that relate back to a single thesis statement, writing interesting and relevant topic sentences to present ideas for each paragraph, and presenting excellent supportive references from outside sources.

Poems, on the other hand, use alliteration, creative similes and metaphors, onomatopoeia, assonance, and rhyming lines. However, many poems include none of these. Unlike essays, there are no universal techniques used in good poetry. Creativity wins the day over following hard and fast rules.

Grammar, Spelling, and Punctuation

Anyone who has ever submitted an essay assignment knows that grammar, spelling, and punctuation are key in a good essay. Every sentence should end with the proper punctuation mark, creative spelling is frowned upon, and an essay writer should proofread to ensure subject/verb agreement, sentence structure, and use of proper English.

In poetry, rules like these are often tossed out the window. Entire poems can be written with nary a punctuation mark in sight, and the creative use of language is encouraged.

In short, poems allow for a lot more creative freedom and can include a wide range of possible structures and techniques. An essay makes logical points that should be clear to anyone who reads it. Even the best poems, however, sometimes make sense to no one other than their authors.

In literary nonfiction, no form is quite as complicated as the lyric essay. Lyrical essays explore the elements of poetry and creative nonfiction in complex and experimental ways, combining the subject matter of autobiography with poetry’s figurative devices and musicality of language.

For both poets and creative nonfiction writers, lyric essays are a gold standard of experimentation and language, but conquering the form takes lots of practice. What is a lyric essay, and how do you write one? Let’s break down this challenging CNF form, with lyric essay examples, before examining how you might approach it yourself.

Want to explore the lyric essay further? See our lyric essay writing course with instructor Gretchen Clark. 

What is a lyric essay?

The lyric essay combines the autobiographical information of a personal essay with the figurative language, forms, and experimentations of poetry. In the lyric essay, the rules of both poetry and prose become suggestions, because the form of the essay is constantly changing, adapting to the needs, ideas, and consciousness of the writer.

Lyric essay definition: The lyric essay combines autobiographical writing with the figurative language, forms, and experimentations of poetry.

Lyric essays are typically written in a poetic prose style . (We’ll expand on the difference between prose poetry and lyric essay shortly.) Lyric essays employ many of the poetic devices that poets use, including devices of repetition and rhetorical devices in literature.

That said, there are few conventions for the lyric essay, other than to experiment, experiment, experiment. While the form itself is an essay, there’s no reason you can’t break the bounds of expression.

One tactic, for example, is to incorporate poetry into the essay itself. You might start your essay with a normal paragraph, then describe something specific through a sonnet or villanelle , then express a different idea through a POV shift, a list, or some other form. Lyric essays can also borrow from the braided essay, the hermit crab, and other forms of creative nonfiction .

In truth, there’s very little that unifies all lyric essays, because they’re so wildly experimental. They’re also a bit tricky to define—the line between a lyric essay and the prose poem, in particular, is very hazy.

Rather than apply a one-size-fits-all definition for the lyric essay, which doesn’t exist, let’s pay close attention to how lyric essayists approach the open-ended form.

There are few conventions for the lyric essay, other than to experiment, experiment, experiment

Personal essay vs. lyric essay: An example of each

At its simplest, the lyric essay’s prose style is different from that of the personal essay, or other forms of creative nonfiction.

Personal essay example

Here are the opening two paragraphs from Beth Ann Fennelly’s personal essay “ I Survived the Blizzard of ’79. ”

“We didn’t question. Or complain. It wouldn’t have occurred to us, and it wouldn’t have helped. I was eight. Julie was ten.

We didn’t know yet that this blizzard would earn itself a moniker that would be silk-screened on T-shirts. We would own such a shirt, which extended its tenure in our house as a rag for polishing silver.”

The prose in this personal essay excerpt is descriptive, linear, and easy to understand. Fennelly gives us the information we need to make sense of her world, as well as the foreshadow of what’s to come in her essay.

Lyric essay example

Now, take this excerpt from a lyric essay, “ Life Code ” by J. A. Knight:

“The dream goes like this: blue room of water. God light from above. Child’s fist, foot, curve, face, the arc of an eye, the symmetry of circles… and then an opening of this body—which surprised her—a movement so clean and assured and then the push towards the light like a frog or a fish.” 

The prose in Knight’s lyric essay cannot be read the same way as a personal essay might be. Here, Knight’s prose is a sort of experience—a way of exploring the dream through language as shifting and ethereal as dreams themselves. Where the personal essay transcribes experiences, the lyric essay creates them.

Where the personal essay transcribes experiences, the lyric essay creates them.

For more examples of the craft, The Seneca Review and Eastern Iowa Review both have a growing archive of lyric essays submitted to their journals. In essence, there is no form to a lyric essay—rather, form and language are experimented with interchangeably, guided only by the narrative you seek to write.

Lyric Essay Vs Prose Poem

Lyric essays are commonly confused with prose poetry . In truth, there is no clear line separating the two, and plenty of essays, including some of the lyric essay examples in this article, can also be called prose poems.

Well, what’s the difference? A prose poem, broadly defined, is a poem written in paragraphs. Unlike a traditional poem, the prose poem does not make use of line breaks: the line breaks simply occur at the end of the page. However, all other tactics of poetry are in the prose poet’s toolkit, and you can even play with poetry forms in the prose poem, such as writing the prose sonnet .

Lyric essays also blend the techniques of prose and poetry. Here are some general differences between the two:

• Lyric essays tend to be longer. A prose poem is rarely more than a page. Some lyric essays are longer than 20 pages.
• Lyric essays tend to be more experimental. One paragraph might be in prose, the next, poetry. The lyric essay might play more with forms like lists, dreams, public signs, or other types of media and text.
• Prose poems are often more stream-of-conscious. The prose poet often charts the flow of their consciousness on the page. Lyric essayists can do this, too, but there’s often a broader narrative organizing the piece, even if it’s not explicitly stated or recognizable.

The two share many similarities, too, including:

• An emphasis on language, musicality, and ambiguity.
• Rejection of “objective meaning” and the desire to set forth arguments.
• An unobstructed flow of ideas.
• Suggestiveness in thoughts and language, rather than concrete, explicit expressions.
• Surprising or unexpected juxtapositions .
• Ingenuity and play with language and form.

In short, there’s no clear dividing line between the two. Often, the label of whether a piece is a lyric essay or a prose poem is up to the writer.

Lyric Essay Examples

The following lyric essay examples are contemporary and have been previously published online. Pay attention to how the lyric essayists interweave the essay form with a poet’s attention to language, mystery, and musicality.

“Lodge: A Lyric Essay” by Emilia Phillips

Retrieved here, from Blackbird .

This lush, evocative lyric essay traverses the American landscape. The speaker reacts to this landscape finding poetry in the rundown, and seeing her own story—family trauma, religion, and the random forces that shape her childhood. Pay attention to how the essay defies conventional standards of self-expression. In between narrative paragraphs are lists, allusions, memories, and the many twists and turns that seem to accompany the narrator on their journey through Americana.

“Spiral” by Nicole Callihan

Retrieved here, from Birdcoat Quarterly . 

Notice how this gorgeous essay evolves down the spine of its central theme: the sleepless swallows. The narrator records her thoughts about the passage of time, her breast examination, her family and childhood, and the other thoughts that arise in her mind as she compares them, again and again, to the mysterious swallows who fly without sleep. This piece demonstrates how lyric essays can encompass a wide array of ideas and threads, creating a kaleidoscope of language for the reader to peer into, come away with something, peer into again, and always see something different.

“Star Stuff” by Jessica Franken

Retrieved here, from Seneca Review .

This short, imagery -driven lyric essay evokes wonder at our seeming smallness, our seeming vastness. The narrator juxtaposes different ideas for what the body can become, playing with all our senses and creating odd, surprising connections. Read this short piece a few times. Ask yourself, why are certain items linked together in the same paragraph? What is the train of thought occurring in each new sentence, each new paragraph? How does the final paragraph wrap up the lyric essay, while also leaving it open ended? There’s much to interpret in this piece, so engage with it slowly, read it over several times.

5 approaches to writing the lyric essay

This form of creative writing is tough for writers because there’s no proper formula for writing it. However, if you have a passion for imaginative forms and want to rise to the challenge, here are several different ways to write your essay.

1. Start with your narrative

Writing the lyrical essay is a lot like writing creative nonfiction: it starts with getting words on the page. Start with a simple outline of the story you’re looking to write. Focus on the main plot points and what you want to explore, then highlight the ideas or events that will be most difficult for you to write about. Often, the lyrical form offers the writer a new way to talk about something difficult. Where words fail, form is key. Combining difficult ideas and musicality allows you to find the right words when conventional language hasn’t worked.

Emilia Phillips’ lyric essay “ Lodge ” does exactly this, letting the story’s form emphasize its language and the narrative Phillips writes about dreams, traveling, and childhood emotions.

2. Identify moments of metaphor and figurative language

The lyric essay is liberated from form, rather than constrained by it. In a normal essay, you wouldn’t want your piece overrun by figurative language, but here, boundless metaphors are encouraged—so long as they aid your message. For some essayists, it might help to start by reimagining your story as an extended metaphor.

A great example of this is Zadie Smith’s essay “ The Lazy River ,” which uses the lazy river as an extended metaphor to criticize a certain “go with the flow” mindset.

Use extended metaphors as a base for the essay, then return to it during moments of transition or key insight. Writing this way might help ground your writing process while giving you new opportunities to play with form.

3. Investigate and braid different threads

Just like the braided essay , lyric essays can certainly braid different story lines together. If anything, the freedom to play with form makes braiding much easier and more exciting to investigate. How can you use poetic forms to braid different ideas together? Can you braid an extended metaphor with the main story? Can you separate the threads into a contrapuntal, then reunite them in prose?

A simple example of threading in lyric essay is Jane Harrington’s “ Ossein Pith .” Harrington intertwines the “you” and “I” of the story, letting each character meet only when the story explores moments of “hunger.”

Whichever threads you choose to write, use the freedom of the lyric essay to your advantage in exploring the story you’re trying to set down.

4. Revise an existing piece into a lyric essay

Some CNF writers might find it easier to write their essay, then go back and revise with the elements of poetic form and figurative language. If you choose to take this route, identify the parts of your draft that don’t seem to be working, then consider changing the form into something other than prose.

For example, you might write a story, then realize it would greatly benefit the prose if it was written using the poetic device of anaphora (a repetition device using a word or phrase at the beginning of a line or paragraph). Chen Li’s lyric essay “ Baudelaire Street ” does a great job of this, using the anaphora “I would ride past” to explore childhood memory.

When words don’t work, let the lyrical form intervene.

5. Write stream-of-conscious

Stream-of-consciousness is a writing technique in which the writer charts, word-for-word, the exact order of their unfiltered thoughts on the page.

If it isn’t obvious, this is easier said than done. We naturally think faster than we write, and we also have a tendency to filter our thoughts as we think them, to the point where many thoughts go unconsciously unnoticed. Unlearning this takes a lot of practice and skill.

Nonetheless, you might notice in the lyric essay examples we shared how the essayists followed different associations with their words, one thought flowing naturally into the next, circling around a subject rather than explicitly defining it. The stream-of-conscious technique is perfect for this kind of writing, then, because it earnestly excavates the mind, creating a kind of Rorschach test that the reader can look into, interpret, see for themselves.

