comparing poems essay

Comparing Two Poems Essay Example

• To find inspiration for your paper and overcome writer’s block
• As a source of information (ensure proper referencing)
• As a template for you assignment

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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IvyPanda. (2019, January 17). Comparing Two Poems. https://ivypanda.com/essays/comparison-of-two-poems/

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Bibliography

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The Hyperbolit School

Your trusty englit guide.

How to compare poems – 5 steps

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

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

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

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

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

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

So, what’s my point here?

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

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

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

5 steps to comparing any poems: a guide

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

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

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

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

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

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

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

How do I feel after reading this poem? 

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

Is there anything special or weird about this poem? 

Etcetera. 

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

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

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

Similarities between Poem A and Poem B

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Main idea 1: Preserving the home against external dangers  

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

Main idea 2: Reality vs expectation / ideal

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

Main idea 3: The turbulent nature of life 

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

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

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

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

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

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Poetry & Poets

Explore the beauty of poetry – discover the poet within

A Level Poetry Comparison Essay Example

Introduction

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

What is a Poetry Comparison Essay?

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

Key Considerations

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

Comparing Language in Poems

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

Analyzing Imagery and Symbolism in Poems

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

Key Comparisons in the Poems

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

Example of a Poetry Comparison Essay

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

Applying the Analysis

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

Writing Style

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

Explore Poems

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

Bring in Outside Sources

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

Organize Your Essay

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

Proofreading and Editing

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

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

Minnie Walters

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

Leave a Comment Cancel reply

Mr Salles Teaches English

How to Write a Poetry Comparison

Including a grade 9 answer.

Here is a 26/30 essay from the exam. That’s the beginning of grade 9.

This is from a student who scored 30/30 on several of her other essays. So, this is a clue that the comparison is more difficult, and that she is also missing a trick or two.

I think there are two main things to learn from it:

Comparing each poem continually, point by point, is difficult, and should be avoided.

The easiest way to compare is to:

Write a thesis statement which compares the two poems.

Then write all about one poem.

Then write all about the second poem - referring back to similarities or differences as you notice them.

Then write a conclusion which sums up the difference or similarity in the poet’s viewpoints.

Be as specific and clear as possible. Don’t try to be clever. This is very difficult to explain. But you will see this student often writes sentences which look like an analysis, but because they are not specific, they are not clear.

Below you will get the essay marked by Tilf.io .

Then paid subscribers will get my feedback.

Both sets of feedback will teach you how to compare, whether you study Power and Conflict or Love and Relationships.

Question: How do the poets present the power of love in … and a poem of your choice

Tilf.io gave it Level 5 (which would be a mark of 25). See what you think about the advice it gives:

In both Sonnet 29 and Love’s Philosophy the speakers present the power of love to be greatly consuming and as something that can be constantly desired – common of the romantic period. However, while Shelley suggests ideas of love being fluid with themes of duality and the intersection with nature, Browning suggests the power of love can be all-consuming and perhaps overwhelming.

(This introduction effectively sets up a comparison between the two poems and introduces the thematic focus on the power of love. It's good that you've identified the poets' different approaches to the theme.

Try to directly link these observations back to the question by explicitly stating how these approaches convey the poets' ideas about the power of love.)

Both speakers present the romantic power of love to be constantly desired and with the theme of duality. The mountains “mingle” with rivers and the sea, indicating Shelley’s view that the power of love and power of nature are almost intersectional. The verb “mingle” suggests a gentle meeting, contrasting the later verb of “clasp”, connoting both tenacity and desire. The contrasting verbs present Shelley’s ideas of how love can develop and change, r his persuasive piece of wanting a required relationship. The further use of water imagery connotes fluidity, which perhaps displays Shelley’s ideas of the rhythm and synchronicity of both love and nature. However, Browning presents her ideas of the power of love with moods of power and tenacity. Browning employs the use of exclamatory language of “I think of thee!” accentuating the overbearing feelings of love she experiences. The employment of caesura following could perhaps further the idea of her thoughts being uncontrolled and constantly changing due to the overwhelming hold love has on her at this point. Ideas of duality are presented through Browning’s use of the previous “I” and “thee”. This direct address displays Browning’s view of love with themes of togetherness and these thoughts slowly consume her.

(Your analysis of the language and imagery used by both poets is insightful, particularly your discussion of the contrasting verbs 'mingle' and 'clasp'. This effectively demonstrates how the poets convey their ideas about the power of love.

To strengthen your response, consider exploring how these techniques affect the reader's understanding of love's power.)

Moreover, both poets present the power of love to be all consuming and omnipotent as their emotions develop. The power of love is seen to be great through the use of biblical imagery. Browning seeks divine intervention to justify and rationalise her disorderly emotions. The phrase “Oh my palm love” connotes ideas of maturity, indicative of Browning trying to justify her emotions. This constant justification could perhaps be because of the rarity of women being allowed to express emotions in the Romantic Victorian era as the initial intention of the poem was for the private eyes of Robert Browning. The poem is also a sonnet, a quintessentially romantic poem, typically for the use of mans to express their emotions. Further ideas of the all consuming power of love are clear when they “inspire” her. The verb “inspire” connotes inevitability and almost an echo chamber of emotions, displaying the extent of the power of love.

(This paragraph offers a nuanced understanding of the thematic and historical context of Browning's poem, which enriches your analysis. The mention of the sonnet form and its historical implications is particularly insightful.

To further enhance your response, consider how Shelley's use of natural imagery compares to Browning's use of biblical imagery in conveying the power of love.)

In contrast, Shelly presents his ideas of the overwhelming emotions he has succumbed to through the volta, questioning the value of something as powerful as nature if his love doesn’t have natural feelings. “High heavens” suggest the extent to which he is questioning the power of love if the feelings are unrequited. Shelley also employs images of “kiss, kissing” which conjure images of intimacy which are all in vain, due to the feelings not being reciprocated.

(Your exploration of Shelley's use of the volta and natural imagery to convey the theme of unrequited love is well done.

It would be beneficial to draw a clearer connection between this analysis and the overarching question of how poets convey their ideas about the power of love, perhaps by discussing the emotional impact of these techniques on the reader.)

Furthermore, both poets continue to present their ideas of the power of love as constantly changing, as both poems have a shift in tone. Browning suggests at the end she “no longer think [s] of thee”, suggesting ideas of composure which are the dichotomy of her previously “wild” emotions, displaying the development and changing view she has on the power of love. The use of caesura are indicative of the abrupt change in her emotions and she has overcome the previously overwhelming power that her emotions had on her.

(This paragraph effectively identifies a shift in tone in Browning's poem, which is a key observation.

