comparative poem essay conclusion

Dec 23, 2020
18 min read

CSEC English B: A Guide to Writing Poetry Essays

Updated: Jun 1, 2021

If you're reading this, chances are, you've been subjected to the unfortunate torture that is the English B (comparative) poetry essay. That's right- you've been allotted around 30 minutes to write on two of the twenty poems CSEC prescribed for your study over two years. Fun , right?

All jokes aside, we're all going to face a poetry essay at some point or another, whether practice assigned at school or the 'real McCoy' on the exam.

Writing poetry essays can seem daunting though- you're presented with a three part question demanding that you satisfy all necessary requirements to attain your maximum 25 marks. And on top of that, no matter how hard you try to clear your mind, it can be very difficult to arrange your thoughts well enough to put together an essay that can convince your teacher that you deserve at least a passing grade.

Well, worry no more! One of the main reasons we make silly slip-ups in our essays is because we don't necessarily know what it means to write a sufficient essay, and therefore don't have a small plan in our minds to which we can abide calmly during those nerve-wracking minutes. Hopefully after giving this guide a quick read, you'll understand more about how to tackle a question, the parts of an essay, what you want to try to achieve in each of those parts, and making an essay that stands out .

Step 1: The question

Poetry essay questions come in two varieties :

1) One where the poems you are to write on are named, for example:

“The poems ‘A Stone’s Throw’ and ‘The Woman Speaks to the Man Who has Employed her Son’ are about how women are treated.” For EACH poem:

(a) Briefly describe what is taking place.

(b) Discuss the speaker’s attitude to the woman.

2) One where the poems you are to write on are unnamed, and you are to choose two poems from the syllabus that fit a certain theme provided by the question. For example:

Choose TWO poems which you have studied that focus on a significant experience or event. For EACH poem:

(a) Describe the experience or event.

(b) Discuss the speaker’s attitude to this experience or event.

(Both questions are taken from the January 2013 English B Paper 2)

In every CSEC poetry question you get, parts one and two of the question will ask you to describe, discuss or explain some aspect of the poem. The third part of the question will always ask you to discuss a poetic/literary device used in the poem.

I know that this may be repetitive to you, but you should always read both questions through very carefully. It would be very unpleasant to begin writing on a question only to glance back at the paper and realize that you mistook a crucial detail , or even worse- that you can't fully answer the question you chose (this only applies to the actual exam, where you will choose between the two types of questions).

The question literally gives you the instructions for your essay, so they should not be overlooked .

Apart from ensuring that you don't mistake any details, reading the question also gives you the time to plan your essay mentally. The first sentence of the question will give you a guide as to what the theme of your essay will be, and what information you will include in the introductory paragraph. The instant that you read the question, you will be able to think about answers to each of the three parts of the question on which you will expound throughout the essay.

Step 2: The Introductory Paragraph (5 sentences)

Depending on the type of writer you are, you may prefer to write a separate plan for your essay before beginning writing. If you believe that you write better and more efficiently after planning out your essay, then, by all means, do your prior planning. A little time spent before arranging your thoughts is worth it, if it helps you.

A good plan can take the form of a few bullet points written loosely on a sheet of paper, where you note key concepts surrounding each of the parts of the question. For example, planning a first body paragraph for the question on the treatment of women could look like this:

a) A Stone's Throw - the woman in question is being abused in the name of justice by a group of ravenous men, who want to punish her for alleged promiscuity

The Woman Speaks to the Man who Has Employed Her Son - the mother, despite having cared for her son and placing no limits on his potential, has to accept being betrayed by this very son, who now seeks a father figure in a man offering him work as part of a gang

Those are brief summaries, and it would be expected that you go into more detail within the body paragraph.

While some may prefer to plan their essays, others (such as myself) prefer to just jump right into the essay and keep themselves in check while writing.

The introductory paragraph is a very important start, and can even help you in planning the essay overall. Let us first consider the parts of the introductory paragraph of a poetry essay:

As shown above, the introductory paragraph of a poetry essay will contain five basic parts: the hook, stating poems, and question parts 1, 2 and 3.

The Hook is one of the best ways to make your essay stand out. It is a statement that should be based on the theme of the question chosen. So, for question 1 from the past paper, the theme would be the treatment of women . Question 2's theme would be significance experience or events .

Making an interesting general statement can seem very difficult at first, but it's really about either trying to 'sound smart' or expressing your thoughts on the theme (just make sure that you don't use any personal pronouns like 'I' and 'we.' For example, look at the following hooks based on question 2:

"Each unique experience, whether triggered by disruptive forces such as nature, contextual obligation and temporal necessity influence momentary revelations described in most of the poems prescribed by the CSEC syllabus."

(Note that although the hook is important for distinguishing your essay, you should not take too long to write it, since you still have 4 and a half paragraphs to write afterwards.)

After the hook, you must state the poems you have chosen (or the poems provided by the question) in a sentence that also compares the two. Maybe a bit complicated? Look at the following example for question 2:

"The poems “South” by Kamau Brathwaite and “An African Thunderstorm” by David Rubadiri both include vivid descriptions of significant experiences in the life of each speaker."

See? In this sentence, you just want to mention both of the poems you will be comparing. It connects what you said in your hook to the rest of the essay.

Question Parts 1, 2 and 3 simply involve you summarizing how you will answer each part of the question in the rest of the essay. Maybe in previous grades, you've heard of the thesis statement, where teachers would expect a simple sentence like "this essay will..." and then you would restate the question.

However, at this higher level of writing (yes, you are at a higher academic level now, yay), teachers want something a little less... bland.

For each part of the question, it is suggested that you write at least one sentence outlining your answer (in relation to BOTH poems). So, part 1 of question 2 asks you to "Describe the experience or event." So, your sentence would give a brief description of the experience or event in both poems you chose (in this case, we chose "South" and "An African Thunderstorm"):

"Brathwaite illustrates the incident of migration in “South” through a homesick islander while Rubadiri presents a more concrete experience of the destructive force of nature (a thunderstorm) through a member of an African village."

(Using the last names of the poets can be a good way to refer to the poems during comparisons)

Notice that only a few words are used to describe the experience in each poem, since you are only summarizing what you will discuss in a whole paragraph later.

Comparing the poems like that in the sentence can be useful when you want to write efficient sentences.

The same thing is done for question parts 2 and 3:

"The persona of “South” is averse to his new surroundings after leaving his homeland, and feels oppressed by a strange and cold environment , while the speaker of “An African Thunderstorm” along with the members of his village react with fear towards the cloud of impending doom. "

"Brathwaite employs personification to convey the impact of migration on the persona. Rubadiri uses repetition to communicate the effect of the experience of the thunderstorm."

Aaaand just like that, you've completed your introductory paragraph! The best thing about introductory paragraphs like this is that they help you plan and think about the answers to all the questions before actually expounding on each point. Let's look at the combined introductory paragraph:

"The length of the average human’s lifetime encompasses the interwoven intricacies of several experiences which influence the internal mindscape of the person in question as well as those around them. Each unique experience, whether triggered by disruptive forces such as nature, contextual obligation and temporal necessity influence momentary revelations described in most of the poems prescribed by the CSEC syllabus. The poems “South” by Kamau Brathwaite and “An African Thunderstorm” by David Rubadiri both include vivid descriptions of significant experiences in the life of each speaker. Brathwaite illustrates the incident of migration in “South” through a homesick islander while Rubadiri presents a more concrete experience of the destructive force of nature (a thunderstorm) through a member of an African village. The persona of “South” is averse to his new surroundings after leaving his homeland, and feels oppressed by a strange and cold environment, while the speaker of “An African Thunderstorm” along with the members of his village react with fear towards the cloud of impending doom. Brathwaite employs personification to convey the impact of migration on the persona. Rubadiri uses repetition to communicate the effect of the experience of the thunderstorm."

Step 3: The Body Paragraphs

You are probably already familiar with the three parts of a paragraph: the topic sentence, body sentences and the concluding sentence. However, in a poetry essay, you are comparing two poems, and you are doing that while answering a question in 3 parts. As a result, your paragraphs may be a bit different.

Instead of that model, it may be useful to think of each paragraph as composed of different chunks of points, examples and explanations for each poem. I like to think of each paragraph as containing two paragraphs within it, a separate topic sentence for each poem :

Overall Topic Sentence (Optional)- This sentence gives a general overview of both poems. This is optional though, as it is more efficient to simply start with the topic sentence for the first poem.

Look at the following examples for parts 1 and 2 (an overall topic sentence is not very applicable to question part 3 ):

Part 1: "The poems both investigate very distinctive experiences in the lives of the personas, each one important to the speaker in conflicting ways."

Part 2: "Each persona finds himself in the midst of a strange and somewhat threatening circumstance, and their own reactions as well as those of the people around them reflect the severity of what is occurring."

Poem Topic Sentences

The poem topic sentence should be a specific connection of the poem to the question, and can be similar to what was written in the introductory paragraph. Each poem topic sentence should be the start of what you will write on that particular poem, so your body paragraph will be like two paragraphs in one.

For example, for question 2 part 1, the topic sentences for the two poems selected could be:

"Firstly, the persona of “South” explores the experience of migration and the impact of abandoning his homeland."

"On the other hand, the persona of “An African Thunderstorm” finds himself and his village threatened by an immensely powerful thunderstorm. The poem explores this terrifying experience by relating in evocative detail the destructive power of the storm."

Note: Using comparative phrases such as 'on the other hand,' 'contrarily,' 'by comparison,' and 'similar to' can help to better connect the content of your essay.

The topic sentences are only meant to introduce the content (body sentences) of your paragraph, so your description of South would follow the topic sentence concerning South, and the same would go for An African Thunderstorm.

Body Sentences (Point, Example, Explanation)

The body sentences of your paragraphs are where you get to contribute the real content of your essay. When writing your body sentences, you should try to follow the structure Point, Example, Explanation, abbreviated as P.E.E., (if you're into that, I guess you can remember it like that).

Point- This is where you state an aspect of your answer to the question. So, for part 1, you would 'describe the event or experience.'

Example- Use an example (a quote) from the poem to support your point.

Explanation- Explain your point more and show how your example supports your point.

These three parts can be in three separate sentences, in one sentence, or even just two. You can even mix up the order of the parts to how you see fit. How much you write is fully dependent on w hat you find sufficient for answering the question.