This technique requires a lot of mastery, but if you’re keen on capturing your own consciousness, you may find that the lyric essay form is the perfect container to hold it in.

Closing thoughts on the lyric essay form

Creative nonfiction writers have an overt desire to engage their readers with insightful stories. When language fails, the lyrical essay comes to the rescue. Although this is a challenging form to master, practicing different forms of storytelling could pave new avenues for your next nonfiction piece. Try using one of these different ways to practice the lyric craft, and get writing your next CNF story!

[…] Sean “Writing Your Truth: Understanding the Lyric Essay.” writers.com. https://writers.com/understanding-the-lyric-essay published 19 May, 2020/ accessed 13 Oct, […]

[…] https://writers.com/understanding-the-lyric-essay […]

I agree with every factor that you have pointed out. Thank you for sharing your beautiful thoughts on this. A personal essay is writing that shares an interesting, thought-provoking, sometimes entertaining, and humorous piece that is often drawn from the writer’s personal experience and at times drawn from the current affairs of the world.

[…] been wanting to learn more about lyric essay, and this seems a natural transition from […]

thanks for sharing

Thanks so much for this. Here is an updated link to my essay Spiral: https://www.birdcoatquarterly.com/post/nicole-callihan

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How to Write an Essay Comparing Poems

This is Revision World’s guide on how to write an essay or answer an exam question that asks you to compare poems within the poetry anthology you are studying.

Understanding the Task:

Identify the Key Components: Ensure you understand the task requirements, including the poems you're comparing, the themes, and the aspects you need to analyse (e.g., structure, language, tone).

Pre-Writing Stage:

Read and Annotate: Read the poems multiple times, annotating key themes, literary devices, and interesting observations.

Identify Similarities and Differences: Note down similarities and differences in themes, imagery, language, structure, and tone between the two poems.

Structuring Your Essay:

 Introduction:

Introduce the poems and poets, providing context if necessary.

Present your thesis statement, outlining the main points of comparison.

Body Paragraphs:

Topic Sentences: Start each paragraph with a clear topic sentence that states the aspect of comparison.

Comparison: Analyse each poem separately, focusing on the chosen aspect (e.g., theme, structure). Then, compare and contrast the same aspect in both poems.

Use of Evidence: Provide evidence from the poems to support your analysis (quotations).

Analysis: Interpret the significance of the similarities and differences, considering their effects on the reader and the overall meaning of the poems.

Conclusion:

Summarise your main points of comparison.

Reflect on the significance of the comparisons and their implications for the reader.

Offer insights into the broader themes or messages conveyed by the poems.

Writing Tips:

Be Specific: Avoid vague statements and ensure your comparisons are specific and well-supported by evidence.

Consider Poetic Devices: Analyse the poets' use of poetic devices (e.g., imagery, symbolism, metaphor) and how they contribute to the overall effect of the poems.

Focus on Key Themes: Choose a few key themes or aspects to compare rather than attempting to cover everything in the poems.

Maintain Coherence: Ensure your essay flows logically, with clear transitions between paragraphs and ideas.

Proofread: Carefully proofread your essay for grammar, spelling, and punctuation errors.

Example Statement:

"In 'Poem A' and 'Poem B,' both poets utilise imagery and symbolism to explore the theme of loss, but while 'Poem A' uses natural imagery to convey a sense of grief and acceptance, 'Poem B' employs religious symbolism to depict a more existential struggle with loss and faith."

Example Topic Sentences:

"In 'Poem A,' the poet employs vivid natural imagery to convey the speaker's emotional response to loss."

"Conversely, 'Poem B' utilises religious symbolism to explore the theme of loss in a more abstract and existential manner."

By following these steps and incorporating these tips, you can effectively write a well-structured and insightful essay comparing two poems in your GCSE English Literature exam.

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Your trusty englit guide.

How to compare poems – 5 steps

Previously, I wrote a post on how to analyse any unseen poem , which a lot of you found useful. One of you asked if I could also write a guide on how to compare poems, so that’s what this post is for. 

What’s the deal with comparative analysis – and why does it always seem so much harder…? 

Between an unseen single-poem analysis task and a prepared comparative poetry analysis task, which one would you prefer?

Both can be tricky to master, but neither is unmanageable – we just need to find the right strategy. 

Personally, I think the reason that comparative tasks seem more challenging is largely psychological. It’s not so much that the act of comparing texts itself is hard as it is that we get easily flustered when asked to multitask – especially in a high-stress situation like an exam.

Obviously, if these are set texts that you can prepare for, that should relieve a lot of the stress which would otherwise come with tackling an unseen comparative task (with the right sort of guidance, granted). 

So, what’s my point here?

I’m trying to say if you find comparative tasks intimidating, don’t – because

a) there’s a systematic way to go about doing it well, and

b) I’m going to show you just how to do it in this post, complete with steps and examples. 

5 steps to comparing any poems: a guide

Step 1: summarise the main idea of each poem in 1-2 sentences , step 2: find similarities – thematic, stylistic, structural and formal, step 3: find differences from similarities , step 4: identify 3 key ideas for comparison, step 5: summarise your main argument in a comparative statement.

Or watch my video below, in which I go through the 5 steps to comparing poems (but stick around this blog post for a demonstration of how to do it in the next section, where I compare Carol Rumens and Seamus Heaney’s poems):

What’s the first thing we do when encountering any poem? We read it, of course. But what do you do after you first read the poem? We’re likely to re-read it – either because we don’t really ‘get it’ the first time round, or because we need to start sourcing clues for our analysis. 

Re-reading is all good and well (not to mention necessary), but the problem with it is there’s potentially no end to how many times we could re-read a poem, and so the more we re-read, the more we’re likely to be led into a labyrinthe of questions, which causes more confusion. In normal, non-exam circumstances, that’s perfectly fine, but if you’re racing against time, then a better tactic is to read once, then summarise your first impressions; read twice, and summarise the main idea of the poem. 

But, what if I really don’t get it? Obviously, there’s room to take ‘once’ or ‘twice’ liberally, so no issues if you have to re-read a couple of times before you can summarise anything. My point, however, is not to get sucked into an endless process of reading and re-reading, because before long you’ll have whittled all your time away – only to have nothing to show for it at the end. 

To prevent this, start actively engaging with the poem by asking yourself these questions immediately after reading it: 

What is the main gist of the poem’s content?

How do I feel after reading this poem? 

What are some themes or ideas that jump out at me? 

Is there anything special or weird about this poem? 

Etcetera. 

Then, scribble them down on your planning sheet (you should always plan before you write!), so at least you’re visualizing your response to the poem, which gives you a much better place to start than simply keeping everything in an abstract, befuddled jumble in your head. These notes don’t have to be long – just 1-2 sentences or even bullet points will suffice. 

Once we’ve settled on a main understanding of the poems, it’s time to switch our thinking to a ‘lateral’ mode. By ‘lateral’, I mean to think across both poems in terms of different aspects of analysis (i.e. theme, style, structure, form), instead of focusing on only one poem at a time. 

Let’s start by looking at the similarities in theme, style, structure and form between the poems. If you’ve read my post on ‘how to tackle any unseen poetry’ (which you should!), you’ll know I love me some tables, rows and columns, so here’s a sample table for us to systematise our observations:

Similarities between Poem A and Poem B

Again, as I’ve mentioned in the unseen post, the ability to spot these similarities (and differences, as we’ll cover in the next step) is predicated on us being familiar with the technical basics. I.e., we can’t spot a metaphor if we don’t know what metaphor means, so make sure that you sort out the fundamentals first – a wobbly foundation is no place to start any poetry analysis task, comparative, unseen, or otherwise.

Differences across poems can appear on multiple levels. There can be complete differences (e.g. Poem A is a sonnet whereas Poem B is a ballad), but more often, we’re looking for ‘differences within similarities’. This is why a good place to start identifying differences is, perhaps a bit ironically, in our similarities table. 

The guiding questions to ask, then, would include the following:

How do the poems present the same theme in different ways? 

How do the poets use the same stylistic, structural or formal techniques to present different aspects of the theme? 

For instance, while both poems may be about love, A could be about unrequited love and B about mutual love, so there’s a thematic difference for you. Alternatively, both poems may feature comparative devices, but while metaphors are used to compare love with dandelions in Poem A, similes could be used to compare love with an onion in Poem B.

Likewise, both poems may be odes , but perhaps A is a Pindaric ode, while B is a Horatian ode (for a more detailed explanation of the ode, read this post). So on so forth. You’ll notice that the ‘differences’, then, could simply be your analysis of the different quotations you’ve sourced for each poem’s ‘similarities’. 

So instead of creating a new table, we can add one extra line underneath each aspect of analysis to address how each ‘similarity’ differs across the poems, like this: 

Once we’ve reviewed all the ‘differences-in-similarities’, we can then zoom out and see if there are other fundamental points of divergence between the poems, i.e. is there something in Poem A that’s totally absent from Poem B, and vice versa? If it serves your argument to also bring these points in, then feel free to add them in. 

Now that we’ve mapped out all the thematic, stylistic, structural and formal similarities and differences, it’s time to zoom in on how the theme is presented from various angles through the use of style, structure and form.

This means going back to the quotations we’ve sourced for the stylistic, structural and formal categories in each table, and looking at how these quotations present the theme in different ways through the poet’s use of techniques.

The purpose of this is to identify 3 main points of discussion for our main body section, which could look something like this:

Main body 1: How the poems present the nature of love (unrequited vs mutual)

• Techniques used for this: Poem A (metaphor); Poem B (rhyme) 

Main body 2: How the poems present the fickleness of love, regardless of unrequited or mutual affections 

• Techniques used for this: Poem A (organic imagery); Poem B (irony) 

Main body 3: How the poems reach their respective revelation about the role of love in our lives

• Techniques used for this: Poem A (indentation / formal variation); Poem B (rhyming couplet at the end)

Together, your 3 main body points should cover the entirety of both texts, and not be limited to just one section of each poem. As for the ‘techniques used’, these should come in organically as part of your analysis, as you explain how the poet(s) convey these ideas through the use of metaphor , rhyme, organic imagery , irony etc. 

One more point to note is this: even within a comparative framework, there’s likely to be an arc of transformation in the way a theme is portrayed in each poem.

So, if Poem A is about unrequited love, does it begin in a despairing tone, but ends on a more stoic note? And if Poem B is about mutual love, is the idea presented in a purely joyful light throughout the poem, or does an element of doubt seep in halfway?

It’s important that we pay attention to these changes within each poem even while comparing across poems. 

Finally, let’s summarise the poems’ similarities and differences in a comparative statement.

This should be the guiding thesis for your essay, which also doubles as your main line of argument and cascades into points of analysis for the main body section.

Perhaps it seems a bit odd to ‘work backwards’ by coming up with the introductory thesis at the end of our planning process, but it works, because when you think about it, your argument should be a distillation of your main points, which are the specifics in each main body paragraph. 