To enhance your analysis, consider discussing how this shift in tone reflects the complex nature of love's power and its impact on the individual. Additionally, linking this observation more explicitly to the question will strengthen your argument.)

In contrast, Shelley instead employs a deeply philosophical rhetorical device of “the values in kissing, if thou do not love me”. The arguably nihilistic ideas display how his obsession of his partner has overwhelmed him to the point where he questions and challenges the value of nature and duality of his surroundings. This is indicative of his ideas of “the power of love” being too great to be further pursued again at what he believes his soulmate doesn’t love him back.

(Your analysis of Shelley's philosophical approach and its implications for understanding the power of love is insightful.

To further improve, consider how this philosophical questioning enhances the reader's understanding of love's power and its potential to overwhelm. Linking this back to the question more directly would also be beneficial.)

Overall, both poets present their ideas of the extent of the power of love as constantly shifting and all encompassing at times, sometimes, “weigh down”.

(Your conclusion succinctly summarizes the main points of your analysis, effectively tying back to the question. For a stronger conclusion, consider emphasizing the significance of these findings in relation to the poets' overall message about the power of love.)

Overall feedback:

Your essay demonstrates a thoughtful and detailed analysis of how both poets convey their ideas about the power of love through their use of language, imagery, and form. You've effectively compared and contrasted the poets' approaches, providing insightful observations on their techniques and the themes they explore.

To further enhance your response, ensure that each point directly links back to the question, emphasizing how these techniques convey the poets' ideas about the power of love. Additionally, consider exploring the emotional impact of these techniques on the reader to deepen your analysis.

What went well:

Your detailed analysis of language and imagery, as well as your understanding of the thematic and historical context of the poems, are particularly strong. You've also effectively identified and discussed the shifts in tone and their significance.

Even better if:

Your response could be improved by more explicitly linking each point back to the question and by exploring the emotional impact of the poets' techniques on the reader. Additionally, ensuring a more direct comparison between the poems throughout your essay would strengthen your argument.

Mr Salles Teaches English is a reader-supported publication. To receive new posts which help you get top grades, consider becoming a free or paid subscriber.

You can try out Tilf for free - it will mark your first piece of writing (in English, humanities or 6 mark science answers for free, so you can see if it is any use to you).

I have only tested it for literature, and it is spot on for marking up to grade 8, and really useful for advice on how to improve in every grade, including 9.

Now Compare that to my Feedback

(I’ve written my comments so you will learn even more if you don’t study Love and Relationships!)

This is at least a 3 part thesis which starts straight away with comparison. This is a great way to show that you are comparing the poets’ points of view. It is mostly brilliant. The weakness is that ‘ideas of love being fluid’ doesn’t make any sense yet - it is much too vague. What does it mean - love runs away like a river? Love changes shape like a puddle? Does that mean the person who loves, or who is loved. Vague. Vague. Vague. Be specific - explain how.

Both speakers present the romantic power of love to be constantly desired and with the theme of duality. The mountains “mingle” with rivers and the sea, indicating Shelley’s view that the power of love and power of nature are almost intersectional. The verb “mingle” suggests a gentle meeting, contrasting the later verb of “clasp”, connoting both tenacity and desire. The contrasting verbs present Shelley’s ideas of how love can develop and change, on his persuasive piece of wanting a requited relationship.

I think ‘intersectional’ means inter connected here. I don’t even understand what intersectional is. Don’t reach for show off vocabulary - it is much more likely to lose you marks. So this part gets no marks. The last sentence also doesn’t make much sense. The examiner is therefore left with some good analysis of individual words, and the way that they can be interpreted in dual ways. They get excited about this and award it Level 5 for AO2 because it looks ‘thoughtful’. The way to do that is zoom in on individual words, and write about alternative interpretations.

Paid subscribers get at least one grade 9 answer with my feedback every week. And they have access to the over 60 exam answers already published.

Keep reading with a 7-day free trial

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CMP102 - Composition 2 - Taylor: Poetry Essay: Comparison/Contrast Assignment

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Poetry Essay: Comparison/Contrast Assignment Details

• Innocence and Experience   p. 74
• Conformity and Rebellion     p. 316
• Culture and Identity              p. 534
• Love and Hate                      p. 858
• Life and Death                      p. 1122
• Find two (2) poems from within that section that, after reading, you feel you "digested" them well. They may be very much alike or very different
• Do you SSSSTTh and F of S. Find one or two things about each poem that you thought were special.
• Following your comparison/contrast sheet for your essay. Be sure to write down the sources you may have used from the library.
• Don't forget your cover page and Work Cited page.
• When finished you should feel as if you have given the reader of your paper a good understanding of the poems.
• Proofread/revise.
• Go to the Writing Center if you would like some help.
• Remember - you have many chances to make this paper better (peer editing, revision). 

About the Comparison/Contrast Essay

A comparison/contrast essay weighs the differences and sometimes similarities between two distinct things: two boyfriends, high school vs. college courses, your first car with the car you have now, two of your children or a brother and sister, etc. As always it is important to do some pre-writing to be sure you have enough "ammunition" to write a complete essay. 

In this assignment, your job will be to compare/contrast two poems. If you turn to page xvii, you will see four basic themes - Parents, Nature, Love, and War. Pick the subject that interests you the most. Pick one or two poems from that section or pick one poem from that section and find a second poem that has the theme you have chosen. Do a poetry analysis sheet for each poem to be sure you ave a good grasp. If not, pick a different poem. 

• Pick your poems. It might be a good idea to skim a few poems so that you choose two that truly interest you. 
• Once you have picked your two poems, you should do a poetry analysis sheet for each poem. Maybe you will decide you do not like these poems or the poet. Maybe you will decide you don't understand the poems. This is an important step. It always helps to somewhat enjoy what you are doing. 
• Now your poetry analysis sheet is completed and you have a grasp of the poems. Pick the 3 or 4 sections of the analysis sheet in which you have the most to say. Two of your choices should be situation and theme. Now for the format:

Introduction  - (Just what the name says!) Your job in this paragraph is to introduce the reader to the tow poems. It would be good to give an overview about your choices, perhaps why you made your choices. Be sure to say the poet's name and the name of the two poems. Remember our introduction discussion. (7-8 s.)

First Body Paragraph  - Give the best information you have about the first poem (S,S,S,S,Tone, Theme, F of S). You need not use all our analysis, just where you have a better grasp. You want the reader to truly understand the poem. If you find you do not have much to say, perhaps you should have picked another poem. (12-14 s.)

Second Body Paragraph  - Now you are writing to about your second poem. Keep a keen eye on what aspects you chose to write about in the first poem since it makes sense to be somewhat similar or entirely different. Try to follow the same order you wrote in for your first body paragraph since that will make your paper clearer for your reader and more of a comparison/contrast. (12-1 s.)