Look at the following example of a completed body paragraph (the body sentences are underlined and colour-coded, red for point , blue for example and green for explanation ):

"Firstly, the persona of “South” explores the experience of migration and the impact of abandoning his homeland. The speaker leaves his island home, a picturesque landscape of shimmering ocean waves and sand , as shown in “ I have travelled: moved far from the beaches.” He has gone to “ stoniest cities,” towns of stony foundations and even stonier people, contrary to the warm people he remembers from his home. The northern lands he traversed were plagued with unpleasant weather conditions, like “ slanting sleet and… hail.” Travelling to the “ saltless savannas” of Africa, he noticed they were completely devoid of the salty ocean of his homeland which he misses so dearly. Now, he lives in a house amongst the trees in the forest “where the shadows oppress [him]" and the darkness around him reflects the longing for his island home. In the forest, there is only the rain and the river, which, to him, can never substitute for the boundless opportunity and joy of the sea. Leaving his home has brought him to several places in the northern world; each a stark contrast to the one place he feels he belongs. Now, he settles in a place that lacks the ocean and its distinct character, and the “tepid taste of the river” cannot satisfy him in its ordinary and saltless nature. On the other hand, the persona of “ An African Thunderstorm” finds himself and his village threatened by an immensely powerful thunderstorm. The poem explores this terrifying experience by relating in evocative detail the destructive power of the storm. The clouds are said to “ come hurrying with the wind,” denoting the speed with which the winds propel them towards the settlement. “ Like a madman chasing nothing,” the wind darts and turns, whirling about with no definite direction or purpose, bound to cause damage to the things around it. The persona sees the wind tossing things up as it moves by at breakneck speeds, carrying the “ pregnant clouds” (filled with rain and other hallmarks of meteorological terror) on its back. The “trees bend to let [the wind] pass” as it whistles by, showing the sheer force of its movement- even forcing the strong, tall-standing trees to bend as though prostrating themselves before the wind’s undeniable power. Around the persona in the village, the wind sends the clothes of the people flying off, waving in the wind like “ tattered flags.” Blinding flashes of lightning strike in the distance followed by the low rumble of thunder, a chaotic image of the imminent tempest. The “ pelting march of the storm” is continuous and seemingly unstoppable as it approaches the village, communicating the idea of doom associated with this experience."

Note that in the paragraph above,a separate sentence explanation is not as necessary since you are simply describing the poems.

Step 4: Concluding Paragraph

Sometimes, writing a concluding paragraph can seem like the most difficult part, because you don't have a clear path as to what to write . In these cases, for the sake of efficiency, you can think of the concluding paragraph as having 4 parts:

General Statement on the Theme or the Poems- This can be similar to your hook

Summary Sentence of Body Paragraph 1

Summary Sentence of Body Paragraph 2

Summary Sentence of Body Paragraph 3

For example:

"In conclusion, experiences define both the premise and particularities of human life. Distinct significant events create both momentary and long-lasting impacts to the person in question as well as those around them. The poems “South” and “An African Thunderstorm” both present a significant experience in the lives of the personas. While the speaker’s reaction to migration in “South” is in phases, beginning with a denial of oppressive memory followed by acceptance, the people around the speaker in “An African Thunderstorm” react with both fear and seemingly malapropos joy to the imminent thunderstorm. Brathwaite implements personification to relay the impact of external migration on the persona. Rubadiri employs repetition to convey the thunderstorm’s impact on the environment, and therefore rationalizes the fear of the members of the village."

(Starting with "In conclusion" is very common, so you can usually omit such clichéd connectors)

Now, let's take a look at the completed essay:

The length of the average human’s lifetime encompasses the interwoven intricacies of several experiences which influence the internal mindscape of the person in question as well as those around them. Each unique experience, whether triggered by disruptive forces such as nature, contextual obligation and temporal necessity influence momentary revelations described in most of the poems prescribed by the CSEC syllabus. The poems “South” by Kamau Brathwaite and “An African Thunderstorm” by David Rubadiri both include vivid descriptions of significant experiences in the life of each speaker. Brathwaite illustrates the incident of migration in “South” through a homesick islander while Rubadiri presents a more concrete experience of the destructive force of nature (a thunderstorm) through a member of an African village. The persona of “South” is averse to his new surroundings after leaving his homeland, and feels oppressed by a strange and cold environment, while the speaker of “An African Thunderstorm” along with the members of his village react with fear towards the cloud of impending doom. Brathwaite employs personification to convey the impact of migration on the persona. Rubadiri uses repetition to communicate the effect of the experience of the thunderstorm.

Firstly, the persona of “South” explores the experience of migration and the impact of abandoning his homeland. The speaker leaves his island home, a picturesque landscape of shimmering ocean waves and sand, as shown in “ I have travelled: moved far from the beaches.” He has gone to “ stoniest cities,” towns of stony foundations and even stonier people, contrary to the warm people he remembers from his home. The northern lands he traversed were plagued with unpleasant weather conditions, like “ slanting sleet and… hail.” Travelling to the “ saltless savannas” of Africa, he noticed they were completely devoid of the salty ocean of his homeland which he misses so dearly. Now, he lives in a house amongst the trees in the forest “where the shadows oppress [him]" and the darkness around him reflects the longing for his island home. In the forest, there is only the rain and the river, which, to him, can never substitute for the boundless opportunity and joy of the sea. Leaving his home has brought him to several places in the northern world; each a stark contrast to the one place he feels he belongs. Now, he settles in a place that lacks the ocean and its distinct character, and the “tepid taste of the river” cannot satisfy him in its ordinary and saltless nature. On the other hand, the persona of “ An African Thunderstorm” finds himself and his village threatened by an immensely powerful thunderstorm. The poem explores this terrifying experience by relating in evocative detail the destructive power of the storm. The clouds are said to “ come hurrying with the wind,” denoting the speed with which the winds propel them towards the settlement. “ Like a madman chasing nothing,” the wind darts and turns, whirling about with no definite direction or purpose, bound to cause damage to the things around it. The persona sees the wind tossing things up as it moves by at breakneck speeds, carrying the “ pregnant clouds” (filled with rain and other hallmarks of meteorological terror) on its back. The “trees bend to let [the wind] pass” as it whistles by, showing the sheer force of its movement- even forcing the strong, tall-standing trees to bend as though prostrating themselves before the wind’s undeniable power. Around the persona in the village, the wind sends the clothes of the people flying off, waving in the wind like “ tattered flags.” Blinding flashes of lightning strike in the distance followed by the low rumble of thunder, a chaotic image of the imminent tempest. The “ pelting march of the storm” is continuous and seemingly unstoppable as it approaches the village, communicating the idea of doom associated with this experience.

Each persona finds himself in the midst of a strange and somewhat threatening circumstance, and their own reactions as well as those of the people around them reflect the severity of what is occurring. In “South,” the persona’s reaction to migration can be divided into two distinct stages as related by the poem. His initial reaction is one in which he is ‘oppressed’ by the darkness of his surroundings and seems overtaken by an emotion of inextricable gloom. He is now in a place so unlike his island home, devoid of the ocean which he so loves and has lacked in all the places he has gone to since migrating. The only water he finds here is from the rain or the river, whose ‘tepid taste’ is unappealing and bland to him. In this initial reaction, he denies the river. He, who is “ born of the ocean,” cannot “ seek solace in rivers.” While the ocean has a characteristic ebb and flow, the river runs on ad infinitum, without end. Instead of representing limitless renewal like the ocean, the river instead flows on “like [his] longing” for his homeland. By denying the river, he also denies himself longing for home- even though it is the absence of things he cherishes and misses so dearly that creates his sense of gloom in the first place. His second reaction, shown in the volta of the poem, is when he accepts the river and decides to join it. The river, though constantly flowing like the persona’s longing, is both a conduit of humanity’s past events as well as a path to the sea. In accepting the river and in turn his longing, he also is able to tap into the historical archive of the river and recall his own childhood. Thus, the persona’s reaction is an abridged version of the Kubler-Ross Model of Grief- he begins with denial of the river and what it represents in reaction to being parted with his homeland, and ends with accepting its repertoire of past events (good and bad) to reminisce happily on visions from his childhood. He is able to return to the sea. On the other hand, the persona of “An African Thunderstorm” does not have a reaction illustrated by the poem to the experience of the thunderstorm. Instead, the poem focuses on the reactions of women and children in the village. The children are said to scream with delight in the ‘whirling wind,’ seemingly malapropos given the context of the destructive force of the storm. However, it makes sense as a puerile reaction to a novel experience. A child, not understanding the workings of the world as of yet, is most likely going to be delighted when confronted by something new, like strong winds or the beginnings of rain. The women and mothers of the village have a completely opposite reaction to the children. They instead “dart about… madly” showing a frenzied response to an obvious threat. They seem to be in a panic, either trying to complete preparations for the imminent storm, or, darting about aimlessly unsure of any way they can mitigate the its effects. The women’s babies are said to be “ clinging on their backs” reflecting a possible fear which they share with their mothers. The startling nature of the advent of something so undeniably malignant would be cause for babies to be fearful- and even if they were unable to comprehend it, they would be inheriting the evident fear displayed by their frantic mothers.

Finally, Brathwaite employs personification in “South” in order to convey the effect of migration on the persona. After migrating, the persona comes to live in a house in the forest. He specifically says “ the shadows oppress me,” giving the shadows a human-like quality in being able to abuse him in some way. The context of this line is based around his sojourns far away from the beaches of his home and now settling in a forest house. The shadows cast by trees in the canopy of a forest over the forest floor are likely what he refers to- so very different from the “ bright beaches” full of sunshine from his island home. However, he may also refer to shadows figuratively, and thus the line may take on a dual meaning. Shadows could also refer to recurrent memories of his home, in line with the common association of shadows with memories. So, having left the beaches he so dearly loves, he is stuck amidst the shadows of trees which only remind him of how far he has gone from where he belongs. The gloominess of this forest contradicts what he is used to, so it is as if he is being victimized by his own environment. In the same way, memories of his past, which only remind him of how incongruous the forest is to his island, subject him to constant longing and yearning for a return home. On the other hand, repetition is used in Rubadiri’s “An African Thunderstorm” to convey the impact of the experience of the thunderstorm on the environment. The line “trees bend to let it pass” is repeated twice throughout the poem and denotes the motion of the trees in relation to the wind. The trees lean and bend over when the wind passes by, shifting from its path due to its violence and strength. However, this also conveys a subservience in the trees in that they bend to allow the wind to pass. It is as though the trees are prostrating themselves before a powerful king as he strolls stately by. In the same way, the trees, tall and robust stalwarts of nature are bent forcefully by the mighty wind. Thus, the thunderstorm is shown to be immensely powerful, forcing everything around it to morph and change to accommodate its unhindered passage.