To formulate the thesis, use comparative sentence structures like the following:

While both Poem A and Poem B are about…, Poem A portrays… as…, whereas Poem B casts… as… 

Poem A and Poem B are concerned with…, but Poem A presents… in a … light, while Poem B paints… as…

In Poem A, … is depicted as… However, this same subject matter is dealt with differently in Poem B, where the poet portrays… as… 

Your comparative thesis should be thematic in nature (i.e. it spells out how a theme is portrayed across both poems); any shared or different techniques could either be left to the main body analysis, or – if it helps clarify your focus as you go on to write the rest of your essay – you could add one follow-up sentence after the comparative thesis to summarise the technical overlaps and divergences between the poems.

For example, “Poem A relies mainly on comparative devices and imagery, while Poem B features personification and rhyme to convey the nuances of…” etc etc. But this is largely optional. 

Quick demonstration: Carol Rumens’ ‘The Emigree’ vs Seamus Heaney’s ‘Storm on an Island’ | AQA GCSE English Literature Power and Conflict Poetry

Below, I’ll demonstrate how we can apply these steps to a comparison between two GCSE Power and Conflict poems – Carol Rumens’ ‘The Emigree’ and Seamus Heaney’s ‘Storm on an Island’. 

You can refer to the texts here (The Emigree) and here (Storm on an Island).

In ‘Emigree’, the persona is a political exile (hence the title) who has left her home country to escape political persecution. In the poem, she reminisces about her native city with nostalgic fondness, while conveying her awareness of the tyrannical threat that lurks in the shadows of her past. In a nutshell, she misses home but knows that she will probably never be able to return. 

The main idea of ‘Storm in an Island’ is that we’re often afraid of things that aren’t out to get us. We prepare for potential dangers, and yet are unaware that we can’t always prepare for them, or that they usually turn out to not be dangerous at all. In this poem, the persona initially sees nature as a force of threat, but ultimately understands that while nature is forceful, it doesn’t have to be threatening. 

Main idea 1: Preserving the home against external dangers  

• In ‘The Emigree’, the persona fights back against her political persecutors by preserving a pure memory of her home city
• In ‘Storm’, the persona braces himself for a potentially devastating storm by fortifying the structures of his home
• Techniques used: war and natural imagery

Main idea 2: Reality vs expectation / ideal

• In ‘The Emigree’, the persona would ideally like to return to her city, but it is implied that those in power back home do not welcome her presence.
• In ‘Storm’, the persona anticipates a threatening storm, but ultimately realises that it’s much less destructive than he had expected it to be.
• Techniques used: alliteration (plosives vs sibilants) 

Main idea 3: The turbulent nature of life 

• In ‘The Emigree’, the persona is unmoored from her roots, and as an exile, she constantly struggles with conflicted emotions about wanting to return and yet knowing that she probably can never do so.
• In ‘Storm’, nature is seen to be a turbulent force that changes in ways humans can’t quite anticipate.
• Techniques used: enjambment and varied lineation 

Both ‘The Emigree’ and ‘Storm on an Island’ present the individual in the face of external dangers, whether real or imagined. However, while Rumens’ persona faces the threat of political persecution, and chooses to counter it by preserving a purer memory of her home, Heaney’s persona over-calculates the dangers of the storm, and eventually discovers that his fear of nature is largely unjustified. 

Bit of a mammoth post, I know, but I hope this helps break down the poetry comparison process into digestible chunks! If you have any questions, reach out to me here .

To read other study guides, check out my posts below: 

• How to ace any Shakespeare question
• How to analyse any unseen poem – 3 top tips
• How to revise for English Literature – 8 top tips

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What’s the Difference Between Poetry and Prose?

19 Feb, 2024 | Blog Articles , English Language Articles , Get the Edge , Humanities Articles , Writing Articles

What are the key elements of poetry?

1. figurative language.

Figurative language quite simply means language that is not literal. This type of language is descriptive, and poets often use it to link a concrete object with an abstract idea. This non-literal description is used to invoke the reader’s emotions. 

A metaphor, for example, is a figurative technique; “the world is your oyster,” and “I could eat a horse,” are common metaphors. 

A simile is another example of figurative language. This is where the poet compares one thing with another to strengthen a description: for example in the final line of Sylvia Plath’s Mirror : 

“In me she has drowned a young girl, and in me an old woman / Rises toward her day after day, like a terrible fish.” 

Personification, the attribution of human characteristics to something non-human (e.g. “the wind howled”), and symbolism, the use of symbols to represent ideas or qualities, are also figurative techniques. 

These all serve to draw mental associations between the concrete and the abstract, and enhance the imagery of the poem. 

2. Rhythm and Metre

Poetry also often employs rhythmic patterns and metre. Rhythm refers to the rhythmic structure of a line, composed of two or more syllables, while metre is used to describe the pattern of emphasis, or lack of emphasis, on each syllable. Poets choose different rhythms and metres to impact the musical quality of the poem. 

For example, iambic pentameter is a type of metric line used in traditional English poetry and verse drama – most famously in the works of Shakespeare. 

Rhythm is measured in small groups of syllables called “feet”. “Iambic” refers to the type of foot used: an “iamb” is an unstressed syllable followed by a stressed syllable (e.g. the word “a-bove”). This creates the pattern: 

de/DUM de/DUM de/DUM de/DUM de/DUM 

“Pentameter” indicates that each line has five “feet” (think pent- as in “pentagon”, a shape with five sides). 

Consider Act 3, Scene 1 of Shakespeare’s A Midsummer’s Night Dream : 

“And I do love thee. Therefore go with me. I’ll give thee fairies to attend on thee, And they shall fetch thee jewels from the deep And sing while thou on pressed flowers dost sleep.” 

3. Line Breaks and Stanzas

Structure in poetry concerns how the poem’s different elements are organised. This includes: 

• Stanzas – a group of lines forming the basic recurring metrical unit in a poem; a.k.a a verse
• Line breaks
• Verse lengths 

Each impacts the way the reader experiences and interprets the poem.

For example, the Petrarchan sonnet organises itself into an octave, followed by a sestet. The first eight lines (often in ABBA ABBA rhyming scheme) raise a question that the next six lines, the sestet, answers. 

There’s typically a volta , or a turn, at the beginning of the sestet, indicating the change in the poem’s focus. Here, the way the poem’s stanzas are laid out can have a significant impact on the way the poem is read. 

These poems often concern love, and the volta in particular allows for narrative development in the poem. 

See Christina Rossetti’s After Death : 

“The curtains were half drawn, the floor was swept And strewn with rushes, rosemary and may Lay thick upon the bed on which I lay, Where through the lattice ivy-shadows crept. He leaned above me, thinking that I slept And could not hear him; but I heard him say, ‘Poor child, poor child’: and as he turned away Came a deep silence, and I knew he wept.   He did not touch the shroud, or raise the fold That hid my face, or take my hand in his, Or ruffle the smooth pillows for my head: He did not love me living; but once dead He pitied me; and very sweet it is To know he still is warm though I am cold.”

Line breaks also influence the way the poem is interpreted. In After Death, Rossetti employs enjambment (when a phrase flows seamlessly from one line to the next with no punctuation) to reflect the continuity of domestic life. 

4. Rhyme and Sound Patterns

Rhyme schemes, assonance, consonance and alliteration all draw attention to individual words within a poem. These words are drawn together through the repeated use of sound. 

For example, alliteration is the occurrence of the same letter or sound at the beginning of adjacent or closely connected words. In The Raven , Edgar Allan Poe uses plosive alliteration in the phrase “doubting, dreaming dreams”. 

Sibilance, the creation of a hissing sound by the repetition of the letter “s”, is also used:

“Eagerly I wished the morrow;—vainly I had sought to borrow From my books surcease of sorrow—sorrow for the lost Lenore”. 

Assonance, the rhyming of two or more stressed vowels in nearby words, creates a sense of rhythm, dictating which syllables should be stressed when the poem is read aloud. It’s also employed in The Raven : 

“Once upon a midnight dreary, while I pondered, weak and weary”.

A poem’s rhyme scheme, the pattern that outlines which sound each line should end with, lends poetry its tell-tale rhythmic structure. For example, the ABAB rhyme scheme rhymes the end of every other line. 

See the opening stanza of Robert Frost’s Neither Out Far Nor in Deep :

“The people along the sand All turn and look one way. They turn their back on the land. They look at the sea all day.”

Poets often put a rhyme scheme in place, only to break the pattern half-way through. This can work like a volta to indicate a shift in the narrative or to emphasise a particular thematic point. 

Imagery is the poet’s use of vivid description and language to enrich the reader’s understanding and appreciation of the piece. 

See the opening of T.S. Eliot’s Preludes :

“The winter evening settles down With smell of steaks in passageways. Six o’clock. The burnt-out ends of smoky days. And now a gusty shower wraps The grimy scraps Of withered leaves about your feet And newspapers from vacant lots;” 

The array of images conjured elevates the scene, as if we too are there in the street, with leaves at our feet and the smell of smoky steaks at our noses! 

6. Emotional Resonance

Poets also use literary techniques to express strong or intense emotions, which can deeply resonate with readers.

In Daffodils, William Wordsworth uses simple language to evoke loneliness, wonder and felicity: 

“I wandered lonely as a cloud That floats on high o’er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze.” 

Similarly, Audre Lorde’s If They Come in the Morning expresses a sense of danger and doom, as well as solidarity:

““If they take you in the morning, they will be coming for us that night.”

She uses the personal pronouns “you” and “we” to connect to the reader, strengthening our connection to the poem and its sentiments.

7. Ambiguity

Poetry can initially be difficult to interpret and understand due to its ambiguity. Oftentimes students find it hard to connect to a poem, and in turn lose enthusiasm for poetry as a literary form. 

However, ambiguity is part of what makes poems so resonant, interesting and evocative! Readers can engage with the poem on multiple levels and connect to the words more personally – ambiguity allows room for interpretation. 

As William Empson wrote in his book Seven Types of Ambiguity : 

“The machinations of ambiguity are among the very roots of poetry.”

8. Lyrical Language

Lyric poems use a variety of techniques to produce a songlike quality. 

A sonnet is a popular form of lyric poetry, using its rhythm, structure and descriptions to enhance its beauty and likeness to a song. For example, Shakespeare’s Sonnet 18 is notably lyrical, a quality that enhances the romantic and sentimental nature of the poem. 

9. Distinct Forms

There are a variety of poetic forms, including sonnets, haikus, villanelles and odes. 

Haikus are a Japanese form of poetry characterised by their unique syllabic structure. Each haiku is composed of three lines, with five syllables in the first line, seven in the second, and five in the third. 

For example, here is one of the Japanese poet Bashō’s earliest haikus: 

“On a withered branch A crow has alighted; Nightfall in autumn.”

A villanelle is a French verse form consisting of five three-line stanzas and a final quatrain, with the first and third lines of the first stanza repeating alternately in the following stanzas.

What Is Prose?

Prose is a form of written language without the metrical structure and formal patterns that characterise poetry. 

What are the key elements that characterise prose? 

1. narrative and exposition.

Prose is commonly used to convey information, tell stories and provide explanations, making it a versatile form of written expression. All novels are examples of the prose form. 

Think of the Harry Potter series. Through prose, we’re told the story of a young boy who discovers he is a wizard, attends the Hogwarts School of Witchcraft and Wizardry, meets his friends, learns spells and battles Voldemort. 

As a versatile form, prose doesn’t just tell stories. It can convey other types of information through news articles, recipes or school essays.