Conclusion - Sum it up. Why do you suppose these poems are in your text? Might they be there in 100 years? Would you like to meet this author? Did this poets life have an influence on what the poet says? These are things your reader may be interested to know (5-7 s.)

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• How To Write The Perfect Comparative Essay On Poetry

Poetry comparison – How to write the perfect comparative essay

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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How to Compare Poems

Last Updated: September 4, 2022 References

This article was co-authored by Christopher Taylor, PhD . Christopher Taylor is an Adjunct Assistant Professor of English at Austin Community College in Texas. He received his PhD in English Literature and Medieval Studies from the University of Texas at Austin in 2014. There are 14 references cited in this article, which can be found at the bottom of the page. This article has been viewed 13,753 times.

When comparing 2 poems, pay attention to both form and theme. The sound and shape of a poem is as important as its subject. Make sure to note use of traditional and experimental forms and techniques. Some research about the authors will help you contextualize the work, and will shed light on your interpretations. If you are writing a comparison paper about the poems, start by establishing their similarities, then break down their differences in form, theme, and historical context.

Comparing Formal Choices in the Poems

• If a poem has no lines or stanzas, but is instead written in sentences or paragraphs, it is a prose poem.
• Note how different it feels to read a poem with long lines, very short lines, or lines that are spaced unevenly.
• Notice if the lines end in punctuation, or if the sentences in the poem are broken up across the lines. When sentences split across lines, this is called enjambment.

• Even if a poem doesn't have a regular rhythm, it can still be rhythmic. The poet is likely using a mixture of different poetic feet.
• The most famous poetic foot in English is the iamb, which is 1 unstressed and 1 stressed syllable. For instance, "Japan" is an iamb.
• A line of five iambs is called "iambic pentameter, as in Shakespeare's "Sonnet 18": "Shall I compare thee to a summer's day."

• For the last century, it has become less common for poetry to rhyme. If you are reading a contemporary poem that rhymes, therefore, the poet is making an unusual choice. Think about why they are doing this: is the poem humorous? Is it inviting a comparison to song, or children's poetry?
• For instance, in this poem by David Brazil, "My wife she slept/as in a frieze/and dreamt a dream/she could not seize," the rhyme feels serious, not humorous, so that's your clue that the poet might be invoking song or older forms of poetry. [4] X Research source

• For instance, Alli Warren's poem "Breadwinning for Birds" includes both assonance and alliteration in its title. The repeated "b"s and "d"s are examples of alliteration, while the repeated "i" sound is an example of assonance. [6] X Research source

• If you know you are working with a Shakespearean sonnet, for instance, you will know that the poem has 14 lines, 3 ABAB rhymes, and a final rhymed pair. It will not have stanzas, but will be presented as a block. [8] X Research source
• Keep in mind that the Shakespearean or English sonnet differs from the Italian or Petrarchan sonnet. Determine which type your sonnet is before you continue.
• If you are working with a poem that does not appear to be in a traditional form, just take notes on its lines and stanzas. Consider how the poem's form might impact its content.

• Note if the poems are written in a form that sprang out of their time, a form that has been popularized since, or if the poet was the inventor of the form.
• For instance, if you were comparing a sonnet by Petrarch to a sonnet by Bernadette Mayer, you would need to give both of them credit for refining a form. Petrarch did not invent the Petrarchan sonnet, but rather popularized it. Bernadette Mayer did not invent the experimental sonnet, but her rule-breaking sonnets inspired countless imitations.

• For instance, you might compare Etel Adnan's The Arab Apocalypse with David Larsen's The Thorn, as both books of poems include visuals. You would note that while Larsen writes many of his works by hand, thus "painting" his poems, Adnan does rather the opposite, "writing" drawings into her poetic lines in the place of words.

Considering Thematic Differences and Similarities

• For instance, if you are reading 2 poems about spiritual epiphanies, and one is written from the perspective of an observer, while the other is from the perspective of the poet, you are likely to notice feeling more detached curiosity about the former, and more of an emotional, personal feeling about the latter.
• Some poems might address you as a reader, refer to the author as the author, or talk about their own composition and intentions. Note how this self-aware style differentiates the poem from a more "transparent," self-contained poem.

• For instance, when Elizabeth Barrett Browning writes, "I love thee to the depth and breadth and height/my soul can reach, when feeling out of sight/of the ends of being…" her tone is sincere, serious, and religious.
• However, when Joan Murray writes "oh my love is a mist of stars/and I am a little sad," she is combining an exaggerated image with an understated emotion to create a wistful, slightly ironic tone.
• Notice how formal choices affect tone. For instance, in these lines by CA Conrad, the sudden capitalization of "Darling" implies sarcasm instead of affection: "you think Oscar Wilde was funny/well Darling I think he was busy/distracting straight people/so they would not kill him." [12] X Research source

• Similes compare 2 unlike things using "like" or "as," as in Nazim Hikmet's line: "This world will grow cold…like an empty walnut shell."
• Metaphors compare 2 unlike things without using "like" or "as," as when Laura Riding describes her hair as "a scarf unwoven."
• Imagery uses the senses, describing something so that the reader can almost see, hear, feel, taste, or smell it, as in this startling image by Elizabeth Willis: "The devil does not speak to a witch. He only moves his tongue."
• Compare the uses of figurative language in the poems you are reading. If one poem uses a lot of metaphors, but the other a lot of similes, how does that affect you? The metaphor poem might feel more direct and powerful, while the simile poem might sound more academic or uncertain.

• For instance, Santa Terésa de Jesús and San Juan de la Cruz both wrote Catholic devotional poetry in Spain during the counter-reformation, but differences in their lives affect their engagement with the subject. Saint Terésa de Jesús was born earlier, came from a patrician family, and suffered illness and "ecstatic" encounters with God. Her visionary writings were a huge influence on San Juan de la Cruz, who joined the religious order based on her ideas, and wrote his own versions of many of her poems.
• Therefore, if you are comparing Santa Terésa's "Vivo sin vivir en mí," and the parallel poem by San Juan, "Coplas por un alma que pena por ver a Dios," you would note that "Coplas" came second, and you might note that while the lines are more complex, they lack the passionate immediacy of "Vivo."

• For instance, some poems are written to be recited aloud, while others are more likely to be read by an individual from the page. Some authors write for a broad audience, publishing their work internationally and commenting on global issues.
• Others might be writing for a smaller audience: for a small town, for speakers of a certain language, for a patron, for a loved one, or for a group of local poets who are socially and artistically entwined.

Writing a Comparison Paper about Poems

• For instance, if you were writing about Etel Adnan and David Larsen, you would explain here that both are poets who are also visual artists, and explain that they both mix painting into their writing.