In conclusion, experiences define both the premise and particularities of human life. Distinct significant events create both momentary and long-lasting impacts to the person in question as well as those around them. The poems “South” and “An African Thunderstorm” both present a significant experience in the lives of the personas. While the speaker’s reaction to migration in “South” is in phases, beginning with a denial of oppressive memory followed by acceptance, the people around the speaker in “An African Thunderstorm” react with both fear and seemingly malapropos joy to the imminent thunderstorm. Brathwaite implements personification to relay the impact of external migration on the persona. Rubadiri employs repetition to convey the thunderstorm’s impact on the environment, and therefore rationalizes the fear of the members of the village.

Poetry comparison – How to write the perfect comparative essay

Students writing poetry comparison essays in classroom

When it comes to poetry analysis, Phil Beadle knows what examiners want to see – and he’s here to make sure you can help every student can deliver it

Poetry comparison – or writing a comparative essay about two poems, seen or unseen – is what students will eventually be assessed on when they come to sit the poetry analysis part of their English Literature GCSE .

It makes sense, therefore, to get some early poetry comparison practice in. See what the assessment criteria will be asking for in preparation for the day the stakes are high.

The first door we must knock on is the one housing the crone of context. What the GCSE mark schemes will eventually ask for is a well constructed, conceptual response replete with oodles of subject terminology and a fairly deep mention of context.

It asks students to do this, however, in very little time. It also ignores the fact that contextual analysis in poetry – aside from the obvious modern/ancient dichotomy – is a rich brew that requires, firstly, a lot of contextual knowledge.

Also ignored is the fact that the biographical takes you away from the textual. Since the value in poetry analysis is the study of how words and form align to construct beauty or its antithesis, mention of context inevitably takes you into the realms of history. This is a whole other subject.

Poetry comparison example

Resources: ‘My Last Duchess’, by Robert Browning ‘Remains’, by Simon Armitage

Context – theme

So, my recommendation to students when constructing the first paragraph of a poetry comparison essay is, if appropriate, to make glancing reference to the titles. Only go so far as linking these to comparison of theme. The contextual is in the thematic.

On comparing theme, they should make explicit reference to the word ‘subtextual’. This flags to the examiner that this is an answer rich in apposite use of subject terminology quite early on. For example:

“The subtextual theme of ‘My Last Duchess’ is that sexual jealousy can cause the empowered (in this case titled) men – or, indeed, just men – to so lose their minds. They become murderous. Whereas the subtextual theme of ‘Remains’ links to the ambiguities of the title.

“As a noun, it links to the idea of the human remains of the looter around which the narrative revolves. As a verb, all that is left is memory.

“Both these poems linger around ideas of memory. Both narrators are tortured. But whereas the narrator in ‘Remains’ realises that he is stained by his actions, the narrator of ‘My Last Duchess’ is oblivious and has learned altogether nothing.”

Structure – rhyme

This is as far as we might want to go with context. Otherwise, we are addressing the poetic with its opposite and scribing a list of dates.

So, the next paragraph should examine structure. We do so by using rhyme scheme and form as a way of unlocking it. First of all, say what you see and, where possible, state the form:

“‘My Last Duchess’ is from Browning’s collection of ‘Dramatic Monologues’. It’s a substantial block of text with one person, the Duke, speaking. ‘Remains’ is seven quatrain stanzas and a couplet.”

Analysis of rhyme scheme

This is simple to do and gives students an opportunity to shovel a bit of subject terminology the examiners’ way. Generally, it is best to leave this unanalysed however. This is because analysis of rhyme scheme is much richer in terms of unlocking structure.

“The rhyme scheme in ‘My Last Duchess’ is in perfect couplets. On the other hand, ‘Remains’ is the epitome of deliberate irregularity.

“If one is to take this as a symbolic suggestion of the degree of order in both dramatic and moral worlds, one might conclude that the world of the former poem is ordered and correct, whereas that of the latter is chaotic and incongruent.

“There is an irony in the Duke speaking in perfect rhyme, being able to rhyme “munificence” and “pretence” and then suggesting he has no “Skill in speech”. This suggests him to be the liar he is.

“But the more interesting approach is in ‘Remains’: three out of four of the end words in stanza one, in which the looters raid the bank, are repeated in stanza six, when the incident is replayed in the narrator’s memory.

“The fact that only three of the four words -“out”, “bank”, “not” – are repeated suggests the decay of memory. Internal rhyme also plays a part in the pivot between action turning into memory. The fourth stanza features eye rhymes ”agony”, “by”, “body” before going into near perfect rhyme that carries on into the next stanza, “lorry”, “really”.

“But “really” is an add on, a coda to the phrase “End of story”. It suggests that the death of the looter should have been the finish of the event, but that there is an unpleasant coda. This is the fact that memory ‘remains’.”

You can get a lot from a poem through examining the rhyme in detail.

Metre – stress

From there, we go onto a fairly stunted form of metrical analysis; and we do this precisely because others avoid it.

I am not suggesting that students attempt analysis of trochees and anapests. After all, to our modern untrained ears, the differences between stressed and unstressed syllables can be unfathomable.

But where there is obvious metric change, we take this as a signal from the poet to pay special attention to this line (and to analyse it).

“ Metrically, ‘My Last Duchess’ appears to be in tetrameter with the odd substitution, “I call”. This, again, might be taken to suggest the narrator’s level of control over his circumstances.

“ The metre in ‘Remains’ is used to create specific effects. It is broadly irregular except in stanzas one, three and six (even, event, recall) where it goes into tetrameter.

“ The substitutions on “Sleep” and “Dream”, however, give a jarring effect, an elongated stutter, a metric pause. This sets up the brief moment of peace before the nightmare of replayed events comes back to haunt him.”

Language – reflections

We do not go over the top with metrical analysis. Just one comparison is enough to let the examiner know we are on top of the brief.

“We do not go over the top with metrical analysis”

From there, we divert into the linguistic. Show the examiner that you can recognise the idea that the soundtrack of the poem is somehow a representation or mirror of the poem’s themes. One killer comparison is all we need:

“Ultimately, the distinction is between a narrator rich in self delusion and one haunted by self knowledge. Both are murderers, but one has no guilt over an action he considered before committing. The other took a rapid action that now haunts him.

“The difference in consideration is signalled by the punctuation. There is a difference between the time implied by the commas in “probably armed, possibly not” and the semi colons in “This grew; I gave commands; then all smiles stopped together”.

“It tells us much about their comparative level of ruthlessness and design at the moment of decision. There is also a distinction in maturity that is signalled by the howling childishness of the ‘oo’ sounds in “forsooth”, “choose” and “stoop” and the deadening emotional stutter of pain in the repetitive ‘n’ sounds in the penultimate line of ‘Remains’.”

And as for conclusions for your comparisons in poetry essay, don’t bother. We haven’t got the time, and they are always rubbish anyway.

Phil Beadle is a teacher and the author of several books. This includes Rules for Mavericks: A Manifesto for dissident creatives (Crown House). Check out our AQA English Literature Paper 1 revision resource .

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Comparing Poems

After studying this section you should be able to understand:

what features to look for in each poem
how to plan and write your response

As part of the GCSE English Literature course, one of the things you will need to do is to ‘explore relationships and comparisons between text, selecting and evaluating relevant material ’. One of the ways in which you might be asked to do this is to compare two poems.

When comparing poems you need to look for all the features that you look for when studying a single poem.

You need to look at the:

content of the poem
tone and mood of the poem
form in which it is written and structured
ways in which language is used

When writing your response, avoid writing an examination of one poem and then the other and comparing them in a final paragraph. Integrate your comments on the poems throughout.

However, you also need to compare these features in both poems.

You will need to look at each poem individually to plan your response, but when writing your response you need to integrate your ideas on both poems.

Watch the video below to help you understand key poetic terms and the forms and structure of poetry to help you analyse and compare poems for your unseen poetry paper.

Here’s one way you could approach this task:

Planning your response

1. Read both poems through carefully and get an overall sense of what each poem is about and how the poets handle their topics.

2. Re-read poem ‘A’ and make brief notes either around the poem, if you are able, or on a separate sheet, noting key words, phrases, images etc. and your response to it. Do the same with poem ‘B’.

3. Note down some brief quotations from each poem that you will use to illustrate your ideas. You could underline or circle these if you can write on the copy of the poem.

4. Make two lists – one headed similarities and one headed differences and list the main points under each heading.

Writing the response

It is important that you avoid writing an essay on each poem and then try to join them together. The best responses are those that integrate the ideas in parallel throughout the essay.

Here’s one way you could approach this:

INTRODUCTION

Introductory paragraph commenting on what each poem is about and capturing the ‘flavour’ of each.

Several paragraphs based on your detailed reading of the poems. It is a good idea to make a point about poem ‘A’ and then a point about poem ‘B’.

It can help you structure your ideas in a logical way, e.g. one paragraph could compare the way each uses imagery , while another paragraph could focus on structure etc.

A concluding paragraph, summing up the main similarities and differences, saying which you find more effective and why, if you are asked this .

Keep both poems at the centre of your focus and don’t be tempted to write all about one and then the other.

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8.10: Compare and Contrast Poetry Assignments

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

Comparing and Contrasting

Frequently, you will find that an assignment asks you to ‘compare and contrast’ poems. There’s a very good reason for this, for, often, it is only by considering different treatments of similar subjects that we become aware of a range of possibilities, and begin to understand why particular choices have been made. You may have noticed that, in the previous discussions, I’ve used a similar strategy. When I showed, for example, how we can describe the rhyme scheme of ‘Love From the North’ as simple, once we have looked at the more intricate patterning of Keats’s, ‘The Eve of St Agnes,’ or Tennyson’s, ‘Mariana.’ Anne Brontë’s, ‘Home,’ and Grace Nichols’s, ‘Wherever I Hang,’ treat the subject of exile in quite different ways—and looking at one, can sharpen our understanding of what the other does.