2. Full Sentences and Paragraphs

Prose adheres to grammatical and syntactical rules, consisting of complete sentences and paragraphs. This is in direct contrast with poetry’s experimentation with rhythm, line breaks and metre. 

3. Lack of Rhyme and Metre

There’s generally a notable absence of specific rhythmic patterns and structured metre in prose. This allows for a more fluid and natural flow of language – just as I am writing now! 

For example, the prose form allows dialogue in novels to feel natural and real. This extract from Ernest Hemingway’s Hills like White Elephants is a great example, as the dialogue effectively bounces back and forth between characters.

‘“Well,” the man said, “if you don’t want to you don’t have to. I wouldn’t have you do it if you didn’t want to. But I know it’s perfectly simple.”   “And you really want to?”   “I think it’s the best thing to do. But I don’t want you to do it if you really don’t want to.”   “And if I do it you’ll be happy and things will be like they were and you’ll love me?”   “I love you now. You know I love you.”   “I know. But if I do it, then it will be nice again if I say things are like white elephants, and you’ll like it?”   “I’ll love it. I love it now but I just can’t think about it. You know how I get when I worry.”   “If I do it you won’t ever worry?”   “I won’t worry about that because it’s perfectly simple.”’

4. Concise and Detailed

Prose can be both concise and straightforward to deliver a message (for example a how-to guide), or descriptive and detailed to depict scenes and characters in literature. 

See the opening of Charlotte Brontë’s Jane Eyre : 

“There was no possibility of taking a walk that day. We had been wandering, indeed, in the leafless shrubbery an hour in the morning; but since dinner (Mrs. Reed, when there was no company, dined early) the cold winter wind had brought with it clouds so sombre, and a rain so penetrating, that further out-door exercise was now out of the question.”

5. Logical and Coherent

Prose is generally organised logically with a coherent development of ideas. This means it’s very suitable for persuasive writing, argument and clarity. 

See any of Barack Obama’s speeches – he’s a skilled and persuasive writer and speaker, able to use language to suit his purpose and audience. 

6. Linear Narrative

Prose often follows a linear narrative structure, progressing chronologically from beginning to middle to end, while making use of narrative techniques. 

For example, tragedies often adhere to Freytag’s Pyramid, which follows the structure: 

• Introduction, 
• Rise, or rising action 
• Return, or fall
• Catastrophe

This formula is based upon the classical Greek tragedies of Sophocles , Aeschylus and Euripedes .

7. Versatility

Prose adapts to a wide range of genres and styles from creative fiction to academic research papers to a newspaper column. It’s the primary, and most versatile, form of written communication.

Blurring Boundaries Between Poetry and Prose

Although there are many differences between poetry and prose, these distinctions can sometimes blur. 

There are hybrid forms of writing which incorporate elements of both styles. For example, the French poet Charles Baudelaire revolutionised poetry in his prose poems, combining elements of both styles. Rather than incorporating line breaks, rhyme schemes, control of metre or assonance, Baudelaire employed conventions of prose writing such as paragraphs and dialogue. 

This created a condensed version of prose that took advantage of poetic devices like symbolism and imagery. Take a look at Baudelaire’s Be Drunk : 

“And if sometimes, on the steps of a palace or the green grass of a ditch, in the mournful solitude of your room, you wake again, drunkenness already diminishing or gone, ask the wind, the wave, the star, the bird, the clock, everything that is flying, everything that is groaning, everything that is rolling, everything that is singing, everything that is speaking. . . ask what time it is and wind, wave, star, bird, clock will answer you: “It is time to be drunk! So as not to be the martyred slaves of time, be drunk, be continually drunk! On wine, on poetry or on virtue as you wish.”

Other writers who blur this boundary include Claudia Rankine, whose novel ​ Citizen showcases her prose-poetry hybrid. Her work has been called “lyric essays” by the New York Review of Books . 

Ocean Vuong’s acclaimed works, strikingly Time Is A Mother , also experiment with poetry and prose to explore grief, loss and memory.

There are many, many more canonical writers that blur this boundary, like Oscar Wilde, Virginia Woolf and Sylvia Plath – all well worth exploring in depth!

Language is clearly not concrete, nor unchanging. Poets and novelists alike are always experimenting with form, technique and style. 

Be inspired to engage and experiment with a range of literary works, from confessional poetry to postmodernist literature to Baudelaire’s subversive prose poetry! Our summer programmes are hosted in Oxford, home to countless great writers over the centuries, and allow you to explore both poetry and prose in a supportive environment.

By Keziah Mccann

Keziah is a second-year French and Italian student at Balliol College, University of Oxford. As well as learning languages and travelling, her interests include writing, journalism, film and cooking.

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13.4: Sample essay on a poem

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Example: Sample essay written on a Langston Hughes' poem

The following essay is a student’s analysis of Langston Hughes’ poem “I, Too” (poem published in 1926) I, too, sing America. I am the darker brother. They send me to eat in the kitchen When company comes, But I laugh, And eat well, And grow strong. Tomorrow, I’ll be at the table When company comes. Nobody’ll dare Say to me, “Eat in the kitchen,” Then. Besides, They’ll see how beautiful I am

And be ashamed — I, too, am America.

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Student Name

Professor Name

English 110

Creating Change by Changing Minds

When I log onto Facebook nowadays and scroll through my feed, if it's not advertisements, it's posts talking about the injustices of the world, primarily from racism. These posts are filled with anger and strong hostility. I'm not saying anger is the wrong emotion to feel when faced with injustice, but when that hostility is channeled into violence, this does not bring about justice or change. Long lasting and effective change can only be made through non-violent methods, which is demonstrated by Langston Huges in his poem, "I, Too." In this short poem, Hughes gives many examples of how to effectively and on-violently address and combat racism.

Huges first uses people's religious morality to enlist his readers to resist racism. He starts the poem with his black narrator asserting, "I am the darker brother" (2). Brother to whom? In the Christian religion, a predominate religion during the times of slavery in the U.S and beyond, the terms brother and sister are used to show equality and kinship, and this human connection transcends race. Everyone is equal as children of God, and are all heirs to the promises of divine love and salvation. Simply by the black narrator calling himself a brother, Hughes is attempting to appeal to white Christian Americans, and to deny this connection is to go against the teachings in the Bible about brotherhood. This is very powerful in multiple ways. Firstly, establishing a sense of brotherhood and camaraderie should make anyone who tarnishes that unity feel ashamed. Secondly if anyone truly wishes to receive God's mercy, they would have to treat everyone as equals, or be punished by God, or even be denied eternal life in heaven all together. This technique is effective and long-lasting because the fear or violence inflicted on a person is temporary, but damnation is eternal.

Hughes further combats racism, not through threats of uprisings or reprisals, but rather by transforming hatred into humor and positivity. In response to his segregation, the narrator says, "They send me to eat in the kitchen/When company comes,/But I laugh,/And eat well/And grow strong" (3-7). With this, Hughes rises about racial exclusion and asks his reader to see it for what it is, ridiculous. He also shows how to effectively combat this injustice which is to learn from it and to feel empowered by not letting racists treatment from others hurt, define or hold you back. Additionally, this approach is an invitation to Hughes' white readers to be "in on the joke" and laugh at the mindless and unwarranted exclusion of this appealing and relatable person who is full of confidence and self-worth. Through his narrator, Hughes diffuses racial tensions in an inclusive and non-threatening way, but the underlying message is clear: equality is coming soon. We know he believes this when the poem's speaker states, "Tomorrow,/I'll be at the table/When company comes" (8-10). There is a strong assertion here that racism will not be permitted to continue, but the assertion is not a threat. Hughes carefully navigates the charged issue of racial unity here, particularly at the time he wrote this poem when segregation was in many places in the U.S. the law. The different forms of segregation-emotional, physical, financial, social-that blacks have suffered has and continues to result in violence, but Hughes here shows another path. Highes shows that despite it all, we can still make amends and site down at a table together. As a human family, we can overcome our shameful past by simply choosing to peacefully come together.

Finally Hughes uses American patriotism as a powerful non-violent method to unite his readers to combat racism. The poem concludes, "Besides,/They'll see how beautiful I am/And be ashamed-/I, too, am American" (15-18). Notice how he uses the word American and not American. He is not simply just an inhabitant of America he IS American in that he represents the promise, the overcoming of struggle, and the complicated beauty that makes up this country. He is integral to America's past, present and future. He is, as equally as anyone else, a critical piece in America's very existence and pivotal to its future. As Hughes united his readers through religion and the use of "brother," here he widens the net beyond religion and appeals to all Americans. As we say in our pledge of allegiance, we stand "indivisible with liberty and justice for all." To hate or exclude someone based on race, therefore, is to violate the foundational and inspirational tenants of this country. Hughes does not force or attack in his poem, and he does not promise retribution for all the harms done to blacks. He simple shows that racism in incompatible and contradictory to being truly American, and this realization, this change of heart, is what can bring about enduring change.

It has been shown over and over that violence leads to more violence. Violence might bring about change temporarily, but when people are stripped of choice, violence will reassert itself. Some of the most dramatic social movements that have brought about real change have used non-violent means as seen in Martin Luther King Jr's non-violent protests helping to change U.S. laws and ensure Civil Rights for all, as seen in Gandhi's use of non-violent methods to rid India of centuries of oppressive British rule, and as seen in Nelson Mandela's persistent and non-violent approaches of finally removing Apartheid from South Africa. However, we are not these men. Mos tof us are not leaders of movements, but we are each important and influential. We as individuals can be immensely powerful if we choose to be. We can choose to apply the examples and advice from enlightened minds like Hughes, King, Gandhi, and Mandela. When we see on Facebook or in the news on in-person people targeting or excluding others, or inciting violence againist a person or group based on race, or sexual orientation, or religion, or any other arbitrary difference selected to divide and pit us against one another, we can choose instead to respond with kindness, with humor, with positivity, and with empathy because this leads to the only kind of change that matters.

Works Cited

Hughes, Langston. "I, Too." African-American Poetry: An Anthology 1773-1927 , edited by Joan R.

Sherman, Dover Publications, Inc. Mineola, New York. 1997, p. 74.

Poetry vs. Poem: What Is the Difference?

Here’s the difference between poetry and poem:

Poetry is the use of metaphor, symbols, and ambiguity to create a literary piece, while the poem itself is the result.

Blacksmiths make tools. Forging is the art of making tools.

Poets make poems. Poetry is the art of making poems.

If you want to learn all about the differences between poetry and poem, then you’re at the right place.

Let’s get started!

What Is the Difference Between Poetry and Poem?

People have been using words to entertain themselves since the beginning of language itself.

There was a time when being able to recite long poems from memory, often for hours at a time, was considered an incredible skill. 

So much so that aristocrats in multiple cultures have memorized lines from their favorite poems for the sole purpose of impressing each other.

Poems started out as a mostly oral tradition since literacy wasn’t exactly common in earlier eras.

This is one reason that we still use so many sound-based techniques in poetry today.

But what exactly differentiates poetry from a poem?

The short answer is that poetry is a process, while poems are the result of that process.

The long answer gets a little more involved.

What Is Poetry?

Poetry, as mentioned above, is the process by which a poem is created. We often use the terms interchangeably, but the term “poetry” encompasses many more elements than the finished product does.