• For you to have enough to write about, the poems you compare should have something in common. For instance, write about 2 sonnets by different poets from different time periods, write about several poems that all share the same author but that come from different phases of that author's life, compare love poems from different languages and cultures, or compare 2 contemporary poems that riff on the same older poem.

• For instance, Shakespeare depended on his wealthy patrons for financial support, so his treatment of a subject might be biased to flatter his patron.

• If you are comparing Shakespeare's sonnets to the sonnets of Bernadette Mayer, you might want to note that Shakespeare's sonnets are always the same length, while Mayer's sonnets, though normally short and sonnet-like in appearance, are of many lengths.

• For instance, a sonnet by Shakespeare will always include a "volta," or "turn" of thought, before ending on a rhymed couplet that resolves the tensions in the poem. However, a sonnet by Bernadette Mayer may end any number of ways, and the volta may occur at any time. [18] X Research source
• Therefore, you can describe how the predictable form of Shakespeare's "Sonnet 18" fills the reader with a reassuring sense of eternal, reliable love, while Bernadette Mayer's hilarious sonnet, "You jerk you didn't call me up" ends with an extra couplet in the form of choose-your-own-adventure instructions, thus presenting an image of a love that is unstable, often disappointing, yet exciting.

• For instance, if you were writing about Etel Adnan and David Larsen's poems, you might turn outward at the end of your essay by describing painters who have included poetry in their paintings.
• If you are writing about style differences between Santa Terésa de Jesús and San Juan de la Cruz, you might turn in by phrasing something in the manner of both authors: "As San Juan might say, we live, by the grace of reading, in the words of the dead. Or as Santa Terésa would put it: we die by the book."

Expert Q&A

• When you quote a few lines from a poem, replace the line breaks with "/". For instance, if you are quoting four lines from Joan Retallack's poem Not a Cage, for instance, you would write: "The shadow of the coup continues to hover over Spain/In the ordinary way of summer/girls were still singing/like a saguaro cactus from which any desert wayfarer can draw." [20] X Research source Thanks Helpful 0 Not Helpful 0

You Might Also Like

• ↑ https://www.poetryfoundation.org/learn/glossary-terms/stanza
• ↑ https://www.poetryfoundation.org/learn/glossary-terms/meter
• ↑ https://www.poetryfoundation.org/learn/glossary-terms/rhyme
• ↑ https://www.poetryfoundation.org/harriet-books/2018/08/yosefa-raz-interviews-david-brazil
• ↑ https://www.poetryfoundation.org/learn/glossary-terms/assonance
• ↑ https://www.poetryfoundation.org/poems/90625/breadwinning-for-birds
• ↑ https://www.poets.org/poetsorg/collection/poetic-forms
• ↑ https://www.poetryfoundation.org/learn/glossary-terms/sonnet
• ↑ https://www.bbc.com/bitesize/guides/zcf2tyc/revision/1
• ↑ https://www.poetryfoundation.org/poetrymagazine/poems/148106/glitter-in-my-wounds
• ↑ https://www.poetryfoundation.org/articles/70215/learning-about-figurative-language
• ↑ https://www.bbc.com/bitesize/guides/zcf2tyc/revision/2
• ↑ https://www.poetryfoundation.org/learn/glossary-terms/volta
• ↑ https://www.poetryfoundation.org/poems/54240/not-a-cage

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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.

Anthony Cockerill

| Writing | The written word | Teaching English |

Teach your students how to compare poems for GCSE English Literature, Paper 2, Section B

Learn some of these brilliant strategies for teaching really effective poetry comparison for  GCSE English Literature, Paper 2, Section B.

One of the elements of our students’ exam performance we identified as a weakness in last summer’s examination series was comparing poems from the AQA poetry anthology, Poems Past and Present, which forms part of GCSE English Literature Paper Two. In the English Department at Boroughbridge High School, where we teach the Power and Conflict cluster, we’ve been spending time over these past few weeks taking a closer look at what our students need to do in order to write a great poetry comparison. Using our current students’ work alongside papers we recalled from last summer – plus the ever helpful examiner’s report – we’re working to establish some maxims for how we teach this particular aspect of the examination, which I’d like to share with you in this blog post.

1. Get your students to know the poems really well.

‘Students who knew the text were able to move around and within it in order to respond to the specifics of the task.’ AQA Examiners’ report, June 2017. 

There are some great ways to introduce students to poems, such as D irected A ctivities R elated to T exts, in which a student is usually instructed to reconstruct or resequence a text. An activity might encourage students to think about the form of the text, the structure, or the recurrence of particular types of language.

As a first encounter with Seamus Heaney’s ‘Storm on the Island’, students might consider what the poem could be about by exploring the nouns. Are there any patterns? Could they be classified into lexical fields? Or they might attempt to write a poem or description using words sorted by their function. Alternatively, a teacher might encourage students to engage intellectually or emotionally with the poem by exploring a still image, a moving image clip or by sharing a story.

The subsequent process of the shared reading of the poem in its entirety and the ensuing discussion is a great opportunity to model the process of reading, understanding and thinking analytically.  A series of prompts – or something akin to ‘Key Questions’ – can work as a framework for class discussion, enabling students to think, and ultimately write, about the poems and also to provide a ‘schema’ to help them build and consolidate their knowledge and understanding.

When helping students to deal with aspects of language and structure, a teacher might provide a tool to help students structure their thinking and note-making (the acronym FLIRTS, for example, which stands for F orm and Structure, L anguage and Sounds, I magery, R hyme, Rhythm and Repetition, T heme and Tone, S peaker).

2. Cluster and study the poems thematically to help  students to make a good choice of second poem.

‘The selection of the second poem is one of the keys to success as this gives the student the material to construct a holistic response.’ AQA Examiners’ report, June 2017.

The Power and Conflict cluster could be usefully divided into poems about power and legacy; poems about the power of natural world and conflict with humans; poems about conflict that can happen as a result of culture and belonging; poems about war and conflict. Thinking about the poems in these clusters will guide students toward making a helpful choice of second poem.

3. Don’t constrict written responses with a rigid framework, but instead provide more flexible ways of comparing the poems.

‘One examiner commented that one of their key teaching points for next year will be that “comparison comes in a variety of shapes and does not have to be formulaic”‘. AQA Examiners’ report, June 2017.