Consider examples in everyday life, whether it's sports, music, etc. If you take, for example, football or basketball (or almost any sport, really), an offensive-minded team and a defensive-minded team will, despite playing the same sport under the same rules and principles, have completely different philosophical approaches. These different approaches are made even clearer when we compare and contrast them from each other, allowing us to learn more about both types of teams and the sport as a whole. Looking at music, it's the same thing. Think about the similarities and differences—and how these similarities and differences highlight respective traits—between jazz and rock, metal and classical, hip hop and punk.

1) Read the opening lines from these two poems given below about death. How might you explain why they sound so very different?

Lycidas by john milton (1637).

Yet once more, O ye Laurels, and once more Ye Myrtles brown, with Ivy never-sear, I com to pluck your Berries harsh and crude, And with forc'd fingers rude, Shatter your leaves before the mellowing year. [ 5 ] Bitter constraint, and sad occasion dear, Compels me to disturb your season due: For Lycidas is dead, dead ere his prime, Young Lycidas , and hath not left his peer:

Felix Randal by Gerard Manley Hopkins (written between 1876-1889)

Felix Randal the farrier, O is he dead then? my duty all ended,

Who have watched his mould of man, big-boned and hardy-handsome

Pining, pining, till time when reason rambled in it, and some

Fatal four disorders, fleshed there, all contended?

If I had to identify one thing, I would say that the first begins more elaborately and with a more formal tone than the second. ‘Felix Randal’ tends to use language in an unusual way, but you would probably agree that the first sentence is quite straightforward and sounds colloquial (or informal), as if the speaker has just overheard someone talking about Randal’s death and wants to confirm his impression. ‘Lycidas’ opens quite differently. It is not immediately apparent what evergreens have to do with anything (in fact, they work to establish an appropriately melancholy atmosphere or tone), and it isn’t until line 8 that we learn of a death. The word ‘dead’ is repeated, and the following line tells us that Lycidas was a young man. While ‘Felix Randal’ has an immediacy, the speaker of ‘Lycidas’ seems to find it hard to get going.

Both poems are elegies—poems written to commemorate/mourn a death—and both poets are aware of writing within this convention, although they treat it differently.

2) What do the titles of the poems tell us about each poem, and how might they help us understand the different uses of the elegiac convention?

Photo of a statue: man sitting on bench, playing a cello. The photo is soft focus and green-tinted

name, but unless you know something about the classical pastoral tradition, it might mean very little to you. The young man whose death Milton was commemorating was actually called Edward King. However, at the time he was writing, elegies were formal, public, and impersonal poems, rather than private expressions of grief. ‘Lycidas’ commemorates a member of a prominent family rather than a close friend of the poet’s. Over two hundred years later, Hopkins, while working loosely within the same elegiac convention, adapts it. Felix Randal is an ordinary working man, not a public figure. In the seventeenth century, it would have been unlikely that he would have been considered worthy of a poem like this.

If you were making a special study of elegies, there would be a great deal more to say. That’s not the idea here, though. By comparing and contrasting the tone of the opening lines and titles, and considering when the poems were written, we have come up with several significant differences. These differences help offer insight into each poem.

https://courses.lumenlearning.com/suny-americanlit1/chapter/reading-approaching-poetry/

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Comparative Analysis

What It Is and Why It's Useful

Comparative analysis asks writers to make an argument about the relationship between two or more texts. Beyond that, there's a lot of variation, but three overarching kinds of comparative analysis stand out:

Coordinate (A ↔ B): In this kind of analysis, two (or more) texts are being read against each other in terms of a shared element, e.g., a memoir and a novel, both by Jesmyn Ward; two sets of data for the same experiment; a few op-ed responses to the same event; two YA books written in Chicago in the 2000s; a film adaption of a play; etc.
Subordinate (A → B) or (B → A ): Using a theoretical text (as a "lens") to explain a case study or work of art (e.g., how Anthony Jack's The Privileged Poor can help explain divergent experiences among students at elite four-year private colleges who are coming from similar socio-economic backgrounds) or using a work of art or case study (i.e., as a "test" of) a theory's usefulness or limitations (e.g., using coverage of recent incidents of gun violence or legislation un the U.S. to confirm or question the currency of Carol Anderson's The Second ).
Hybrid [A → (B ↔ C)] or [(B ↔ C) → A] , i.e., using coordinate and subordinate analysis together. For example, using Jack to compare or contrast the experiences of students at elite four-year institutions with students at state universities and/or community colleges; or looking at gun culture in other countries and/or other timeframes to contextualize or generalize Anderson's main points about the role of the Second Amendment in U.S. history.

"In the wild," these three kinds of comparative analysis represent increasingly complex—and scholarly—modes of comparison. Students can of course compare two poems in terms of imagery or two data sets in terms of methods, but in each case the analysis will eventually be richer if the students have had a chance to encounter other people's ideas about how imagery or methods work. At that point, we're getting into a hybrid kind of reading (or even into research essays), especially if we start introducing different approaches to imagery or methods that are themselves being compared along with a couple (or few) poems or data sets.

Why It's Useful

In the context of a particular course, each kind of comparative analysis has its place and can be a useful step up from single-source analysis. Intellectually, comparative analysis helps overcome the "n of 1" problem that can face single-source analysis. That is, a writer drawing broad conclusions about the influence of the Iranian New Wave based on one film is relying entirely—and almost certainly too much—on that film to support those findings. In the context of even just one more film, though, the analysis is suddenly more likely to arrive at one of the best features of any comparative approach: both films will be more richly experienced than they would have been in isolation, and the themes or questions in terms of which they're being explored (here the general question of the influence of the Iranian New Wave) will arrive at conclusions that are less at-risk of oversimplification.

For scholars working in comparative fields or through comparative approaches, these features of comparative analysis animate their work. To borrow from a stock example in Western epistemology, our concept of "green" isn't based on a single encounter with something we intuit or are told is "green." Not at all. Our concept of "green" is derived from a complex set of experiences of what others say is green or what's labeled green or what seems to be something that's neither blue nor yellow but kind of both, etc. Comparative analysis essays offer us the chance to engage with that process—even if only enough to help us see where a more in-depth exploration with a higher and/or more diverse "n" might lead—and in that sense, from the standpoint of the subject matter students are exploring through writing as well the complexity of the genre of writing they're using to explore it—comparative analysis forms a bridge of sorts between single-source analysis and research essays.

Typical learning objectives for single-sources essays: formulate analytical questions and an arguable thesis, establish stakes of an argument, summarize sources accurately, choose evidence effectively, analyze evidence effectively, define key terms, organize argument logically, acknowledge and respond to counterargument, cite sources properly, and present ideas in clear prose.

Common types of comparative analysis essays and related types: two works in the same genre, two works from the same period (but in different places or in different cultures), a work adapted into a different genre or medium, two theories treating the same topic; a theory and a case study or other object, etc.

How to Teach It: Framing + Practice

Framing multi-source writing assignments (comparative analysis, research essays, multi-modal projects) is likely to overlap a great deal with "Why It's Useful" (see above), because the range of reasons why we might use these kinds of writing in academic or non-academic settings is itself the reason why they so often appear later in courses. In many courses, they're the best vehicles for exploring the complex questions that arise once we've been introduced to the course's main themes, core content, leading protagonists, and central debates.

For comparative analysis in particular, it's helpful to frame assignment's process and how it will help students successfully navigate the challenges and pitfalls presented by the genre. Ideally, this will mean students have time to identify what each text seems to be doing, take note of apparent points of connection between different texts, and start to imagine how those points of connection (or the absence thereof)

complicates or upends their own expectations or assumptions about the texts
complicates or refutes the expectations or assumptions about the texts presented by a scholar
confirms and/or nuances expectations and assumptions they themselves hold or scholars have presented
presents entirely unforeseen ways of understanding the texts

—and all with implications for the texts themselves or for the axes along which the comparative analysis took place. If students know that this is where their ideas will be heading, they'll be ready to develop those ideas and engage with the challenges that comparative analysis presents in terms of structure (See "Tips" and "Common Pitfalls" below for more on these elements of framing).

Like single-source analyses, comparative essays have several moving parts, and giving students practice here means adapting the sample sequence laid out at the " Formative Writing Assignments " page. Three areas that have already been mentioned above are worth noting:

Gathering evidence : Depending on what your assignment is asking students to compare (or in terms of what), students will benefit greatly from structured opportunities to create inventories or data sets of the motifs, examples, trajectories, etc., shared (or not shared) by the texts they'll be comparing. See the sample exercises below for a basic example of what this might look like.
Why it Matters: Moving beyond "x is like y but also different" or even "x is more like y than we might think at first" is what moves an essay from being "compare/contrast" to being a comparative analysis . It's also a move that can be hard to make and that will often evolve over the course of an assignment. A great way to get feedback from students about where they're at on this front? Ask them to start considering early on why their argument "matters" to different kinds of imagined audiences (while they're just gathering evidence) and again as they develop their thesis and again as they're drafting their essays. ( Cover letters , for example, are a great place to ask writers to imagine how a reader might be affected by reading an their argument.)
Structure: Having two texts on stage at the same time can suddenly feel a lot more complicated for any writer who's used to having just one at a time. Giving students a sense of what the most common patterns (AAA / BBB, ABABAB, etc.) are likely to be can help them imagine, even if provisionally, how their argument might unfold over a series of pages. See "Tips" and "Common Pitfalls" below for more information on this front.