Every single moment of the creative process leading up to a poem is a part of poetry.

From the initial planning stages to the rough drafts to the editing process, all of it is a critical piece in creating a poem.

Poetry can be either a loose art form or a precise science, veering more in one direction or another depending on the poet’s style.

A single poem may take forty rough drafts and several months of careful line-by-line editing or the writer might hammer out twenty poems in one sitting on the first try.

One of the most noteworthy aspects of poetry as an art form is its usage of phonetic, mnemonic, and imagery-based techniques to enhance the poem’s quality.

While no two poems are alike, some key features that carry across many poems include:

• Rhyme and meter.
• Repetition of sounds, words, and phrases.
• Comparisons, especially in unlikely pairings.
• Exaggeration.

Naturally, these can all be subdivided into their own techniques, but we’ll just quickly gloss over them for now.

Rhyme schemes and meters (the patterns by which syllables are stressed and unstressed in poetry) are hallmarks of the form and are especially prominent in formal poetry.

Their key purpose is to give the poem a discernible rhythm that keeps the reader moving forward at a controlled pace.

Repetition is used both for decoration, as is the case when repeating the same vowel or consonant sound several times in a line, and for technical purposes. 

One purpose for repeating words or phrases is to give the reader some breathing room in an especially dense poem since they won’t need to devote as much brainpower to the repeated sections.

This is also a good way to make parts of the poem easy to remember.

An unexpected repetition can lead to a resonating emotional impact.

Imagery is the foundation on which everything else in a poem is built.

While it is possible to write a poem using only abstract concepts and exposition, it’s usually ill-advised. 

Poetry, more than any other form, thrives on imagination.

Creating concrete settings and props with your words grounds the reader in the poem’s world, allowing them to process everything in a natural way that lets them come to their own conclusions.

Comparisons, especially in the case of metaphors, have various uses in a poem, and their importance is second only to imagery.

In fact, many skilled writers use metaphors to insert an image into a thought that wouldn’t normally have one.

It’s hard to imagine what an overfilled brain looks like, but when you compare it to a jar of marbles that’s already spilling over, the reader can envision it much more clearly.

Since poetry is commonly used to portray a feeling, it should come as no surprise that many poets choose to over-exaggerate the feelings being portrayed.

A poem about grieving may be needlessly melodramatic and bone-crushingly dark, all just to create a mood.

These are some of the most common elements found in poetry, but this is by no means an exhaustive list.

Deciding what elements you will or will not employ is part of the process of poetry.

What Is a Poem?

The goal of poetry is to convey something.

This conveyance is expressed in the end result of the process, the poem.

This is not usually a concrete narrative, as would be the case with most prose works because the brevity and trappings of common poetic forms don’t lend themselves especially well to chronological storytelling.

Some examples of goals a poem might have include:

• Describing a vague feeling, like love or loss.
• Narrating a single moment in time.
• Attempting to unpack a philosophical question.
• Paying homage to a person, place, or thing.
• Bringing attention to a moral dilemma.
• Entertaining the reader/listener.

While these goals might seem fairly dissonant at first glance, the main thing they have in common is that they can potentially be achieved in a small number of words through the use of poetic language.

That’s not to say that no poems are long or narrative.

Some poetic forms are completely dedicated to telling a story, often pulling from folktales, biblical settings, or well-known legends in order to make establishing the setting and characters significantly easier.

The most extreme example of a narrative poem is easily the epic.

Epic poems mostly carried over from ancient cultures devote an extraordinary number of words to telling the entirety of an adventure from beginning to end.

They can be thought of as the point where poetry and drama meet to produce something that’s not exactly a play and only barely still a poem. 

The longest epic poems were even episodic in nature so that listeners who wandered in halfway through could still enjoy the episode they first hear.

Other forms of poems include sonnets, odes, ballads, haikus, limericks, epithets, and many, many more.

Putting it simply: There’s a specific poetic form devoted to almost any feeling or structure you can think of.

Of course, not a single one of these forms would have ever existed if writers didn’t enjoy the process. There’s no skipping straight to the part where a fresh poem is suddenly on your paper. 

Loving poems only implies that you like reading and talking about finished poems.

If you’re going to say you love  poetry , you should buckle down, do your research, and get obsessed. All great art is born from obsession.

Poetry & Poets

Explore the beauty of poetry – discover the poet within

A Level Poetry Comparison Essay Example

Introduction

Writing a comparison essay between two poems can be an interesting task. It requires a student to be creative and think outside of the box. Although poetry comparison might seem overwhelming and daunting, once you understand the basics of comparing two poems, the task suddenly becomes much easier. This article aims to provide students with a comprehensive guide on how to write a poetry comparison essay, offering key tips and providing example essays for inspiration.

What is a Poetry Comparison Essay?

A poetry comparison essay is a type of essay in which the student is asked to compare two different poems of their own choosing, analyzing and critiquing each one. The poems should share some common theme or concept, yet still have many differences that the student should explore and compare. Generally, the student should draw upon their own knowledge and research to make comparisons between both poems.

Key Considerations

When writing a poem comparison essay, there are several key things to consider. Firstly, the student should think about the overarching theme or concept of the both poems, as this will most likely be an aspect they will need to focus on when comparing. Furthermore, the student should think about the structure of the poems, taking into account the layout, the rhyming patterns, and other literary elements such as alliteration and repetition. Additionally, use of language, imagery and symbolism should also be taken into account.

Comparing Language in Poems

When comparing two poems, one of the key aspects that the student should consider is the language used within each one. Generally, they should try to notice any patterns of language and note these down, thinking about how the various elements of language such as metaphors, similes and personification add to the effect of the poem. Additionally, the use of dialogue, structure and sounds can be used to compare the two poems, and how these elements help to convey the theme or emotions.

Analyzing Imagery and Symbolism in Poems

When comparing two poems, students should also be looking closely at the imagery and symbolism that is used within the poems. Imagery refers to any kind of mental image, description or figure of speech that has a referential meaning—namely, it refers to something else in order to help convey the subject. For example, a poem might use imagery of a flower to symbolize growth, or the use of tools to symbolize hard work. Symbolism, on the other hand, is an object or image that stands for something that it doesn’t literally symbolize. It can be used to add an extra layer of meaning to a poem.

Key Comparisons in the Poems

When comparing two poems, it is important to look at their similarities and differences. Generally, the student should look at common themes and imagery, as well as similarities in style and structure. It is also important to note how each poet has used language, imagery and symbols differently to convey their messages and feelings. Additionally, the student should think about how the structure of verbal and nonverbal elements impacts the overall message of the poem.

Example of a Poetry Comparison Essay

When writing a poetry comparison essay, an example can be useful. Taking a look at the following example from a student’s A-Level English Literature essay: In this essay, I shall be comparing and contrasting two poems: “The Road Not Taken” by Robert Frost and “The Listeners” by Walter de la Mare. Firstly, I shall be exploring the theme of choices in both poems. In “The Road Not Taken”, Frost has created a poem about the power of decision making, whereas “The Listeners” offers a less optimistic view on the consequences of choices. Both poems use vivid imagery to convey their respective messages. For example, “The Road Not Taken” uses the image of two roads to symbolize the difficult choices we make in life, while “The Listeners” uses the image of an empty house to represent the loneliness and confusion of not knowing which direction to take. The use of structure is also important in these two poems. Frost has used rhyming couplets to explore the theme of choices, while de la Mare adopts a more open, free-verse style. Both poets also use a similar range of language throughout their poems, with words such as “forlorn” and “darkness” being used to create a sense of loneliness and uncertainty. Ultimately, both poems explore similar themes in inventive, yet different ways.

Applying the Analysis

When writing a comparison essay between two poems, it is important to consider the key aspects discussed in the article, such as the theme, language, imagery and symbolism of each poem, as well as the structural elements. It is also important to apply the analysis to the essay, noting any relevant similarities or differences as you go. Additionally, the student should support their analysis with relevant evidence, such as quotes and examples, to ensure that the essay flows smoothly and that all aspects are covered.

Writing Style

When writing a comparison essay, it is important to ensure that the writing style is formal and direct. Generally, the student should not use overly complex sentences to ensure that the reader can understand the points that they are trying to make. Additionally, it is important to avoid the passive voice and use the active voice instead. This can help to ensure that the essay is succinct and that all points are clear and concise.

Explore Poems

When writing a poetry comparison essay, it is important for the student to take time to explore the chosen poems. Generally, the student should spend time looking at the different aspects of each poem in order to gain an understanding of the theme and ideas that the poet has tried to convey. Additionally, they can also look at reviews and interpretations of the poems in order to gain further insight into the meaning of both texts.

Bring in Outside Sources

When writing a comparative essay, it can be a good idea to bring in outside sources in order to provide a wider perspective on the chosen poems. Generally, this will involve looking for scholarly articles or reviews that have been written about the particular poems, and using these to provide further insight into the meaning and theme of the text. Additionally, the student should also look for any critical analysis that has been written in order to gain interesting perspectives from other experts in the field.

Organize Your Essay

When organizing the essay, the student should ensure that the essay is well structured and organized. Generally, a good structure for the essay should include an introduction, body paragraphs and a conclusion. Additionally, the body of the essay should be divided up into two sections, one analyzing each poem individually, and one section comparing both poems. This can help to ensure that all relevant points are covered, and that the essay flows smoothly.

Proofreading and Editing

Finally, before submitting the essay, it is important to ensure that the student proofreads and edits the essay thoroughly. Generally, editing should involve re-reading the essay to check for any inconsistencies in the argument, as well as any spelling or grammar errors that may have been overlooked. Additionally, the student should also use a spellchecker and a grammar checker to ensure that the essay is perfect.

In conclusion, writing a poem comparison essay can be an interesting and challenging task for students. By understanding the key considerations discussed in this article and taking note of the example essay, students should be well on their way to writing a successful comparison essay. It is also important to take time to explore the chosen poems, bringing in outside sources to provide a wider perspective. Additionally, the student should ensure that the essay is well organized, and that they proofread and edit it thoroughly before submitting.

Minnie Walters

Minnie Walters is a passionate writer and lover of poetry. She has a deep knowledge and appreciation for the work of famous poets such as William Wordsworth, Emily Dickinson, Robert Frost, and many more. She hopes you will also fall in love with poetry!

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What’s the Difference Between a Poem and Poetry?

Poems and poetry are words we often hear, and they both deal with words touching our hearts. But even keen readers sometimes mix them up, unsure of how they’re different.

A poem is a collection of words arranged to express feelings or paint pictures, with a particular rhythm that often makes it feel special. Poetry encompasses all these unique works and the craft of creating them.

This article will explain the distinctions between a poem and the broad realm of poetry. Understanding these differences can deepen our appreciation for the individual art pieces, as well as the larger cultural landscape they inhabit.

Table of Contents

What Is a Poem?

A poem is a collection of words that is crafted to stir the imagination and emotions of the reader. Unlike everyday language, it’s often more rhythmic and richly descriptive. Each word in a poem works hard to convey precise meaning or feeling, and a poet chooses these words with great care.