Some of the possible ways of structuring a poetry comparison can lead to answers which can constrain the level of the response. This can usually be evident when ‘essay plans’ are too simplistic (Poem A, then Poem B) or too artificial (Similarities and Differences) but also when they become too unwieldy. But the examiners’ report suggests that ‘…the key message here is to enable and guide students to form a comparison relative to their level of ability.’ In engaging with the poems, a student aiming for a top grade should aim for a conceptualised response which is exploratory in nature. A confident student might write an ambitious introduction which outlines their ‘angle’ on the question. They might seek an interesting angle on the task, such as how patriotism might lead soldiers into combat. Then they might develop their response along a series of conceptual lines of enquiry, integrating analysis of the writers’ methods as they go; illuminating their interpretation with contextual insight relevant to the task.

Rather than offering up a rigid ‘essay plan’, the ‘series of prompts’ I described above as a cognitive tool can function, when applied to both poems, as a sort of ‘loose structure’ to help students produce a more focused written response. I have found these ‘Key Questions’ to be useful in encouraging students to focus on a comparison of two poems. ‘What are the poems about?’ serves as an introduction to the whole response.

‘Who is ‘speaking’ in the poems?’, as I discuss in more detail below, allows the student to engage with the ‘constructed voice’ of the poem. ‘How has the poet used language and structure to convey their message?’ allows students to consider the writers’ methods. ‘Why have the poems been written?’ offers the opportunity to explore deeper layers of meaning, authorial intent and conceptual interpretations. However, it’s important to think of this approach as flexibly as possible. It wouldn’t be good, for example, to encourage students to think of the Key Question ‘why have the poems been written?’ as an opportunity to shoehorn context into their response. Ideas, exploration of the writers’ methods and apt integration of context should be evident throughout the response. 

4. Think about the voice as a construct.

‘Students who recognised where the voice was a construct were more successful than those who regurgitated biographical information about the poet that they then attempted to link to the poetic voice.’ AQA Examiners’ report, June 2017.

Addressing the task itself – and considering why the poems might have been written – will enable the student to naturally explore context – rather than including lots of biographical information. But the ‘persona’ of the constructed voice might also provide a very useful way of considering context. In Simon Armitage’s ‘Remains’, for example, the narrative voice deftly reflects the turmoil of someone struggling to come to terms with what they’ve seen. Armitage’s narrator uses first-person plural pronouns, for example, to emphasise the narrator’s attempt to redistribute his own guilt among his comrades. Similarly in ‘Beatrice Garland’s ‘Kamikaze’, the modulating narrative perspective creates distance between the reader and the narrator that reflect the gulf between pilot and family. Context in this analysis, therefore, becomes implicitly connected to the student’s understanding of the task.

5. Make sure students understand the importance of answering the question.

When students start to write their responses – and if they’re using my ‘Key Questions’ approach, they’ll begin by considering what the poems are about – they must respond in terms of the question rather than with something generic. ‘Ozymandias’ by Percy Bysshe Shelley for example, explores the power of the natural world, but if the question is about the theme of mortality, then it is through this filter that the student must construct their response. It’s useful reiterate the key word from the question throughout throughout the answer to keep the response on track.

6. Get students to engage with the poem, rather than obsessing about poetry terminology.

‘Some responses set out to identify poetic techniques and employ as much terminology as possible before engaging with the poems themselves.’ AQA Examiners’ report, June 2017.

Sometimes, a student who is too heavy handed with various poetry terms can find themselves attributing questionable effects to the features they’ve ‘spotted’. It’s much better to encourage students to consider different layers of meaning in language and to consider possible interpretations.

7. Flexible analytical writing is much more effective than the PEE paragraph.

‘The use of structures such as PEE / PEA and its variants worked in the sense that they allowed students working at the lower levels to access Level 3 in the mark scheme. However less rigid structures worked better for those working at higher levels.’ AQA Examiners’ report, June 2017.

As I have explained in an earlier blog post , I’m not sure I always taught analytical writing well earlier in my teaching career. For me, like many, the PEE paragraph was a formula to get students through coursework essays and to use as a model for exam-style responses.

8. Teach students to integrate and embed short quotations – it’s much more effective than copying out longer quotations.

It’s much more productive when students embed judiciously chosen, short quotations into the essay, rather than wasting time copying out large chunks of text. The response will feel much more fluid.

9. Encourage students to write individual responses with precise, cogent expression and more sophisticated analytical writing techniques.

When aiming for top flight responses, there are several techniques students can deploy as part of a well-structured, insightful essay. These include evaluation, anticipating the response of the reader, tentativity, spotting patterns and deepening analysis are some great ways of making analytical writing more ambitious. 

Here, the student has spotted patterns of language throughout the poem.

The student here has noted the ambiguity of the poem in this example of deepening analysis…

10. Familiarise students with how their work will be marked.

‘Mark schemes’ should be used with care, as the process of arriving at a level is a subjective judgement based around a guided standardisation process. Futhermore, the meta-language around each level needs to be properly exemplified and understood – something even experienced teachers and examiners need ongoing support with. This said, it is always a worthwhile exercise to share with students an exemplar script or two and a ‘friendly’ version of the mark scheme they can use to become familiar with the standard and where their own writing sits.

Photo by Artur Matosyan on Unsplash

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How to Write an Essay Comparing Two Poems

In what follows you will get familiar with some useful instructions regarding how to write an essay comparing two poems. Please use them only as a starting point and not as absolute authority - essay writing is always a unique process.

Writing an essays comparing two poems – 7 useful tips

1. reflect on the topic.

As with any other kind of essay, here you need to reflect very deeply upon the topic. Ask yourself the following questions: what is your task? What will be your leading idea (or thesis)? Then write down everything which comes to your mind and use it while writing the essay.

2. Formulate a topic of your comparison

You cannot merely title it “A comparison between the poem A and the poem B.” It should be rather exposed as a topic; for example, “The idea of romantic love in the poem A and the poem B.” Of course, this is valid only if your teacher has not assigned a precisely formulated topic.

3.  Describe both poems one by one

Pay attention especially to their plot (if there is such), to the ideas that are exposed in them (in short), and to their narrator or main character.

Advice : you do not need to go into details while describing the poems. This should not take more than one-fifth of the whole essay. Thus, if your essay is ten pages long, the description needs to be around two pages.

4. Find similarities between both poems  

You can do this by referring to their style, length, author, social and political context. Usually such a task requires comparing two poems belonging to one literary school (romanticism, symbolism, etc.). However, it is also possible to compare poems by two great poets although both of them belong to different nations, traditions and schools.

5. Reveal the differences between both poems

Again by referring to their method, style, etc. 

6. Turn to your central idea  

Now you need to turn to the central idea which is the basis of your topic; for instance, romantic love. How is this idea treated in both poems? You can use quotations in order to prove how romantic love is defined by both authors. The first author puts more stress on its tragic dimensions, and the other author is more optimistic concerning it. You can also refer to the style and methods used by the particular poets because ideas are suggested also in technical way (i.e., not only verbally).