Sample Exercises and Links to Other Resources

Common Pitfalls
Advice on Timing
Try to keep students from thinking of a proposed thesis as a commitment. Instead, help them see it as more of a hypothesis that has emerged out of readings and discussion and analytical questions and that they'll now test through an experiment, namely, writing their essay. When students see writing as part of the process of inquiry—rather than just the result—and when that process is committed to acknowledging and adapting itself to evidence, it makes writing assignments more scientific, more ethical, and more authentic.
Have students create an inventory of touch points between the two texts early in the process.
Ask students to make the case—early on and at points throughout the process—for the significance of the claim they're making about the relationship between the texts they're comparing.
For coordinate kinds of comparative analysis, a common pitfall is tied to thesis and evidence. Basically, it's a thesis that tells the reader that there are "similarities and differences" between two texts, without telling the reader why it matters that these two texts have or don't have these particular features in common. This kind of thesis is stuck at the level of description or positivism, and it's not uncommon when a writer is grappling with the complexity that can in fact accompany the "taking inventory" stage of comparative analysis. The solution is to make the "taking inventory" stage part of the process of the assignment. When this stage comes before students have formulated a thesis, that formulation is then able to emerge out of a comparative data set, rather than the data set emerging in terms of their thesis (which can lead to confirmation bias, or frequency illusion, or—just for the sake of streamlining the process of gathering evidence—cherry picking).
For subordinate kinds of comparative analysis , a common pitfall is tied to how much weight is given to each source. Having students apply a theory (in a "lens" essay) or weigh the pros and cons of a theory against case studies (in a "test a theory") essay can be a great way to help them explore the assumptions, implications, and real-world usefulness of theoretical approaches. The pitfall of these approaches is that they can quickly lead to the same biases we saw here above. Making sure that students know they should engage with counterevidence and counterargument, and that "lens" / "test a theory" approaches often balance each other out in any real-world application of theory is a good way to get out in front of this pitfall.
For any kind of comparative analysis, a common pitfall is structure. Every comparative analysis asks writers to move back and forth between texts, and that can pose a number of challenges, including: what pattern the back and forth should follow and how to use transitions and other signposting to make sure readers can follow the overarching argument as the back and forth is taking place. Here's some advice from an experienced writing instructor to students about how to think about these considerations:

a quick note on STRUCTURE

Most of us have encountered the question of whether to adopt what we might term the “A→A→A→B→B→B” structure or the “A→B→A→B→A→B” structure. Do we make all of our points about text A before moving on to text B? Or do we go back and forth between A and B as the essay proceeds? As always, the answers to our questions about structure depend on our goals in the essay as a whole. In a “similarities in spite of differences” essay, for instance, readers will need to encounter the differences between A and B before we offer them the similarities (A d →B d →A s →B s ). If, rather than subordinating differences to similarities you are subordinating text A to text B (using A as a point of comparison that reveals B’s originality, say), you may be well served by the “A→A→A→B→B→B” structure.

Ultimately, you need to ask yourself how many “A→B” moves you have in you. Is each one identical? If so, you may wish to make the transition from A to B only once (“A→A→A→B→B→B”), because if each “A→B” move is identical, the “A→B→A→B→A→B” structure will appear to involve nothing more than directionless oscillation and repetition. If each is increasingly complex, however—if each AB pair yields a new and progressively more complex idea about your subject—you may be well served by the “A→B→A→B→A→B” structure, because in this case it will be visible to readers as a progressively developing argument.

As we discussed in "Advice on Timing" at the page on single-source analysis, that timeline itself roughly follows the "Sample Sequence of Formative Assignments for a 'Typical' Essay" outlined under " Formative Writing Assignments, " and it spans about 5–6 steps or 2–4 weeks.

Comparative analysis assignments have a lot of the same DNA as single-source essays, but they potentially bring more reading into play and ask students to engage in more complicated acts of analysis and synthesis during the drafting stages. With that in mind, closer to 4 weeks is probably a good baseline for many single-source analysis assignments. For sections that meet once per week, the timeline will either probably need to expand—ideally—a little past the 4-week side of things, or some of the steps will need to be combined or done asynchronously.

What It Can Build Up To

Comparative analyses can build up to other kinds of writing in a number of ways. For example:

They can build toward other kinds of comparative analysis, e.g., student can be asked to choose an additional source to complicate their conclusions from a previous analysis, or they can be asked to revisit an analysis using a different axis of comparison, such as race instead of class. (These approaches are akin to moving from a coordinate or subordinate analysis to more of a hybrid approach.)
They can scaffold up to research essays, which in many instances are an extension of a "hybrid comparative analysis."
Like single-source analysis, in a course where students will take a "deep dive" into a source or topic for their capstone, they can allow students to "try on" a theoretical approach or genre or time period to see if it's indeed something they want to research more fully.
DIY Guides for Analytical Writing Assignments

For Teaching Fellows & Teaching Assistants

Types of Assignments
Unpacking the Elements of Writing Prompts
Formative Writing Assignments
Single-Source Analysis
Research Essays
Multi-Modal or Creative Projects
Giving Feedback to Students

Assignment Decoder

Comparative Essay

How to Write a Comparative Essay – A Complete Guide

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What is a Comparative Essay?

A comparative essay is a type of essay in which an essay writer compares at least two or more items. The author compares two subjects with the same relation in terms of similarities and differences depending on the assignment.

The main purpose of the comparative essay is to:

Highlight the similarities and differences in a systematic manner.
Provide great clarity of the subject to the readers.
Analyze two things and describe their advantages and drawbacks.

A comparative essay is also known as compare and contrast essay or a comparison essay. It analyzes two subjects by either comparing them, contrasting them, or both. The Venn diagram is the best tool for writing a paper about the comparison between two subjects.

Moreover, a comparative analysis essay discusses the similarities and differences of themes, items, events, views, places, concepts, etc. For example, you can compare two different novels (e.g., The Adventures of Huckleberry Finn and The Red Badge of Courage).

However, a comparative essay is not limited to specific topics. It covers almost every topic or subject with some relation.

Comparative Essay Structure

A good comparative essay is based on how well you structure your essay. It helps the reader to understand your essay better.

The structure is more important than what you write. This is because it is necessary to organize your essay so that the reader can easily go through the comparisons made in an essay.

The following are the two main methods in which you can organize your comparative essay.

Point-by-Point Method

The point-by-point or alternating method provides a detailed overview of the items that you are comparing. In this method, organize items in terms of similarities and differences.

This method makes the writing phase easy for the writer to handle two completely different essay subjects. It is highly recommended where some depth and detail are required.

Below given is the structure of the point-by-point method.

Block Method

The block method is the easiest as compared to the point-by-point method. In this method, you divide the information in terms of parameters. It means that the first paragraph compares the first subject and all their items, then the second one compares the second, and so on.

However, make sure that you write the subject in the same order. This method is best for lengthy essays and complicated subjects.

Here is the structure of the block method.

Therefore, keep these methods in mind and choose the one according to the chosen subject.

Mixed Paragraphs Method

In this method, one paragraph explains one aspect of the subject. As a writer, you will handle one point at a time and one by one. This method is quite beneficial as it allows you to give equal weightage to each subject and help the readers identify the point of comparison easily.

How to Start a Comparative Essay?

Here, we have gathered some steps that you should follow to start a well-written comparative essay.

Choose a Topic

The foremost step in writing a comparative essay is to choose a suitable topic.

Choose a topic or theme that is interesting to write about and appeals to the reader.

An interesting essay topic motivates the reader to know about the subject. Also, try to avoid complicated topics for your comparative essay.

Develop a List of Similarities and Differences

Create a list of similarities and differences between two subjects that you want to include in the essay. Moreover, this list helps you decide the basis of your comparison by constructing your initial plan.

Evaluate the list and establish your argument and thesis statement .

Establish the Basis for Comparison

The basis for comparison is the ground for you to compare the subjects. In most cases, it is assigned to you, so check your assignment or prompt.

Furthermore, the main goal of the comparison essay is to inform the reader of something interesting. It means that your subject must be unique to make your argument interesting.

Do the Research

In this step, you have to gather information for your subject. If your comparative essay is about social issues, historical events, or science-related topics, you must do in-depth research.

However, make sure that you gather data from credible sources and cite them properly in the essay.

Create an Outline

An essay outline serves as a roadmap for your essay, organizing key elements into a structured format.

With your topic, list of comparisons, basis for comparison, and research in hand, the next step is to create a comprehensive outline.

Here is a standard comparative essay outline:

How to Write a Comparative Essay?

Now that you have the basic information organized in an outline, you can get started on the writing process.

Here are the essential parts of a comparative essay:

Comparative Essay Introduction

Start off by grabbing your reader's attention in the introduction . Use something catchy, like a quote, question, or interesting fact about your subjects.

Then, give a quick background so your reader knows what's going on.

The most important part is your thesis statement, where you state the main argument , the basis for comparison, and why the comparison is significant.

This is what a typical thesis statement for a comparative essay looks like:

Comparative Essay Body Paragraphs

The body paragraphs are where you really get into the details of your subjects. Each paragraph should focus on one thing you're comparing.

Start by talking about the first point of comparison. Then, go on to the next points. Make sure to talk about two to three differences to give a good picture.

After that, switch gears and talk about the things they have in common. Just like you discussed three differences, try to cover three similarities.

This way, your essay stays balanced and fair. This approach helps your reader understand both the ways your subjects are different and the ways they are similar. Keep it simple and clear for a strong essay.

Comparative Essay Conclusion

In your conclusion , bring together the key insights from your analysis to create a strong and impactful closing.

Consider the broader context or implications of the subjects' differences and similarities. What do these insights reveal about the broader themes or ideas you're exploring?

Discuss the broader implications of these findings and restate your thesis. Avoid introducing new information and end with a thought-provoking statement that leaves a lasting impression.

Below is the detailed comparative essay template format for you to understand better.

Comparative Essay Format

Comparative Essay Examples

Have a look at these comparative essay examples pdf to get an idea of the perfect essay.

Comparative Essay on Summer and Winter

Comparative Essay on Books vs. Movies

Comparative Essay Sample

Comparative Essay Thesis Example

Comparative Essay on Football vs Cricket

Comparative Essay on Pet and Wild Animals

Comparative Essay Topics

Comparative essay topics are not very difficult or complex. Check this list of essay topics and pick the one that you want to write about.

How do education and employment compare?
Living in a big city or staying in a village.
The school principal or college dean.
New Year vs. Christmas celebration.
Dried Fruit vs. Fresh. Which is better?
Similarities between philosophy and religion.
British colonization and Spanish colonization.
Nuclear power for peace or war?
Bacteria or viruses.
Fast food vs. homemade food.

Tips for Writing A Good Comparative Essay

Writing a compelling comparative essay requires thoughtful consideration and strategic planning. Here are some valuable tips to enhance the quality of your comparative essay:

Clearly define what you're comparing, like themes or characters.
Plan your essay structure using methods like point-by-point or block paragraphs.
Craft an introduction that introduces subjects and states your purpose.
Ensure an equal discussion of both similarities and differences.
Use linking words for seamless transitions between paragraphs.
Gather credible information for depth and authenticity.
Use clear and simple language, avoiding unnecessary jargon.
Dedicate each paragraph to a specific point of comparison.
Summarize key points, restate the thesis, and emphasize significance.
Thoroughly check for clarity, coherence, and correct any errors.