Here’s the essence:

• A poem often follows a pattern , whether it’s rhyming at the end of lines or following a beat. Sometimes, though, poems break free from patterns to create a different kind of rhythm that’s unique.
• It’s designed to be heard, not just read . The sounds of the words, the pauses, and the silence all contribute to the poem’s full effect.
• A poem can be short, just a few lines, or long, stretching over pages. Its length doesn’t change its purpose—to capture and express moments, feelings, or scenes.
• Poems don’t always tell a story with a beginning, middle, and end. Some capture just a moment or a single emotion.
• They use imagery to bring ideas to life. You might read about the “sharp, icy air” and feel the chill yourself.
• Poems can be abstract, not making direct sense but creating emotions and thoughts through their wordplay.

What Is Poetry?

Poetry is the craft of creating poems , a form of art where words are selected and arranged to stir feelings, provoke thoughts, and often tell a story. It combines meaning, sound, and rhythm, creating a powerful emotional response.

• Diversity : Poetry is an umbrella for various types of poems, showcasing a wide range of emotions, topics, and structures.
• Expression : It is a powerful form of expression that uses language in an artistic way, often focusing on the experience of human thoughts and feelings more intensely than other forms of writing.
• Imagination : Poetry invites readers to use their imagination, conjuring up scenes and experiences through vivid wordplay.
• Language Play : It plays with the sounds, meanings, and rhythms of words, sometimes bending grammar rules for effect.
• Cultural Reflection : Poetry reflects the culture and times of its creators, capturing the essence of historical and personal moments.
• Connection : It connects people through universal themes of love, loss, joy, and nature.

Poem vs. Poetry: What’s the Difference?

Composition.

• Poem : A single poem is made up of parts like lines and stanzas and has a distinct form, such as a sonnet with its strict structure or a free verse that’s more open.
• Poetry : Poetry as a genre covers all kinds of poems and styles, from the classic to the modern. It’s a collective term for the different ways that poems are written and appreciated.
• Poem : Creating a poem is a personal act, with the poet choosing words and building images to express a specific idea or emotion. It’s a process that might go through many drafts to get just right.
• Poetry : The creation of poetry involves writing individual pieces and also understanding the broader craft. It’s about learning the art and expanding it by studying other poets’ work.

Form and Structure

• Poem : A poem has a unique shape defined by its chosen pattern, whether it is made up of rhyming couplets, haiku structure, or irregular lines that characterize free verse. The form and structure are tailored to serve the specific message or emotional impact of the individual poem.
• Poetry : Poetry as a whole celebrates a diversity of forms and structures. From sonnets and odes to epic poems and narrative verses, it encompasses the full spectrum of poetic devices across cultures and time periods. The structure in poetry is flexible, changing with literary movements and individual poets’ innovations.

Themes and Function

• Poem : A single poem typically explores a central theme or a cluster of related ideas. It may dive into love, grief, nature, or another singular topic, aiming to provide insight or stir the reader’s emotions. The function of a poem is often to commemorate, reflect, question, or celebrate its subject in a deeply personal tone.
• Poetry : Poetry as an art form functions on a grander scale. It touches on universal themes of the human experience—connecting readers across different backgrounds through shared feelings and thoughts. The function of poetry is to communicate across generations, providing a mirror to society’s beliefs, values, and changes.

Scope of Study

• Poem : Studying a poem involves examining the language, meaning, and effect of that particular piece. Scholars and readers analyze the poem’s word choice, imagery, and the way it interacts with its form to produce a singular artistic statement. Each poem is dissected to uncover layers of interpretation and to understand the precise intent behind each line.
• Poetry : Poetry as a discipline is studied through a wider lens. It includes looking at trends over time, how different cultures influence poetic forms, and the way themes are woven through various poets’ works. The study of poetry is about tracing the evolution of the art form, examining how historical contexts influence poetic expression, and understanding the collective heritage and future of poetry.

Reading Experience

• Poem : Reading a poem is an intimate experience. The reader engages with the text one-on-one, savoring the rhythm, sounds, and nuances of language in a concentrated form. This interaction is often personal, with the reader bringing their own interpretation and emotional response to the piece.
• Poetry : Engaging with poetry means immersing oneself in a multitude of voices and styles. A reader of poetry experiences the breadth of the art form, from the ancient epics to contemporary spoken word. This variety offers a broader emotional and intellectual journey, as one navigates through different poet’s lenses, historical moments, and poetic innovations.

Historical Context

• Poem : A poem shows what life was like when and where it was written, reflecting the period’s feelings and events, and can tell us a lot about the author’s life and the time’s culture. It serves as a snapshot, capturing the essence of an era through the lens of personal experience.
• Poetry : Poetry as a whole tells the story of many times and places, acting like a big book that tracks changes in the world and how people think and express themselves throughout history. This collective record provides a diverse view of humanity’s emotional and intellectual journey.
• Poem : A poem stays the same after it’s written, capturing the thoughts and feelings of that specific moment indefinitely, like a time capsule. Its unchanging nature allows it to be a point of historical reference for future generations.
• Poetry : It keeps changing, bringing in new ideas and styles, and grows with the times, always reflecting the latest trends, thoughts, and feelings as society changes. Its continuous evolution makes it a living, breathing art form that adapts and responds to the current cultural climate.

Scholarly Focus

• Poem : When experts study a poem, they look closely at every word and phrase to figure out what the author wanted to say and how they did it, often focusing on just that one poem in detail. This micro-level analysis helps to appreciate the fine craft of the poet and the depth of the poem’s message.
• Poetry : Studying poetry in a scholarly way means looking at lots of poems, how they fit together, and how they’ve changed over time—looking at big themes and poetry’s development throughout history. It’s an expansive study that connects individual poems to the larger, ongoing story of literature.

Influence on Language and Expression

Poetry stands apart from other forms of writing due to its unique use of language and its capacity to express complex emotions and images with a remarkable economy of words.

Use of Language

In a single poem, every word carries weight. The poet chooses words not just for meaning, but also for their sound and the way they fit together. For instance, alliteration , the repetition of the same sound at the start of words, can create a musical effect.

Take the poem “The Raven” by Edgar Allan Poe , which is famous for its haunting sound and rhythm.

Looking at poetry as a whole, it’s about how these techniques vary across different works and authors. Poetry encompasses a vast array of methods for playing with language, from the concise power of a haiku to the sprawling lines of free verse.

Expression of Ideas and Emotions

• Imagery and Metaphor : These are tools poets use to paint pictures with words or to suggest meanings beyond the literal. A poem might describe a “frosty silence,” suggesting a tension that feels cold and still.
• Symbolism : Some words or objects in a poem can stand for something else—like a storm could represent turmoil or change.
• Rhyme and Rhythm : Beyond being beautiful, these can help to reinforce the poem’s message or mood. A steady rhythm might suggest certainty, while a broken one might convey confusion.

Practical Applications of Poem and Poetry

In a classroom, teachers use individual poems to help students learn about language and how it can express feelings and pictures vividly. Students may focus on one poem, learning about its rhythm, the words used, and what the poem is saying or making us feel.

For example, a teacher might use Robert Frost’s “The Road Not Taken” to discuss decision-making and the beauty of nature.

When teaching poetry, educators look at the bigger picture. They discuss different types of poems and the times and places they come from. The goal is for students to understand the variety in poems and see the changes in writing styles and topics over the years.

Consider how a lesson on Japanese haiku poetry might open up discussions on simplicity, nature, and the brevity of life.

Publishers might look for poems that stand out and have a strong individual voice or message. They might publish a poem in a magazine or as part of a collection.

A recent poem capturing public interest could be about a current global event, resonating with many people’s feelings.

In the publishing world, poetry books or collections bring together various poems. Publishers might compile poems around a theme, like love or nature, or they might gather the best works from different poets to showcase the art form’s breadth.

Literary Critique

When writing about a poem, critics often go line by line to share what makes it special or interesting. They might comment on the poet’s choice of words, the rhythms, and the feelings it stirs in the reader.

On the poetry side, critics examine the broader impact. They discuss how different poems fit into trends, what they say about our world, and how they build on the work of previous poets.

Understanding poems and poetry not only enriches personal enjoyment but also has vital applications across education, publishing, and literary critique. This knowledge enables us to better appreciate and share the power of written words.

Frequently Asked Questions

Can a person write a poem without it being considered poetry.

Not really. A single poem is a part of poetry as a whole. Writing a poem automatically means you’re participating in the craft of poetry.

Can anything be considered poetry?

While there’s a lot of room for creativity, not anything can be considered poetry. Poetry usually requires elements of rhythm, heightened language, and an intent to stir emotions or thoughts.

Do all poems have to rhyme?

No, not all poems rhyme. While many traditional poems use rhyme, modern ones often use free verse, which doesn’t follow a rhyming structure.

Do I need to understand poetry to enjoy a poem?

Not necessarily. While understanding poetry can enhance appreciation, many people enjoy and connect with individual poems based on personal experience and emotion.

Final Thoughts

To wrap things up, a poem is like a single photo—a snapshot of emotions or experiences. Poetry, on the other hand, is the whole photo album—it includes many different poems and the creative process behind them.

We’ve learned that it’s not about choosing between one poem or the whole of poetry. Sometimes you’ll be captivated by the depth of a single poem, and other times you’ll be amazed by the variety within poetry.

It’s important to recognize when to savor the details of one poem and when to enjoy the diversity of poetry. Knowing how to appreciate each one can make your reading experience much richer.

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Comparing Two Poems: Essay Example

Poetry is a unique art form as it usually captures the feelings of a particular individual. Therefore, two poems with the same genre and similar themes can have substantial differences. On the other hand, verses that seem different can share striking resemblances. To compare and contrast two poems, this essay example will focus on the message they carry.

“The Negro Speaks of Rivers” is a poem written by Langston Hughes during the Harlem Renaissance. It was 1921, and the young Hughes was just adding his voice to the plight of the African Americans at the time. “We Wear the Mask” is a piece by the famous author and activist Laurence Dunbar. The lyrical poem was written twenty-five years before Hughes published “The Negro Speaks of Rivers.” By comparing two poems, this essay example will reveal both their similarities and differences.

These two poems were written in the period between the Civil War and the Civil Rights Movement. This period was characterized by deep emotions concerning the struggles of the African Americans. Each of these poems represents the poets’ feelings towards the struggles of the African Americans. “The Negro Speaks of Rivers” chronicles the speaker’s historical journey from Africa to the West. The speaker refers to African Americans, their history, and their heritage.

The poem captures this rich heritage albeit in a nostalgic manner. On the other hand, “We Wear the Mask” is a poem by one of the first African American writers to be accorded a national accolade for his work. Dunbar explores the coping mechanisms of the African Americans during their struggles. Both poems address issues that happen in the same period.

Dunbar’s poem was published at the turn of the century shortly after slavery was outlawed. This period was expected to be a victorious time for African Americans and everyone assumed that they were happy. “We Wear the Mask” disputes this idea and presents an argument that happiness among the African American population was a façade.

According to Dunbar, deep inside, African Americans have ‘torn and bleeding hearts’. The message in this poem is not direct and it is in line with the situation in the ground. When this poem was written, the fight for equal rights among African Americans had not started in earnest. Instead, the struggle for equal rights was just bubbling under the surface.

Dunbar’s poem hints at this discontent by claiming that African Americans were just masking their feelings. Dunbar digs deeper into the issue by claiming that most of the population at the time was hiding behind religion to avoid confronting the issues of inequality. In addition, the speaker accuses the African American population of misleading the rest of the population about their actual feelings.