7.  Conclusion

You can conclude the essay by saying what are the similarities and differences in the treatment of the main idea (or that which is your topic).

Remember that your conception should be clearly expressed and logically proved. The fact that you are dealing with poems does not indicate that you can say about them whatever comes to your mind. A literary analysis should be logical.

From all said above, it can be asserted that writing an essay comparing two poems requires preparation and deep reflections on one central idea, common for both poems. You have to demonstrate your observational skills and also ability to find meanings through interpretation. 

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Comparing Two Poems

Introduction.

The Iliad and The Odyssey, authored by the ancient Greek poet Homer, are esteemed epic poems and are often considered foundational to Western literature. The Iliad recounts the ten-year Trojan War, a conflict initiated by the abduction of Helen by Paris, the Trojan prince. The Odyssey narrates the trials of Odysseus, a Greek hero from the war, as he endeavors to return home to his family, encountering numerous challenges. These works reflect fundamentally ancient Greek culture, values, beliefs, and history. However, the primary objective of this essay is not to provide a mere summary or commendation of the poems but rather to examine two specific moments or scenes that illuminate disparities between the Classical era and the contemporary 21st century. Through this analysis, the essay aims to posit that while Homer’s works portray a world vastly distinct from ours in many facets, they also unveil specific enduring themes and values that can resonate with present-day readers.

One of the most startling and unsettling occurrences in The Iliad transpires when Achilles, the preeminent Greek warrior, drags the lifeless body of Hector, the esteemed prince of Troy, around the city walls following their fatal duel. Homer vividly portrays this event in Book 22 of The Iliad, providing explicit and macabre details: “he pierced the sinews at the back of both his feet from heel to ankle and passed thongs of ox-hide through the slits he had made” ( Homer, the Iliad, Scroll 22, Line 344 ). This incident illustrates Achilles’ extreme brutality and lack of regard for his foe, even in death. Furthermore, it reflects the honor-centric culture and warrior code of the Classical era, where renown and prestige were attained through acts of violence and dominance. In contrast, the 21st century values human dignity and compassion, condemning such acts of cruelty and desecration.

However, this moment establishes a striking juxtaposition with the later scene wherein Achilles returns Hector’s corpse to his father, King Priam, displaying benevolence and compassion. In the 24th Book of The Iliad, Homer recounts where Priam, aided by the divine Hermes, infiltrates the Greek encampment and implores Achilles to restore his son’s remains. Touched by Priam’s entreaties and tears, Achilles consents to relinquishing Hector’s body, permitting a dignified burial. Additionally, he commands his troops to cease hostilities for a dozen days, allowing the Trojans to lament their fallen hero. This portrayal underscores the multidimensional nature of Achilles, portraying him not as a simplistic character but as a hero undergoing a nuanced transformation throughout the epic. Moreover, it accentuates the overarching theme of mortality and the human condition, a principal motif in The Iliad.

An alternative interpretation of this instance is to reflect it as a manifestation of the wrath and sorrow experienced by Achilles following the demise of his cherished companion Patroclus. Patroclus met his end at the hands of Hector while adorned in Achilles’ armor. In the 18th book of The Iliad, Homer illustrates Achilles’ response to learning about Patroclus’ demise. Achilles places blame on himself for Patroclus’ fate, pledging to avenge him by slaying Hector and bringing dishonor upon his corpse ( Homer, the Iliad, Scroll 22 ). Furthermore, he refuses to inter Patroclus until he fulfills this vow. This underscores Achilles’ profound commitment to loyalty and friendship, highlighting his prioritization of personal honor over collective welfare. It also underscores the tragic repercussions of warfare, emphasizing themes of violence, revenge, and their cyclical nature in The Iliad.

The Odyssey

One of the most exciting and daring episodes in The Odyssey occurs when Odysseus and his crew confront the Cyclops Polyphemus, a one-eyed giant who consumes some of them and traps the rest in his cavern. In Book 9 of The Odyssey, Homer details Odysseus and his crew’s exploration of the Cyclops’ island and their entry into Polyphemus’ cave. The giant returns, blocking the cave entrance with a massive boulder, leaving Odysseus plotting revenge: “and I was left there, devising evil in the deep of my heart, if in any way I might take vengeance on him, and Athena grant me glory” ( Homer, Odyssey, Book 9 ). This moment underscores the risky and adventurous aspects of Odysseus’ journey, along with the fantastical elements of the Classical world. It also highlights the cultural and religious disparities between the Greeks and the Cyclopes, portrayed as uncivilized beings disregarding gods and hospitality. In contrast, the 21st-century world is depicted as more rational and scientific, displaying greater tolerance and respect for diverse cultures and beliefs.

Nevertheless, this particular moment also showcases the cleverness and courage of Odysseus, who successfully extricates himself from the Cyclops by impairing the creature’s vision and concealing himself beneath its flock. This highlights Odysseus as an adept warrior and a resourceful leader who employs intellect and ingenuity to surmount challenges. He formulates a stratagem to inebriate the Cyclops with wine and dupes him by claiming his name is “Nobody.” Subsequently, when Odysseus pierces the Cyclops’ eye with a honed stake, the creature calls for assistance, yet his compatriots presume he refers to an entity named “Nobody,” allowing Odysseus and his men to elude detection. The ensuing episode elucidates the thematic interplay between sagacity and physical prowess, alongside the intervention of deities in human affairs, central motifs within The Odyssey.

An alternative interpretation of this moment involves reflecting it as a manifestation of Odysseus’ pride and arrogance. He jeopardizes his chances of survival by disclosing his proper name to the Cyclops upon escaping. Odysseus taunts and boasts about his accomplishments, provoking the anger of the Cyclops, who happens to be the offspring of the god Poseidon. The Cyclops beseeches his father to curse Odysseus, either preventing his return home or inflicting significant suffering upon him during the journey ( Homer, Odyssey, Book 9 ). Poseidon heeds his son’s plea, intensifying Odysseus’ challenges with storms, monsters, and temptations. This underscores Odysseus’ imperfections as a hero, portraying him as a flawed and human character prone to errors and subsequent learning. Furthermore, it underscores the tragic consequences of hubris and highlights the potency of fate—key themes within The Odyssey.

Cross-Comparison

The unusual elements found in both The Iliad and The Odyssey serve to illuminate the distinct worldview and values of the Classical era in contrast to the contemporary world. The Classical period was characterized by a realm of gods and heroes, myths and legends, war and glory, honor and fate, hospitality, and revenge, as well as poetry and prophecy. In contrast, the present is marked by science and technology, reason and logic, peace and human rights, dignity and compassion, diversity and tolerance, information and innovation. Another shared characteristic of these unusual elements in both epics is their capacity to elicit pleasure and frustration in modern readers. The delight arises from appreciating the poems’ beauty and creativity, admiring the characters’ skill and courage, enjoying the adventure and drama of the plots, and uncovering the wisdom and insight within the themes.