Transition Words For Comparative Essays

Transition words are crucial for guiding your reader through the comparative analysis. They help establish connections between ideas and ensure a smooth flow in your essay.

Here are some transition words and phrases to improve the flow of your comparative essay:

Transition Words for Similarities

Correspondingly
In the same vein
In like manner
In a similar fashion
In tandem with

Transition Words for Differences

On the contrary
In contrast
Nevertheless
In spite of
Notwithstanding
On the flip side
In contradistinction

Check out this blog listing more transition words that you can use to enhance your essay’s coherence!

In conclusion, now that you have the important steps and helpful tips to write a good comparative essay, you can start working on your own essay.

However, if you find it tough to begin, you can always hire our professional essay writing service .

Our skilled writers can handle any type of essay or assignment you need. So, don't wait—place your order now and make your academic journey easier!

Frequently Asked Question

How long is a comparative essay.

A comparative essay is 4-5 pages long, but it depends on your chosen idea and topic.

How do you end a comparative essay?

Here are some tips that will help you to end the comparative essay.

Restate the thesis statement
Wrap up the entire essay
Highlight the main points

Write Essay Within 60 Seconds!

Dr. Barbara is a highly experienced writer and author who holds a Ph.D. degree in public health from an Ivy League school. She has worked in the medical field for many years, conducting extensive research on various health topics. Her writing has been featured in several top-tier publications.

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Edexcel IGCSE – Poetry Comparative Essay Questions

Below, you’ll find the Edexcel IGCSE Anthology Poetry Comparative Essay Questions. These questions are taken from SECTION B: Anthology Poetry part of the Edexcel IGCSE Literature exams. They are from the 2018 + 2019 papers.

A BREAKDOWN OF THE QUESTION

Make sure to read the question thoroughly before you start answering because there are two different types . The format of the question always asks you first to ‘re-read’ one poem. Then, it will either pair it with another poem for you or let you choose a second one yourself.

Re-read [POEM 1] and [POEM 2] . Compare the ways the writers present [THEME OR IDEA] in [THE TWO POEMS] . You should make reference to language, form and structure. Support your answer with examples from the poems. (Total for Question 2 = 30 marks)

Re-read [POEM 1] . Compare how the writers present [THEME OR IDEA] in [POEM 1] and one other poem from the anthology . You should make reference to language, form and structure. Support your answer with examples from the poems. (Total for Question 3 = 30 marks)

HOW TO ANSWER THE QUESTION

It’s a comparative question, so be sure to focus equally on both poems. You should structure your answer like this:

Poem 1, how does it relate to the theme or idea?
Poem 2, how does it relate to the theme or idea?
Comparative thesis: A single sentence that summarises the overall similarities or differences of the poems

Middle Paragraphs (x3)

Comparative topic sentence – 1 idea or point about the question that covers both poems together
Poem 1 evidence + analysis
Comparative link
Poem 2 evidence + analysis
Comparative summary

Conclusion

Summarise the main ideas of your essay
How are the poems similar?
How are they different?
Final sentence: Are they overall similar or different, why?

PAST PAPER QUESTIONS

Re-read La Belle Dame sans Merci and My Last Duchess . Compare the ways the writers present a story in La Belle Dame sans Merci and My Last Duchess. You should make reference to language, form and structure. Support your answer with examples from the poems. (Total for Question 2 = 30 marks)
Re-read The Tyger . Compare how the writers present power in The Tyger and one other poem from the anthology. You should make reference to language, form and structure. Support your answer with examples from the poems. (Total for Question 3 = 30 marks)
Re-read Prayer Before Birth and Half-caste . Compare the ways the writers present concerns about society in Prayer Before Birth and Half-caste. You should make reference to language, form and structure. Support your answer with examples from the poems. (Total for Question 2 = 30 marks)
Re-read Blessing . Compare how the writers present a moment in time in Blessing and one other poem from the anthology. You should make reference to language, form and structure. Support your answer with examples from the poems.
Re-read Search For My Tongue and Half-caste . Compare the ways the writers convey feelings about identity in Search For My Tongue and Half-caste. You should make reference to language, form and structure. Support your answer with examples from the poems.
Re-read Hide and Seek . Compare how the writers present personal experiences in Hide and Seek and one other poem from the anthology. You should make reference to language, form and structure. Support your answer with examples from the poems.

Thanks for reading! Find our full Edexcel IGCSE Poetry course by clicking here to access all the poems in the anthology and exclusive video lessons!

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Home — Essay Samples — Literature — Because I Could Not Stop for Death — Comparative Analysis of Philip Larkin and Emily Dickinson Poems

Comparative Analysis of Philip Larkin and Emily Dickinson Poems

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Essay on Women

Poetry Paper: Comparative Analysis Essays Examples

Type of paper: Essay

Topic: Women , Contrast , Poem , Parents , Family , Poetry , Literature , Children

Published: 02/25/2020

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The poems entitled “To a Daughter Leaving Home” written by Linda Pastan and “Learning the Bicycle” by Wyatt Prunty focused on the main theme which was guiding a child to learn how to ride the bicycle and eventually accepting that the parent or the teacher needs to let go. The current discourse hereby aims to present a comparative analysis of these two poems through a closer evaluation of literary elements, such as: points of view, themes, language use and any figurative or rhetorical elements. There were similarities in the two poems with regards to the points of view of the narrator. Both the authors, who are the narrators, are using the first person point of view. Likewise, there are also similarities in the gender of the child for both Pastan and Prunty’s poems; both were identified as female – from the title in Pastan’s poem and from the use of the pronouns in Prunty’s poem: “Her as, head lowered, she walks her bike alone” (Prunty line 8). In contrast, there were disparities in terms of identifying the role of the narrator as explicitly and clearly as possible. The poem by Pastan was vivid in explicitly identifying the narrator as the parent of the child who was taught how to ride the bike when the child was only eight years old. In contrast, Prunty’s poem, while obvious that the child being taught was a girl, the narrator failed to disclose that he was the father of the child. Likewise, there were also differences in terms of perspectives. In Pastan’s poem, as the mother of the child, she seemed to be talking to the child through the use of the pronoun ‘you’: “When I taught you at eight to ride a bicycle” . In contrast, Prunty was referring to the child as seen from a third person point of view through the use of pronouns ‘her’ and ‘she’. In analyzing the literary elements of these poetries, it could be deduced that Pastan’s poem was simpler and more straightforward. She applied the simile by comparing her daughter’s hair to a handkerchief through asserting that “the hair flapping behind you like a handkerchief waving goodbye” . In contrast, Prunty used personification when he contended that shadows’ lengths tease: “Now shadow up instead of down. Their predictable lengths can only tease” (lines 6 & 7). In addition, Prunty’s poem follows a clear rhythmic pattern, in contrast to Pastan’s poem that does not adhere to any structure or pattern. Finally, Prunty’s poem uses more figurative language in terms of the need to make inferences in the symbols that were disclosed: “Her as, head lowered, she walks her bike alone; Somewhere between her wanting to ride; And her certainty she will always fall” (lines 8 to 10). Here, Prunty could indicate that the lowered head to mean timidity; shyness, apprehensiveness to fail. Overall, both authors made similar assertions in terms of finally signifying that, as soon as their child learns to ride the bike, this could in fact symbolize letting go; or leaving home, as indicated in Pastan’s title. Therefore, as the mother, and the teacher, the only important thing that could be inferred from these poems was that they both are willing to guide these children; yet, allow them to take some risks, admonish some failure, before finally accepting the fact that they would eventually leave to assert independence and freedom.

Works Cited

Pastan, Linda. "To a Daughter Leaving Home." n.d. Prunty, Wyatt. "Learning the Bicycle." Poem. n.d. Print.

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By the BOOK

Morgan Parker Says ‘Poetry Is Under Everything’ She Writes

Crafting the arguments in “You Get What You Pay For,” her first essay collection, “felt like pulling apart a long piece of taffy,” says the author of “Magical Negro.”

Credit... Rebecca Clarke

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What books are on your night stand?

The craft anthology “How We Do It,” edited by the great Jericho Brown, and Shayla Lawson’s astounding “How to Live Free in a Dangerous World.”

Describe your ideal reading experience (when, where, what, how).

Probably on the smoking patio of a wine bar at happy hour on a sunny day, with a pencil in my hand and Dorothy Ashby or Ambrose Akinmusire playing through noise-canceling headphones. Or just a quiet morning on my couch with coffee, so engrossed I forget to flip the record.

What’s the last book you read that made you laugh?

“Erasure,” by Percival Everett . I picked up a used copy at Shakespeare & Company recently — after seeing Cord Jefferson’s brilliant adaptation , “American Fiction” — and even on a reread, it made me laugh out loud from the first page.

The last book that made you cry?

Weird or obnoxious if I say my own? Before that, it was probably Y.A.

Do you count any books as guilty pleasures?

That category’s filled to the brim and beyond by reality TV.

How do you organize your books?

Loosely or not at all. This is much to the horror of my Virgo pals, and while I used to take pride in navigating my shelves on familiarity alone, it’s something I’ve vowed to work on. Still, I doubt I’ll ever be an alphabetical type, and clearly I find genre segregation constricting. I do group things thematically, or even interpersonally — music biographies, Black Panthers, Harlem Renaissance; Jessica Hopper is next to John Giorno, and Chase Berggrun’s “R E D” is next to “Dracula”; Julie Buntin’s “Marlena” is beside her husband Gabe Habash’s “Stephen Florida”; Alison C. Rollins is next to her partner Nate Marshall is next to his bestie José Olivarez. At some point Hilton Als’s “White Girls” ended up next to “Male Fantasies,” and I don’t think I’ll ever separate them.

Which genres do you avoid?

There’s an essay in “You Get What You Pay For” where I mention reading a self-help book (as recommended by my now-former psychiatrist). I’d never read one before and have not since.

How does your poetry relate to your essay writing?

The truth is that poetry is under everything. It’s the lyric and sensory backbone. It’s what drives the sound, pace and imagery. (Everyone knows the best prose writers write and read poetry.) But while a poem strives for precision of language, the essay strives for precision of thought, even argument. In a poem, you can build (or approximate) an argument by plopping two images next to each other. It persuades by pointing. Writing these essays felt like pulling apart a long piece of taffy — I found myself reiterating a lot of what I’ve already expressed in poems, so it almost became a project of stretching out each poetic line, breaking down each concept to its root. The process is about asking, pondering, searching — and letting language take part in the answering.