Langston Hughes’ poem has a more melancholic tone. Hughes wrote “The Negro Speaks of Rivers” twenty-five years after Dunbar’s poem was written. Hughes’ poem uses a different approach to address the African American issues of the time. His poem highlights the pride of origin that African Americans have.

The speaker in this poem speaks proudly about his rich history and heritage and how it is closely connected to some mighty rivers around the world. Unlike Dunbar, Hughes does not hide the message of his poem. This is mostly because there was no need for indirect messages after the Civil Rights Movement had already taken shape. Hughes took time out of the equal rights struggles of the African Americans to reflect on this population’s prolific heritage.

By doing this, the poet was alluding to the fact that the Civil Rights Movement was a small hurdle for the population that had come so far. The message in Hughes’ poem is structurally different from that in Dunbar’s poem. Hughes is reassuring African Americans of their supremacy and the need to hold on to their mighty heritage while Dunbar is indirectly urging African Americans to do something about their veiled unhappiness.

The mask that Dunbar talks about hides a prolific history and heritage about the African Americans. On the other hand, Hughes reiterates the need for African Americans to hold on to their rich heritage. Hughes’ poem is also meant to remind the world that African Americans have contributed towards major civilizations around the world. For instance, the speaker reminds the readers that African Americans were part of the civilization that brought the pyramids.

Hughes’ point is that African Americans thrived through various civilizations around the world and the Civil Rights Movement is just another hurdle. The rest of the population at the time viewed the African American population as the recently freed slaves who were supposed to show gratitude. However, most people failed to put into consideration the fact that African Americans’ history predated slavery.

Dunbar’s poem is also structured in a manner that addresses African Americans and the rest of the population. Dunbar sends a call to action to African Americans although his message is not direct. On the other hand, Dunbar’s poem informs the rest of the population that the happiness they see among the African American population is not real. While Hughes’ message is assertive and direct, Dunbar’s message is provocative and indirect.

One of the most striking similarities between these two poems is the fact that they use a central metaphor. Hughes’ poem uses the River as the main metaphor. In addition, he includes it in the poem’s title. The river is used to show the passage of time in “The Negro Speaks of Rivers”. African Americans have come a long way and triumphed over several forms of adversity. However, just like rivers flow eternally, African Americans have kept on flowing.

The metaphor of the river is also used to show that the existence of African Americans will outlast many things. At one point in the poem, the speaker says that he has seen rivers change their appearance depending on the time. This signifies that a time will come when the outlook of African Americans will be favorable. Dunbar’s poem uses the mask as the main metaphor.

The poet also boldly introduces this metaphor in the poem’s first line. The mask refers to the façade that prevents people from seeing the discontent of the African American population. According to Dunbar, African Americans use masks to hide their actual feelings and avoid provoking those who oppress them. The mask is a strong metaphor that also lends itself to the poem’s title. Use of metaphors gives these two poems a valuable outlook and helps the poets pass their strong messages to their audience.

“The Negro Speaks of Rivers” and “We Wear the Mask” are two poems that address the plight of the African Americans albeit from different perspectives. The wishes of the two poets materialized with the success of the Civil Rights Movement. Both poets reckon that the struggle of African Americans is an ongoing process.

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Home — Essay Samples — Literature — Beowulf — Comparing and Contrasting Beowulf: The Epic Poem and the Movie Adaptation

Comparing and Contrasting Beowulf: The Epic Poem and The Movie Adaptation

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Similarities and differences, characterization and themes, language and setting.

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‘Disability Intimacy’ starts a long-overdue conversation

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Book Review

Disability Intimacy: Essays on Love, Care, and Desire

Edited by Alice Wong Vintage: 384 pages, $19 If you buy books linked on our site, The Times may earn a commission from Bookshop.org , whose fees support independent bookstores.

To whom does desire belong? How about love and care? These are the questions at the heart of “Disability Intimacy,” a new book of essays and ephemera collected by the San Francisco activist Alice Wong, and the answers are painfully obvious: Those human experiences are for everyone. What’s less obvious to many, and acutely painful to some of us, is that those questions needed to be asked and answered. This book needed to exist.

It is a longstanding and unfortunate truth that disabled people are often seen as undesirable and even as unable to experience desire, love or care in the ways that all individuals do. As disabled people we understand how false that notion is and how harmful it can be. Giving and receiving love — physically or verbally, in a context of romance, sex, close friendship or family bonds — is as much our right to experience as anyone else’s, and our stories of intimate connections and losses are worth telling as much as anyone else’s. So I commend Wong and the collection’s 40 contributors for taking on this topic.

“Disability Intimacy” is not an extended lament. Many of its standouts are downright celebratory, as well as lessons in engaging storytelling. “The Last Walk” by Melissa Hung explores the grief of losing a beloved friend while simultaneously cherishing their last moments together and the sling bag that became a physical memory of her friend Judy. In “Hi, Are You Single?” by Ryan J. Haddad, one of the standout poems in the collection, Haddad explores the messy, awkward and welcome way a hookup can support their collective desire for pleasure.

Having contributed to and read Wong’s anthology from 2020, “Disability Visibility,” I thought I knew what I was getting into, but the two collections are quite different. It was disappointing to come away from “Intimacy” without a theme as clear as that of “Visibility,” perhaps in part reflecting the older collection’s more straightforward subject matter. Love is complicated. And 40 contributors is a lot.

As one of the first of its kind to attempt what it is attempting, “Disability Intimacy” has the unfair expectation to be everything for everyone, to answer the question of desirability for an entire community that is not monolithic. Wong refuses to shut out the “other” in favor of the conventionally digestible. This collection shines in its entries that take big swings, discussing topics such as BDSM, queer love and intergenerational relationships — and even laziness, a concept that one essay reclaims and celebrates as a purposeful act of rest, epitomized by the love between a father and son who connect over turning out the light and climbing in bed to take naps. In these pieces, the authors seem to be living as unapologetically on the page as they do in life.

Tucked among the essays, readers will be delighted to also discover poems and even a conversation between two disabled people of color about redefining intimacy for themselves, ableism and what they refuse to call intimacy. It’s a refreshing and effective shakeup of the anthology form. It’s also a lot to take in.

I had to reread certain sections as some of the points got lost along the way, and sometimes I found myself mentally rearranging the book because entries felt misplaced. Although many of the pieces could have been shorter, none should have been left out. Might the cause have been better served with these many entries divided between two volumes? This could have encouraged the reader to sit with the thoughts and feelings that come up rather than rushing onward.

There is often a lot of pressure placed on books of this kind that amplify marginalized voices or tackle taboo topics, but remember: Sometimes a book does the world a service not because it is encyclopedic or full of answers but simply because it raises questions and starts conversations.

In the end, what we readers ask of ourselves is what counts. Whom do we allow ourselves to desire, and why? Toward whose stories do we gravitate, and whom do we leave in the margins? How will we expand our own worldview?

Keah Brown , a journalist, activist, actor and screenwriter, is the author of “ The Pretty One ” and “ The Secret Summer Promise .”

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How Pew Research Center will report on generations moving forward

Journalists, researchers and the public often look at society through the lens of generation, using terms like Millennial or Gen Z to describe groups of similarly aged people. This approach can help readers see themselves in the data and assess where we are and where we’re headed as a country.

Pew Research Center has been at the forefront of generational research over the years, telling the story of Millennials as they came of age politically and as they moved more firmly into adult life . In recent years, we’ve also been eager to learn about Gen Z as the leading edge of this generation moves into adulthood.

But generational research has become a crowded arena. The field has been flooded with content that’s often sold as research but is more like clickbait or marketing mythology. There’s also been a growing chorus of criticism about generational research and generational labels in particular.

Recently, as we were preparing to embark on a major research project related to Gen Z, we decided to take a step back and consider how we can study generations in a way that aligns with our values of accuracy, rigor and providing a foundation of facts that enriches the public dialogue.

A typical generation spans 15 to 18 years. As many critics of generational research point out, there is great diversity of thought, experience and behavior within generations.

We set out on a yearlong process of assessing the landscape of generational research. We spoke with experts from outside Pew Research Center, including those who have been publicly critical of our generational analysis, to get their take on the pros and cons of this type of work. We invested in methodological testing to determine whether we could compare findings from our earlier telephone surveys to the online ones we’re conducting now. And we experimented with higher-level statistical analyses that would allow us to isolate the effect of generation.

What emerged from this process was a set of clear guidelines that will help frame our approach going forward. Many of these are principles we’ve always adhered to , but others will require us to change the way we’ve been doing things in recent years.

Here’s a short overview of how we’ll approach generational research in the future:

We’ll only do generational analysis when we have historical data that allows us to compare generations at similar stages of life. When comparing generations, it’s crucial to control for age. In other words, researchers need to look at each generation or age cohort at a similar point in the life cycle. (“Age cohort” is a fancy way of referring to a group of people who were born around the same time.)

When doing this kind of research, the question isn’t whether young adults today are different from middle-aged or older adults today. The question is whether young adults today are different from young adults at some specific point in the past.

To answer this question, it’s necessary to have data that’s been collected over a considerable amount of time – think decades. Standard surveys don’t allow for this type of analysis. We can look at differences across age groups, but we can’t compare age groups over time.

Another complication is that the surveys we conducted 20 or 30 years ago aren’t usually comparable enough to the surveys we’re doing today. Our earlier surveys were done over the phone, and we’ve since transitioned to our nationally representative online survey panel , the American Trends Panel . Our internal testing showed that on many topics, respondents answer questions differently depending on the way they’re being interviewed. So we can’t use most of our surveys from the late 1980s and early 2000s to compare Gen Z with Millennials and Gen Xers at a similar stage of life.

This means that most generational analysis we do will use datasets that have employed similar methodologies over a long period of time, such as surveys from the U.S. Census Bureau. A good example is our 2020 report on Millennial families , which used census data going back to the late 1960s. The report showed that Millennials are marrying and forming families at a much different pace than the generations that came before them.

Even when we have historical data, we will attempt to control for other factors beyond age in making generational comparisons. If we accept that there are real differences across generations, we’re basically saying that people who were born around the same time share certain attitudes or beliefs – and that their views have been influenced by external forces that uniquely shaped them during their formative years. Those forces may have been social changes, economic circumstances, technological advances or political movements.

When we see that younger adults have different views than their older counterparts, it may be driven by their demographic traits rather than the fact that they belong to a particular generation.

The tricky part is isolating those forces from events or circumstances that have affected all age groups, not just one generation. These are often called “period effects.” An example of a period effect is the Watergate scandal, which drove down trust in government among all age groups. Differences in trust across age groups in the wake of Watergate shouldn’t be attributed to the outsize impact that event had on one age group or another, because the change occurred across the board.

Changing demographics also may play a role in patterns that might at first seem like generational differences. We know that the United States has become more racially and ethnically diverse in recent decades, and that race and ethnicity are linked with certain key social and political views. When we see that younger adults have different views than their older counterparts, it may be driven by their demographic traits rather than the fact that they belong to a particular generation.