All in all, the two poems by Homer, The Iliad and The Odyssey, present a world that is altogether different from our own in numerous ways, yet also share a few routine subjects and values that can engage current readers. By breaking down two minutes or scenes that represent the difference between the classical world and the 21st-century world, this paper has shown how the poems investigate the subjects of mortality, bravery, trickyness, and the human condition. The poems by Homer are incredible works of writing yet also essential wellsprings of knowledge and motivation for anybody who needs to figure out the past and the present and the likenesses and contrasts among societies and developments. They are immortal and widespread and should be perused and valued for ages.

Works Cited

Homer, the Iliad, Scroll 22.  www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0217%3Abook%3D22%3Acard%3D344.

Homer, Odyssey, Book 9.  www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0136%3Abook%3D9%3Acard%3D281#:~:text=%5B315%5D%20Then%20with%20loud%20whistling,and%20Athena%20grant%20me%20glory.

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Comparing and Contrasting

What this handout is about.

This handout will help you first to determine whether a particular assignment is asking for comparison/contrast and then to generate a list of similarities and differences, decide which similarities and differences to focus on, and organize your paper so that it will be clear and effective. It will also explain how you can (and why you should) develop a thesis that goes beyond “Thing A and Thing B are similar in many ways but different in others.”

Introduction

In your career as a student, you’ll encounter many different kinds of writing assignments, each with its own requirements. One of the most common is the comparison/contrast essay, in which you focus on the ways in which certain things or ideas—usually two of them—are similar to (this is the comparison) and/or different from (this is the contrast) one another. By assigning such essays, your instructors are encouraging you to make connections between texts or ideas, engage in critical thinking, and go beyond mere description or summary to generate interesting analysis: when you reflect on similarities and differences, you gain a deeper understanding of the items you are comparing, their relationship to each other, and what is most important about them.

Recognizing comparison/contrast in assignments

Some assignments use words—like compare, contrast, similarities, and differences—that make it easy for you to see that they are asking you to compare and/or contrast. Here are a few hypothetical examples:

• Compare and contrast Frye’s and Bartky’s accounts of oppression.
• Compare WWI to WWII, identifying similarities in the causes, development, and outcomes of the wars.
• Contrast Wordsworth and Coleridge; what are the major differences in their poetry?

Notice that some topics ask only for comparison, others only for contrast, and others for both.

But it’s not always so easy to tell whether an assignment is asking you to include comparison/contrast. And in some cases, comparison/contrast is only part of the essay—you begin by comparing and/or contrasting two or more things and then use what you’ve learned to construct an argument or evaluation. Consider these examples, noticing the language that is used to ask for the comparison/contrast and whether the comparison/contrast is only one part of a larger assignment:

• Choose a particular idea or theme, such as romantic love, death, or nature, and consider how it is treated in two Romantic poems.
• How do the different authors we have studied so far define and describe oppression?
• Compare Frye’s and Bartky’s accounts of oppression. What does each imply about women’s collusion in their own oppression? Which is more accurate?
• In the texts we’ve studied, soldiers who served in different wars offer differing accounts of their experiences and feelings both during and after the fighting. What commonalities are there in these accounts? What factors do you think are responsible for their differences?

You may want to check out our handout on understanding assignments for additional tips.

Using comparison/contrast for all kinds of writing projects

Sometimes you may want to use comparison/contrast techniques in your own pre-writing work to get ideas that you can later use for an argument, even if comparison/contrast isn’t an official requirement for the paper you’re writing. For example, if you wanted to argue that Frye’s account of oppression is better than both de Beauvoir’s and Bartky’s, comparing and contrasting the main arguments of those three authors might help you construct your evaluation—even though the topic may not have asked for comparison/contrast and the lists of similarities and differences you generate may not appear anywhere in the final draft of your paper.

Discovering similarities and differences

Making a Venn diagram or a chart can help you quickly and efficiently compare and contrast two or more things or ideas. To make a Venn diagram, simply draw some overlapping circles, one circle for each item you’re considering. In the central area where they overlap, list the traits the two items have in common. Assign each one of the areas that doesn’t overlap; in those areas, you can list the traits that make the things different. Here’s a very simple example, using two pizza places:

To make a chart, figure out what criteria you want to focus on in comparing the items. Along the left side of the page, list each of the criteria. Across the top, list the names of the items. You should then have a box per item for each criterion; you can fill the boxes in and then survey what you’ve discovered.

Here’s an example, this time using three pizza places:

As you generate points of comparison, consider the purpose and content of the assignment and the focus of the class. What do you think the professor wants you to learn by doing this comparison/contrast? How does it fit with what you have been studying so far and with the other assignments in the course? Are there any clues about what to focus on in the assignment itself?

Here are some general questions about different types of things you might have to compare. These are by no means complete or definitive lists; they’re just here to give you some ideas—you can generate your own questions for these and other types of comparison. You may want to begin by using the questions reporters traditionally ask: Who? What? Where? When? Why? How? If you’re talking about objects, you might also consider general properties like size, shape, color, sound, weight, taste, texture, smell, number, duration, and location.

Two historical periods or events

• When did they occur—do you know the date(s) and duration? What happened or changed during each? Why are they significant?
• What kinds of work did people do? What kinds of relationships did they have? What did they value?
• What kinds of governments were there? Who were important people involved?
• What caused events in these periods, and what consequences did they have later on?

Two ideas or theories

• What are they about?
• Did they originate at some particular time?
• Who created them? Who uses or defends them?
• What is the central focus, claim, or goal of each? What conclusions do they offer?
• How are they applied to situations/people/things/etc.?
• Which seems more plausible to you, and why? How broad is their scope?
• What kind of evidence is usually offered for them?

Two pieces of writing or art

• What are their titles? What do they describe or depict?
• What is their tone or mood? What is their form?
• Who created them? When were they created? Why do you think they were created as they were? What themes do they address?
• Do you think one is of higher quality or greater merit than the other(s)—and if so, why?
• For writing: what plot, characterization, setting, theme, tone, and type of narration are used?
• Where are they from? How old are they? What is the gender, race, class, etc. of each?
• What, if anything, are they known for? Do they have any relationship to each other?
• What are they like? What did/do they do? What do they believe? Why are they interesting?
• What stands out most about each of them?