You have a knack for terrific book titles. How did you name your new collection?

Thank you! I love a good title, but I also acknowledge the high bar I have set for myself. With this one, I struggled a bit, I think because it took me a while to understand the book myself, let alone how to introduce it to the world. The essays encompass a lot of seemingly disparate themes and even tonal registers, so framing the overall collection was daunting. I’d been tossing around a couple of options, including “Cheaper Than Therapy,” which appears as an essay title, when Jay-Z made the choice for me. I was in Italy at a residency, grieving the recent loss of my aunt and watching the “Big Pimpin’” video over and over as I worked on an essay about it for the book. I’d left my heavily tabbed copy of “Decoded” at home in Los Angeles, but was scrolling a PDF for details about the video shoot when I came across the line: “If the price is life, then you better get what you paid for.”

You describe yourself as foolish for believing “words could be the pathway to empathy and writing an active resistance against hate.” Might publishing this book change your mind?

Honestly? It’s my only hope.

What’s the last book you recommended to a member of your family?

“Heavy,” by Kiese Laymon, to my mom; Blair LM Kelley’s “ Black Folk: The Roots of the Black Working Class,” to my dad; and “A Is for Activist,” to my 8-month-old cousin.

What do you plan to read next?

Phillip B. Williams’s “Ours” was just published, and I’ve been excited about it for literally years. Vinson Cunningham’s “Great Expectations” came out the same day as my book, so I plan to make that my tour read.

You’re organizing a literary dinner party. Which three writers, dead or alive, do you invite?

June Jordan, Zora Neale Hurston, James Baldwin — but I’d be lying if I said I wouldn’t get just as much fun and fulfillment from a night with Angel Nafis, Danez Smith and Saeed Jones.

Explore More in Books

Want to know about the best books to read and the latest news start here..

James McBride’s novel sold a million copies, and he isn’t sure how he feels about that, as he considers the critical and commercial success of “The Heaven & Earth Grocery Store.”

How did gender become a scary word? Judith Butler, the theorist who got us talking about the subject , has answers.

You never know what’s going to go wrong in these graphic novels, where Circus tigers, giant spiders, shifting borders and motherhood all threaten to end life as we know it .

When the author Tommy Orange received an impassioned email from a teacher in the Bronx, he dropped everything to visit the students who inspired it.

Do you want to be a better reader? Here’s some helpful advice to show you how to get the most out of your literary endeavor .

Each week, top authors and critics join the Book Review’s podcast to talk about the latest news in the literary world. Listen here .

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Author Interviews

A conversation with the author of 'there's always this year'.

NPR's Scott Detrow speaks to Hanif Abdurraqib about the new book There's Always This Year . It's a mix of memoir, essays, and poems, looking at the role basketball played in Abdurraqib's life.

SCOTT DETROW, HOST:

The new book "There's Always This Year" opens with an invitation. Here's a quote - "if you please imagine with me, you are putting your hand into my open palm, and I am resting one free hand atop yours. And I am saying to you that I would like to commiserate here and now about our enemies. We know our enemies by how foolishly they trample upon what we know as affection, how quickly they find another language for what they cannot translate as love." And what follows from that is a lyrical book about basketball but also about geography, luck, fate and many other things, too. It's also about how the career arc of basketball great LeBron James is woven through the life of the book's author, Hanif Abdurraqib, who joins us now. Welcome back to the show.

HANIF ABDURRAQIB: Thank you for having me again, Scott. It's really wonderful to be here.

DETROW: You know, I love this book so much, but I'm not entirely sure how to describe it. It's part memoir, part meditation, part poetry collection, part essay collection. How do you think about this book?

ABDURRAQIB: You know, it's funny. I've been running into that too early on in the process and now - still, when I'm asked to kind of give an elevator pitch. And I think really, if I'm being honest, that feels like an achievement to me because so much of...

DETROW: Yeah.

ABDURRAQIB: ...My intent with the book was working against a singular aboutness (ph) or positioning the book as something that could be operating against neat description because I think I was trying to tie together multiple ideas, sure, through the single - singular and single lens of basketball. But I kind of wanted to make basketball almost a - just a canvas atop which I was laying a lot of other concerns, be it mortality or place or fatherhood and sonhood (ph) in my case. I think mostly it's a book about mortality. It's a book about the passage of time and attempting to be honest with myself about the realities of time's passing.

DETROW: Yeah, it seems to me like it could also be a book about geography, about being shaped by the place you grew up in and that moment where you choose to stay or leave, or maybe leave and come back. And I was hoping you could read a passage that that deals directly with that for us.

ABDURRAQIB: Of course. Yeah. This is from the third quarter or the third act of the of the book.

(Reading) It bears mentioning that I come from a place people leave. Yes, when LeBron left, the reactions made enough sense to me, I suppose. But there was a part of me that felt entirely unsurprised. People leave this place. There are Midwestern states that are far less discernible on a blank map, sure. Even with an understanding of direction, I am known to mess up the order of the Dakotas. I've been known to point at a great many square-like landscapes while weakly mumbling Nebraska. And so I get it. We don't have it too bad. People at least claim to know that Ohio is shaped like a heart - a jagged heart, a heart with sharp edges, a heart as a weapon. That's why so many people make their way elsewhere.

DETROW: What does Ohio, and specifically, what does Columbus mean to you and who you are?

ABDURRAQIB: I think at this stage in my life, it's the one constant that keeps me tethered to a version of myself that is most recognizable. You know, you don't choose place. Place is something that happens to you. Place is maybe the second choice that is made for you after the choice of who your parents are. But if you have the means and ability, there are those of us who at some point in our lives get to choose a place back. And I think choosing that place back doesn't happen once. I mean, it happens several times. It's like any other relationship. You are choosing to love a place or a person as they are, and then checking in with if you are capable of continuing to love that place or person as they evolve, sometimes as they evolve without you or sometimes as you evolve without them. And so it's a real - a math problem that is always unfolding, someone asking the question of - what have I left behind in my growth, or what has left me behind in a growth that I don't recognize?

So, you know, Columbus doesn't look the way - just from an architectural standpoint - does not look the way it looked when I was young. It doesn't even look the way it looked when I moved back in 2017. And I have to kind of keep asking myself what I can live with. Now that, for me, often means that I turn more inward to the people. And I began to think of the people I love as their own architecture, a much more reliable and much more sturdy architecture than the architecture that is constantly under the siege of gentrification. And that has been grounding for me. It's been grounding for me to say, OK, I can't trust that this building will stay. I can't trust that this basketball court will stay. I can't trust that this mural or any of it will stay. But what I do know is that for now, in a corner of the city or in many corners of the city, there are people who know me in a very specific way, and we have a language that is only ours. And through that language, we render each other as full cities unto ourselves.

DETROW: Yeah. Can you tell me how you thought about basketball more broadly, and LeBron James specifically, weaving in and out of these big questions you're asking? - because in the first - I guess the second and third quarter, really, of the book - and I should say, you organize the book like a basketball game in quarters. You know, you're being really - you're writing these evocative, sad scenes of how, like you said, your life was not unfolding the way you wanted it in a variety of ways. And it's almost like LeBron James is kind of floating through as a specter on the TV screen in the background, keeping you company in a moment where it seems to me like you really needed company. Like, how did you think about your relationship with basketball and the broader moments and the broader thoughts in those moments?

ABDURRAQIB: Oh, man, that's not only such a good question, but that's actually - that's such a good image of LeBron James on the TV in the background because it was that. In a way, it was that in a very plainly material, realistic, literal sense because when I was, say, unhoused - right? - I...

ABDURRAQIB: ...Would kind of - you know, sometimes at night you kind of just wander. You find a place, and you walk through downtown. And I remember very clearly walking through downtown Columbus and just hearing the Cavs games blaring out of open doors to bars or restaurants and things like that, and not having - you know, I couldn't go in there because I had no money to buy anything, and I would eventually get thrown out of those places.

So, you know, I think playing and watching basketball - you know, even though this book is not, like, a heavy, in-depth basketball biography or a basketball memoir, I did spend a lot of time watching old - gosh, so much of the research for this book was me watching clips from the early - mid-2000s of...

ABDURRAQIB: ...LeBron James playing basketball because my headspace while living through that was entirely different. It's like you said, like LeBron was on a screen in the background of a life that was unsatisfying to me. So they were almost, like, being watched through static. And now when I watch them, the static clears, and they're a little bit more pleasureful (ph). And that was really joyful.

DETROW: LeBron James, of course, left the Cavs for a while. He took his talents to South Beach, went to the Miami Heat. You write - and I was a little surprised - that you have a really special place in your heart for, as you call them, the LeBronless (ph) years and the way that you...

ABDURRAQIB: Oh, yeah.

DETROW: ...Interacted with the team. What do you think that says? And why do you think you felt that way and feel that way about the LeBronless Cavs?

ABDURRAQIB: I - you know, I'm trying to think of a softer word than awful. But you know what? They were awful.

DETROW: (Laughter).

ABDURRAQIB: I mean they were (laughter) - but that did not stop them from playing this kind of strange level of hard, at times, because I think it hit a point, particularly in the late season, where it was clear they were giving in and tanking. But some of those guys were, like, old professionals. There's, like, an older Baron Davis on that team. You know, some of these guys, like, did not want to be embarrassed. And...

ABDURRAQIB: ...That, to me, was miraculous to watch where - because they're still professionals. They're still NBA players. And to know that these guys were playing on a team that just could not win games - they just didn't have the talent - but they individually did not want to - at least did not want to give up the appearance that they weren't fighting, there's something beautiful and romantic about that to me.

DETROW: It makes a lot of sense why you end the book around 2016 when the Cavs triumph and bring the championship to Cleveland. But when it comes to the passage of time - and I'll say I'm the exact same age as you, and we're both about the same age as LeBron. When it comes to the passage of time, how do you present-day feel about LeBron James watching the graying LeBron James who's paying so much attention to his lower back? - because I don't have anywhere near the intense relationship with him that you do. But, I mean, I remember reading that Sports Illustrated when it came out. I remember watching him in high school on ESPN, and I feel like going on this - my entire adult life journey with him. And I feel like weirdly protective of LeBron James now, right? Like, you be careful with him.

ABDURRAQIB: Yeah.

DETROW: And I'm wondering how you think about him today and what that leads your brain to, given this long, long, long relationship you have with him.