Controlling for these factors can involve complicated statistical analysis that helps determine whether the differences we see across age groups are indeed due to generation or not. This additional step adds rigor to the process. Unfortunately, it’s often absent from current discussions about Gen Z, Millennials and other generations.

When we can’t do generational analysis, we still see value in looking at differences by age and will do so where it makes sense. Age is one of the most common predictors of differences in attitudes and behaviors. And even if age gaps aren’t rooted in generational differences, they can still be illuminating. They help us understand how people across the age spectrum are responding to key trends, technological breakthroughs and historical events.

Each stage of life comes with a unique set of experiences. Young adults are often at the leading edge of changing attitudes on emerging social trends. Take views on same-sex marriage , for example, or attitudes about gender identity .

Many middle-aged adults, in turn, face the challenge of raising children while also providing care and support to their aging parents. And older adults have their own obstacles and opportunities. All of these stories – rooted in the life cycle, not in generations – are important and compelling, and we can tell them by analyzing our surveys at any given point in time.

When we do have the data to study groups of similarly aged people over time, we won’t always default to using the standard generational definitions and labels. While generational labels are simple and catchy, there are other ways to analyze age cohorts. For example, some observers have suggested grouping people by the decade in which they were born. This would create narrower cohorts in which the members may share more in common. People could also be grouped relative to their age during key historical events (such as the Great Recession or the COVID-19 pandemic) or technological innovations (like the invention of the iPhone).

By choosing not to use the standard generational labels when they’re not appropriate, we can avoid reinforcing harmful stereotypes or oversimplifying people’s complex lived experiences.

Existing generational definitions also may be too broad and arbitrary to capture differences that exist among narrower cohorts. A typical generation spans 15 to 18 years. As many critics of generational research point out, there is great diversity of thought, experience and behavior within generations. The key is to pick a lens that’s most appropriate for the research question that’s being studied. If we’re looking at political views and how they’ve shifted over time, for example, we might group people together according to the first presidential election in which they were eligible to vote.

With these considerations in mind, our audiences should not expect to see a lot of new research coming out of Pew Research Center that uses the generational lens. We’ll only talk about generations when it adds value, advances important national debates and highlights meaningful societal trends.

• Age & Generations
• Demographic Research
• Generation X
• Generation Z
• Generations
• Greatest Generation
• Methodological Research
• Millennials
• Silent Generation

Kim Parker is director of social trends research at Pew Research Center

How Teens and Parents Approach Screen Time

Who are you the art and science of measuring identity, u.s. centenarian population is projected to quadruple over the next 30 years, older workers are growing in number and earning higher wages, teens, social media and technology 2023, most popular.

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Taylor Swift’s Tortured Poetry

By Amanda Petrusich

In the past several months, Taylor Swift has become culturally ubiquitous in a way that feels nearly terrifying. Superstardom tends to turn normal people into cartoons, projections, gods, monsters. Swift has been inching toward some sort of tipping point for a while. The most recent catalyst was, in part, love: in the midst of her record-breaking Eras Tour , Swift, who is thirty-four, began dating Travis Kelce , a tight end for the Kansas City Chiefs. Whenever Swift appeared at one of Kelce’s games, the broadcasters whipped their extra-high-definition cameras toward her, sending legions of amateur lip-readers scrambling for their phones. I’m paid to give legibility to such things, and even I couldn’t help but think that we were crossing some sort of Rubicon with regard to our collective sanity. Swift was everywhere, beheld by everyone. She is one of the most streamed artists of all time on Spotify; Billboard reported that, at one point, she accounted for seven per cent of all vinyl sales in the U.S. Swift is a capable and hugely savvy businesswoman (a billionaire, in fact), yet I began to worry about her in a nearly maternal way: How could anyone survive that sort of scrutiny and retain her humanity? Detaching from reality can be lethal for a pop star, particularly one known for her Everygirl candor. I thought of the oft-memed bit from “Arrested Development,” in which Lucille Bluth, the oblivious matriarch, asks, “I mean, it’s one banana, Michael—what could it cost? Ten dollars?”

This month, Swift released “The Tortured Poets Department,” her eleventh studio album. She has now reached a level of virtuosity within her genre that feels nearly immutable—she’s too practiced, too masterly, to swing and really miss. But “The Tortured Poets Department” suffers from being too long (two hours after it was released, Swift announced a second disk, bringing the total number of tracks to thirty-one) and too familiar. Swift co-wrote most of the record with Jack Antonoff and with Aaron Dessner. (The two producers have oppositional melodic sensibilities: Antonoff sharpens Swift; Dessner softens her.) The new songs suggest that, after a decade, her partnership with Antonoff has perhaps run its course. The tracks written with Dessner are gentler, more tender, and more surprising. The raw and stirring “Robin” seems to address a child—either a very young Swift (the album contains several references to her hijacked youth, including “The Manuscript,” a sombre song about a relationship with an older man), or maybe a future son or daughter.

“The Tortured Poets Department” was released following the end of Swift’s six-year relationship with the actor Joe Alwyn, and the album is mostly about the utter unreliability of love—how bonkers it is that we build our entire lives around a feeling that can simply dissipate. “You said I’m the love of your life / About a million times,” Swift sings on “Loml,” a wrenching piano ballad. “You shit-talked me under the table, talking rings and talking cradles.” Shortly after Swift and Alwyn split, she reportedly had a fling with Matty Healy , the front man for the British rock band the 1975. (“I took the miracle move-on drug / The effects were temporary,” she sings on “Fortnight.”) Healy is a provocateur, prone to making loutish jokes; onstage, he smokes, eats raw steak, and makes out with strangers. The rumored relationship sent Swifties into spasms of outrage, and revealed the unusual extent to which Swift is beholden to her fans. She has encouraged and nurtured a parasocial affection (at times she nearly demanded it: inviting fans to her home, baking them cookies), and she now has to contend with their sense of ownership over her life. On “But Daddy I Love Him,” she scornfully chastises the “judgmental creeps” who relentlessly hounded her about her love life: “I’d rather burn my whole life down / Than listen to one more second of all this bitching and moaning.” (She saves the nastiest barb for the final verse: “All the wine moms are still holding out.”) Regardless, things with Healy ended fast, and, a few months later, she did the most wholesome thing possible: she started dating a football player whose team would go on to win the Super Bowl.

Quite a few of the album’s lyrics seem to evoke Healy: “You’re not Dylan Thomas / I’m not Patti Smith / This ain’t the Chelsea Hotel / We’re modern idiots,” Swift sings on the title track, a shimmering song about broken people clinging to each other. I like that line—it suggests self-awareness—but it’s followed by one of the weirdest verses of Swift’s career: “You smoked then ate seven bars of chocolate / We declared Charlie Puth should be a bigger artist / I scratch your head, you fall asleep / Like a tattooed golden retriever.” Other lyrics lack Swift’s signature precision: “At dinner you take my ring off my middle finger and put it on the one people put wedding rings on,” she sings. Even the greatest poets whiff a phrase now and then, but a lot of the language on the record is either incoherent (“I was a functioning alcoholic till nobody noticed my new aesthetic”) or just generally bewildering (“Florida is one hell of a drug”). My favorite lyrics are the simplest, and are delivered with a kind of exhausted calm. On “Down Bad,” a woozy song about feeling like shit, Swift admits defeat: “Now I’m down bad, crying at the gym / Everything comes out teen-age petulance / Fuck it if I can’t have him.” Feel you, dude.

Each of Swift’s records has a distinct visual component—this is more or less the premise of the Eras Tour . “The Tortured Poets Department” is preoccupied with writerly accoutrements, but the vibe is ultimately more high-end stationery store than musty rare-books room. Initially, the title seemed as if it might be a smirking reference to Joe Alwyn (he once joked about being part of a WhatsApp group called the Tortured Man Club). But I find that the phrase works well as a summation of Swift’s entire self-conception. She has always made a big deal about her pain being generative. “This writer is of the firm belief that our tears become holy in the form of ink on the page,” she wrote on Instagram. She has talked about this album as if the songs were mere monuments to her suffering: “Once we have spoken our saddest story, we can be free of it.”

An unusual number of Swift’s songs portray love as combative, perhaps because she is so prone to working from a place of wounded longing. On “Better Than Revenge,” a song she wrote at eighteen, Swift sings about art as a useful weapon, a way to punish anyone who does her dirty: “She thinks I’m psycho / ’Cause I like to rhyme her name with things.” It’s a funny lyric, but, by Swift’s current age, most people understand that love isn’t about winning. (Art isn’t, either.) Yet, in Swift’s universe, love is often a battlefield. On “Who’s Afraid of Little Old Me?,” she catalogues the ways in which fame can pervert and destroy a person: “I was tame, I was gentle, till the circus life made me mean,” she sings. She is paranoid, wild-eyed: “Tell me everything is not about me / But what if it is ?” (After the year Swift has had, she’s not wrong to ask.) The song itself is so tightly produced that it doesn’t sound dangerous. But, midway through, her voice briefly goes feral. I found the moment thrilling, which is maybe part of the problem.

In the weeks before “The Tortured Poets Department” was released, it seemed as though a backlash was inevitable. Swift’s lyrics are often focussed on her perseverance against all odds, but, these days, she is too omnipresent and powerful to make a very convincing underdog. Still, interest in Swift has yet to diminish or fully sour. She announced the album at the Grammys, in February, as she was accepting the award for Best Pop Vocal Album, for her previous record, “Midnights.” I found her speech so profoundly mercenary it was sort of funny. “I want to say thank you to the fans by telling you a secret that I’ve been keeping from you for the last two years, which is that my brand-new album comes out April 19th,” Swift said. “I’m gonna go and post the cover.”

As I’ve grown older, I’ve mostly stopped thinking about art and commerce as being fundamentally at odds. But there are times when the rapaciousness of our current pop stars seems grasping and ugly. I’m not saying that pop music needs to be ideologically pure—it wouldn’t be much fun if it were—but maybe it’s time to cool it a little with the commercials? A couple of days before the album’s release, Swift unveiled a library-esque display at the Grove, a shopping mall in Los Angeles. It included several pages of typewritten lyrics on faux aged paper, arranged as though they had recently been tugged from the platen of a Smith Corona. (The word “talisman” was misspelled on one, to the delight of the haters.) The Spotify logo was featured prominently at the bottom of each page. Once again, I laughed. What is the point of all that money if it doesn’t buy you freedom from corporate branding? For a million reasons—her adoption of the “poet” persona; her already unprecedented streaming numbers—such an egregious display of sponsorship was worse than just incongruous. It was, as they say, cringe.

Among the other clues Swift doled out were five exclusive playlists for Apple Music (sorry, Spotify!), comprising her own songs and organized according to the five stages of grief: denial, anger, bargaining, depression, and acceptance. At first, I thought the playlists were just another bit of overwrought marketing, but the more I listened to “The Tortured Poets Department” the more germane the concept felt. Anyone who has grieved knows that these categories are not a ladder you climb toward peace: it is possible, instead, to feel all of them at once, briefly or forever. Each stage is evident on “The Tortured Poets Department.” Sometimes they oppose one another: Swift is cocky and self-loathing, tough and vulnerable, totally fine and completely destroyed. She is free, but trapped. Dominant, powerless. She wants this, but she doesn’t. Those sorts of contradictions can be dizzying, but, in the end, they’re also the last things keeping her human. ♦

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