Deciding what to focus on

By now you have probably generated a huge list of similarities and differences—congratulations! Next you must decide which of them are interesting, important, and relevant enough to be included in your paper. Ask yourself these questions:

• What’s relevant to the assignment?
• What’s relevant to the course?
• What’s interesting and informative?
• What matters to the argument you are going to make?
• What’s basic or central (and needs to be mentioned even if obvious)?
• Overall, what’s more important—the similarities or the differences?

Suppose that you are writing a paper comparing two novels. For most literature classes, the fact that they both use Caslon type (a kind of typeface, like the fonts you may use in your writing) is not going to be relevant, nor is the fact that one of them has a few illustrations and the other has none; literature classes are more likely to focus on subjects like characterization, plot, setting, the writer’s style and intentions, language, central themes, and so forth. However, if you were writing a paper for a class on typesetting or on how illustrations are used to enhance novels, the typeface and presence or absence of illustrations might be absolutely critical to include in your final paper.

Sometimes a particular point of comparison or contrast might be relevant but not terribly revealing or interesting. For example, if you are writing a paper about Wordsworth’s “Tintern Abbey” and Coleridge’s “Frost at Midnight,” pointing out that they both have nature as a central theme is relevant (comparisons of poetry often talk about themes) but not terribly interesting; your class has probably already had many discussions about the Romantic poets’ fondness for nature. Talking about the different ways nature is depicted or the different aspects of nature that are emphasized might be more interesting and show a more sophisticated understanding of the poems.

Your thesis

The thesis of your comparison/contrast paper is very important: it can help you create a focused argument and give your reader a road map so they don’t get lost in the sea of points you are about to make. As in any paper, you will want to replace vague reports of your general topic (for example, “This paper will compare and contrast two pizza places,” or “Pepper’s and Amante are similar in some ways and different in others,” or “Pepper’s and Amante are similar in many ways, but they have one major difference”) with something more detailed and specific. For example, you might say, “Pepper’s and Amante have similar prices and ingredients, but their atmospheres and willingness to deliver set them apart.”

Be careful, though—although this thesis is fairly specific and does propose a simple argument (that atmosphere and delivery make the two pizza places different), your instructor will often be looking for a bit more analysis. In this case, the obvious question is “So what? Why should anyone care that Pepper’s and Amante are different in this way?” One might also wonder why the writer chose those two particular pizza places to compare—why not Papa John’s, Dominos, or Pizza Hut? Again, thinking about the context the class provides may help you answer such questions and make a stronger argument. Here’s a revision of the thesis mentioned earlier:

Pepper’s and Amante both offer a greater variety of ingredients than other Chapel Hill/Carrboro pizza places (and than any of the national chains), but the funky, lively atmosphere at Pepper’s makes it a better place to give visiting friends and family a taste of local culture.

You may find our handout on constructing thesis statements useful at this stage.

Organizing your paper

There are many different ways to organize a comparison/contrast essay. Here are two:

Subject-by-subject

Begin by saying everything you have to say about the first subject you are discussing, then move on and make all the points you want to make about the second subject (and after that, the third, and so on, if you’re comparing/contrasting more than two things). If the paper is short, you might be able to fit all of your points about each item into a single paragraph, but it’s more likely that you’d have several paragraphs per item. Using our pizza place comparison/contrast as an example, after the introduction, you might have a paragraph about the ingredients available at Pepper’s, a paragraph about its location, and a paragraph about its ambience. Then you’d have three similar paragraphs about Amante, followed by your conclusion.

The danger of this subject-by-subject organization is that your paper will simply be a list of points: a certain number of points (in my example, three) about one subject, then a certain number of points about another. This is usually not what college instructors are looking for in a paper—generally they want you to compare or contrast two or more things very directly, rather than just listing the traits the things have and leaving it up to the reader to reflect on how those traits are similar or different and why those similarities or differences matter. Thus, if you use the subject-by-subject form, you will probably want to have a very strong, analytical thesis and at least one body paragraph that ties all of your different points together.

A subject-by-subject structure can be a logical choice if you are writing what is sometimes called a “lens” comparison, in which you use one subject or item (which isn’t really your main topic) to better understand another item (which is). For example, you might be asked to compare a poem you’ve already covered thoroughly in class with one you are reading on your own. It might make sense to give a brief summary of your main ideas about the first poem (this would be your first subject, the “lens”), and then spend most of your paper discussing how those points are similar to or different from your ideas about the second.

Point-by-point

Rather than addressing things one subject at a time, you may wish to talk about one point of comparison at a time. There are two main ways this might play out, depending on how much you have to say about each of the things you are comparing. If you have just a little, you might, in a single paragraph, discuss how a certain point of comparison/contrast relates to all the items you are discussing. For example, I might describe, in one paragraph, what the prices are like at both Pepper’s and Amante; in the next paragraph, I might compare the ingredients available; in a third, I might contrast the atmospheres of the two restaurants.

If I had a bit more to say about the items I was comparing/contrasting, I might devote a whole paragraph to how each point relates to each item. For example, I might have a whole paragraph about the clientele at Pepper’s, followed by a whole paragraph about the clientele at Amante; then I would move on and do two more paragraphs discussing my next point of comparison/contrast—like the ingredients available at each restaurant.

There are no hard and fast rules about organizing a comparison/contrast paper, of course. Just be sure that your reader can easily tell what’s going on! Be aware, too, of the placement of your different points. If you are writing a comparison/contrast in service of an argument, keep in mind that the last point you make is the one you are leaving your reader with. For example, if I am trying to argue that Amante is better than Pepper’s, I should end with a contrast that leaves Amante sounding good, rather than with a point of comparison that I have to admit makes Pepper’s look better. If you’ve decided that the differences between the items you’re comparing/contrasting are most important, you’ll want to end with the differences—and vice versa, if the similarities seem most important to you.

Our handout on organization can help you write good topic sentences and transitions and make sure that you have a good overall structure in place for your paper.

Cue words and other tips

To help your reader keep track of where you are in the comparison/contrast, you’ll want to be sure that your transitions and topic sentences are especially strong. Your thesis should already have given the reader an idea of the points you’ll be making and the organization you’ll be using, but you can help them out with some extra cues. The following words may be helpful to you in signaling your intentions:

• like, similar to, also, unlike, similarly, in the same way, likewise, again, compared to, in contrast, in like manner, contrasted with, on the contrary, however, although, yet, even though, still, but, nevertheless, conversely, at the same time, regardless, despite, while, on the one hand … on the other hand.

For example, you might have a topic sentence like one of these:

• Compared to Pepper’s, Amante is quiet.
• Like Amante, Pepper’s offers fresh garlic as a topping.
• Despite their different locations (downtown Chapel Hill and downtown Carrboro), Pepper’s and Amante are both fairly easy to get to.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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