ABDURRAQIB: I find myself mostly anxious now about LeBron James, even though he is still - I think he's still playing at a high level. I mean, I - you know, I think that's not a controversial statement. But I - while he is still playing at a high level, I do - I'm like everyone else. So I'm kind of aware that it does seem like parts of him - or at least he's paying a bit more attention to the aches that just come with aging, right?

ABDURRAQIB: I have great empathy and sympathy for an athlete who's dedicated their life to a sport, who is maybe even aware that their skills are not what they once were, but still are playing because that's just what they've done. And they are...

ABDURRAQIB: ...In some cases, maybe still in pursuit of one more ring or one more legacy-building exploit that they can attach to their career before moving on to whatever is next. And so I don't know. And I don't think LeBron is at risk of a sharp and brutal decline, but I do worry a bit about him playing past his prime, only because I've never seen him be anything but miraculous on the court. And to witness that, I think, would be devastating in some ways.

And selfishly, I think it would signal some things to me personally about the limits of my own miracle making, not as a basketball player, of course, but as - you know, because a big conceit of the book is LeBron and I are similar in age, and we have - you know, around the same age and all this. And I think a deep flaw is that I've perhaps attached a part of his kind of miraculous playing beyond what people thought to my own idea about what miracle is as you age.

And so, you know, to be witness to a decline, a sharp decline would be fascinating and strange and a bit disorienting. But I hope it doesn't get there. You know, I hope - I would like to see him get one more ring. I don't know when it's going to come or how it's going to come, but I would like to see him get one more. I really would. My dream, selfishly, is that it happens again in Cleveland. He'll come back here and team up with, you know, some good young players and get one more ring for Cleveland because I think Cavs fans, you know, deserve that to the degree that anyone deserves anything in sports. That would be a great storybook ending.

DETROW: The last thing I want to ask about are these vignettes and poems that dot the book in praise of legendary Ohio aviators. Can you tell me what you were trying to do there? And then I'd love to end with you reading a few of them for me.

ABDURRAQIB: Yeah. I'm so glad you asked about that. I haven't gotten to talk about that as much, and that - those were the first things I wrote for the book. I wrote 30 of them...

DETROW: Really?

ABDURRAQIB: ...I think. And of course, they all didn't make it. But that was kind of an exercise, like a brain exercise. And I was trying to play with this idea of starting out with folks who were literally aviators. So it begins with John Glenn and Lonnie Carmen, and then working further and further away from aviation in a literal sense, much like the book is working further and further away from, say, basketball in this concrete sense - because ascension in my mind isn't just moving upward, it is expansion, too. It is, I think, any directional movement away from where your position is. And so I got to be kind of flexible with ideas of ascent and growth and moving upward.

DETROW: And the last aviator you did this for was you. And I'm hoping you can read what you wrote about yourself to end this.

ABDURRAQIB: Oh, gosh. OK, yeah. This is Hanif Abdurraqib, Columbus, Ohio, 1983 to present. (Reading) Never dies in his dreams. In his dreams, he is infinite, has wings, feathers that block the sun. And yet in the real living world, the kid has seen every apocalypse before it arrives, has been the architect of a few bad ones. Still wants to be alive most days. Been resurrected so many damn times, no one is surprised by the magic trick anymore.

DETROW: That's Hanif Abdurraqib, author of the new book "There's Always This Year: On Basketball And Ascension." Thank you so much.

ABDURRAQIB: Thank you, Scott. I really appreciate it.

(SOUNDBITE OF FLEETWOOD MAC SONG, "ALBATROSS")

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Comparing Two Poems: Essay Example
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.
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Two Useful Mnemonics for a Poetry Essay: S.M.I.L.E. and F.I.E.L.D. A mnemonic is a familiar group of letters to help you memorise something through association with those letters. For example, to help you compare the poems and to write the essay, these two acronyms may come in handy: SMILE: Structure, Meaning, Imagery, Language, Effect
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Main Paragraphs. Now, we come to the main body of the essay, the quality of which will ultimately determine the strength of our essay. This section should comprise of 4-5 paragraphs, and each of these should analyze an aspect of the poem and then link the effect that aspect creates to the poem's themes or message.
CSEC English B: A Guide to Writing Poetry Essays
Step 1: The question. Poetry essay questions come in two varieties: 1) One where the poems you are to write on are named, for example: "The poems 'A Stone's Throw' and 'The Woman Speaks to the Man Who has Employed her Son' are about how women are treated.". For EACH poem: (a) Briefly describe what is taking place.
How To Write A Comparative Poetry Essay
In conclusion, writing a comparative poetry essay can be a daunting task, but by following these steps you can be sure of creating an essay that is both accurate and engaging. While it is important to consider the formal elements of the poem, it is even more important to include your own insight and analysis.
Poetry comparison
Poetry comparison - or writing a comparative essay about two poems, seen or unseen - is what students will eventually be assessed on when they come to sit the poetry analysis part of their English Literature GCSE. It makes sense, therefore, to get some early poetry comparison practice in. See what the assessment criteria will be asking for ...
A Level Poetry Comparison Essay Example
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.
How to answer a poetry comparison question
A comparative thesis as an introduction - this only need be two or three sentences long. 3 analysis paragraphs. a. Poem 1 - core difference/similarity from thesis. b. Poem 2 - core difference/similarity from thesis. c. Thoughtful comparative paragraph [AKA the guitar solo paragraph] which will generally be a difference within the core ...
Overview
Overview Structuring a comparative essay Comparing themes, ideas and attitudes Compare the effect of form, structure and language Comparing contexts Thinking about two poems and identifying where ...
Writing Comparative Essays: Making Connections to Illuminate Ideas
Here are some tips, with student examples to illustrate each. 1. Make sure you're focusing on a manageable theme or idea. One of the first ways to get on the wrong track in writing a comparative ...
Comparing Poems
Planning your response. 1. Read both poems through carefully and get an overall sense of what each poem is about and how the poets handle their topics. 2. Re-read poem 'A' and make brief notes either around the poem, if you are able, or on a separate sheet, noting key words, phrases, images etc. and your response to it.
Model Answers
Below you will find a full-mark, Level 6 model answer for a poetry anthology comparison essay. The commentary below each section of the essay illustrates how and why it would be awarded Level 6. Despite the fact it is an answer to a specific Power and Conflict question, the commentary below is relevant to any poetry anthology question.
IGCSE English Literature Tips and Tricks: Comparative Poetry
Comparative poetry is assessed in relation to the IGCSE Anthology poetry selection, in section B of the Paper 1 (Understanding Poetry) exam. Candidates can usually choose from a few 'collections', which will each include a different theme and question for the comparative essay. One of the poems will be set in the question.
8.10: Compare and Contrast Poetry Assignments
Comparing and Contrasting. Frequently, you will find that an assignment asks you to 'compare and contrast' poems. There's a very good reason for this, for, often, it is only by considering different treatments of similar subjects that we become aware of a range of possibilities, and begin to understand why particular choices have been made.
Comparative Analysis Of Owen's Dulce Et Decorum Est And ...
Conclusion paragraph: Through the contrasting poems The Soldier and Dulce et Decorum Est, Rupert Brooke and Wilfred Owen share their opposing feelings and thoughts about war and dying for one's country. Both The Soldier and Dulce et Decorum Est highlight the firsthand accounts of Brooke and Owen's experiences, yet they differ drastically in many other ways.
Comparative Analysis
As we discussed in "Advice on Timing" at the page on single-source analysis, that timeline itself roughly follows the "Sample Sequence of Formative Assignments for a 'Typical' Essay" outlined under "Formative Writing Assignments," and it spans about 5-6 steps or 2-4 weeks.Comparative analysis assignments have a lot of the same DNA as single-source essays, but they potentially bring more ...
Comparing and Contrasting in an Essay
Making effective comparisons. As the name suggests, comparing and contrasting is about identifying both similarities and differences. You might focus on contrasting quite different subjects or comparing subjects with a lot in common—but there must be some grounds for comparison in the first place. For example, you might contrast French ...
Comparative Essay
Moreover, a comparative analysis essay discusses the similarities and differences of themes, items, events, views, places, concepts, etc. For example, you can compare two different novels (e.g., The Adventures of Huckleberry Finn and The Red Badge of Courage). However, a comparative essay is not limited to specific topics.
Comparative Essays
Awesome A-Level Comparative Essays Essays & Coursework Examples that have been Marked by Teachers and Peers allowing for the best possible results. TOP CATEGORIES ... Hardy talks about a memory he has when he is 27 years old. This poem is a snapshot of a moment, where he recalls standing with his former young love by the side of a pond, in the ...
Edexcel IGCSE
Type 2: Re-read [POEM 1]. Compare how the writers present [THEME OR IDEA] in [POEM 1] and one other poem from the anthology. You should make reference to language, form and structure. Support your answer with examples from the poems. (Total for Question 3 = 30 marks)
Comparative Analysis of Philip Larkin and Emily Dickinson Poems: [Essay
Dickinson, a prominent literary figure, often uses the theme of death in her poems and wrote this poem drawing inspiration from a cemetery near her house. In the poem, a female speaker tells the story of how she was visited by 'Death', personified as a 'kindly' gentleman, and taken for a ride in his carriage.
Poetry Paper: Comparative Analysis Essays Examples
Poetry Paper: Comparative Analysis Essays Examples. The poems entitled "To a Daughter Leaving Home" written by Linda Pastan and "Learning the Bicycle" by Wyatt Prunty focused on the main theme which was guiding a child to learn how to ride the bicycle and eventually accepting that the parent or the teacher needs to let go.
Interview: Morgan Parker on 'You Get What You Pay For: Essays'
Morgan Parker Says 'Poetry Is Under Everything' She Writes. Crafting the arguments in "You Get What You Pay For," her first essay collection, "felt like pulling apart a long piece of ...
A conversation with the author of 'There's always this year'
NPR's Scott Detrow speaks to Hanif Abdurraqib about the new book There's Always This Year. It's a mix of memoir, essays, and poems, looking at the role basketball played in Abdurraqib's life.
PDF arXiv:2403.19725v1 [cs.CL] 28 Mar 2024
A merged dataset was also created that included equal instances from poem, essay and abstract dataset. Overview of the four dataset description is provided in the Table 1. More specific details of each dataset is described in the following sub-sections. 3.1 Essay Dataset For the essays, we used the dataset provided through Kaggle competition4 ...