Body Paragraphs
In the body of your literature analysis, you want to guide your readers through a tour of the poem, story, or play, pausing along the way to comment on, analyze, interpret, and explain key incidents, descriptions, dialogue, symbols, the writer’s use of figurative language—any of the elements of literature that are relevant to a sound analysis of this particular work. Your main goal is to explain how these elements work to elucidate, augment, and develop the theme.
The elements of literature are common across genres: a story, a narrative poem, and a play all have a plot and characters. But certain genres prefer certain literary elements. In a poem, for example, form, imagery and metaphor might be especially important; in a story, setting and point-of-view might be more important than they are in a poem; in a play, dialogue, stage directions, lighting serve functions rarely relevant in the analysis of a story or poem.
The length of the body of an analysis of a literary work will usually depend upon the length of the work being analyzed—the longer the work, the longer the analysis—though your instructor will likely establish a word limit for this assignment. Make certain that you do not simply paraphrase the plot of the story or play, or the content of the poem. This is a common weakness in student literary analyses, especially when the analysis is of a poem or a play.
Here is a good example of two body paragraphs from Amelia’s analysis of “Araby” by James Joyce:
Within the story’s first few paragraphs occur several religious references which will accumulate as the story progresses. The narrator is a student at the Christian Brothers’ School; the former tenant of his house was a priest; he left behind books called The Abbot and The Devout Communicant. Near the end of the story’s second paragraph the narrator describes a “central apple tree” in the garden, under which is “the late tenant’s rusty bicycle pump.” We may begin to suspect the tree symbolizes the apple tree in the Garden of Eden and the bicycle pump, the snake which corrupted Eve, a stretch, perhaps, until Joyce’s fall-of-innocence theme becomes more apparent.
The narrator must continue to help his aunt with her errands, but, even when he is so occupied, his mind is on Mangan’s sister, as he tries to sort out his feelings for her. Here Joyce provides vivid insight into the mind of an adolescent boy at once elated and bewildered by his first crush. He wants to tell her of his “confused adoration,” but he does not know if he will ever have the chance. Joyce’s description of the pleasant tension consuming the narrator is conveyed in a striking simile, which continues to develop the narrator’s character, while echoing the religious imagery, so important to the story’s theme: “But my body was like a harp, and her words and gestures were like fingers, running along the wires.”
Conclusion
The concluding paragraph of your analysis should realize two goals. First, it should present your own opinion on the quality of the poem or story or play about which you have been writing. And, second, it should comment on the current relevance of the work. You should certainly comment on the enduring social relevance of the work you are explicating. You may comment, though you should never be obliged to do so, on the personal relevance of the work.
Here is the concluding paragraph from Dao-Ming’s analysis of Oscar Wilde’s The Importance of Being Earnest:
Dao-Ming’s conclusion is brief, but she does manage to praise the play, reaffirm its main theme, and explain its enduring appeal. And note how her last sentence cleverly establishes that sense of closure that is also a feature of an effective analysis.
You may, of course, modify the template that is presented here. Your instructor might favor a somewhat different approach to literary analysis. Its essence, though, will be your understanding and interpretation of the theme of the poem, story, or play and the skill with which the author shapes the elements of literature—plot, character, form, diction, setting, point of view—to support the theme.
A Model Analysis
Read the short poem by Siegfried Sassoon, “Base Details”, reprinted in Project Bartleby.
Let’s first review some points from a close-reading of the poem:
- First, let’s try to determine who the speaker is, the “I” of the poem. Notice that the speaker speculates: “If I were fierce, and bald, and short of breath…” Might we assume he is none of the three adjectives? So how old would he be? Start with a hypothesis and stick with it unless further details make your guess seem untenable. Then try a different hypothesis. For now, let’s assume that the speaker is young. What is his rank? Is he an officer? That is unlikely. He is probably an enisted man since his tone toward the majors is angry and sarcastic.
- He calls them “scarlet.” What is the denotation of “scarlet”? What are some connotations of “scarlet”? What does “petulant” mean? Why are the faces of the majors described as “puffy”? What is the main meaning here of “scrap”? Are other meanings intended?
- What is the purpose of the poem? Look up the brief biographical details for Sassoon on the online “Oxford World War I Poets” website.
After reading the poem three times, have a look at the following student essay on diction in “Base Details.”
The Diction of “Base Details”(Student Essay adapted from Edward J. Gordon, Writing About Imaginative Literature, Harbrace: 1973).
Old men make and run wars; young men fight and die in them. In “Base Details,” Siegfried Sassoon reveals through his diction a bitterness toward the fact that young men die in wars while the officers live safely behind the lines. The speaker in the poem is an ordinary soldier talking about the majors at the army base. By pretending what he would be like if he were an officer, he condemns war.
Through his choice of words, the soldier expresses an attitude of contempt for the officers behind the lines who “speed glum heroes up the line to death.” He speaks with sarcasm of their fierceness and goes on to describe them as “bald, and short of breath.” If he were a major, he, too, would have a “puffy petulant face,/Guzzling and gulping in the best hotel.” The connotations of these words suggest men who are overweight and out of shape from drinking and eating too much. The reference to “scarlet Majors” recalls the red dress uniforms of British officers and the color of blood.
[Coherence would be even better here if the student could perhaps go on to point out explicitly how the majors figuratively have blood on their hands—the blood of the young soldiers under their command. One brief sentence would do.]
The speaker then goes on to describe the attitude toward soldiers that is held by the officers. One speaks of losing many men in “this last scrap.” The understatement of that last word contrasts sharply with the mention in the same line of a heavy loss in battle. [Here the student should state the other meanings of “scrap” and point out their thematic significance.] In the last two lines of the poem, a further contrast is set up between “youth stone dead” and the officer who will “toddle safely home and die—in bed.” [Here the student could improve the essay by discussing the connotations of the verb “toddle” and then relating the diction to theme.]
When the entire poem is read, the title becomes ambiguous. The apparent meaning refers to the details of a military base. But “base” can also mean low and contemptible. “Detail” also has two meanings. It can mean a detachment of men sent out on a particular mission—”speed glum heroes up the line”—but it can also mean a minor matter, as if sending people off to die is not important to the officers. So the apparent meaning that we see as we begin reading, turns into a second meaning when we finish reading the poem.
The diction, then, makes a comment on the theme of the poem: old men who direct wars at a safe distance behind the lines seem to have little understanding of what it means to die in battle and appear on “the Roll of Honor.”
Works Cited
- “literature, n.” OED Online, Oxford University Press, June 2019. Accessed 28 August 2019.
- “literary, adj. and n.” OED Online, Oxford University Press, June 2019. Accessed 28 August 2019.
LICENSE AND ATTRIBUTION
Adapted from:
- Heather Ringo’s & Athena Kashyap’s “What is Literary Analysis?” is adapted from Writing and Critical Thinking Through Literature 2019, used according to CC BY-NC 4.0.
- “3.1: Literary Analysis” from Advanced Community College ESL Composition, 2019, by Edgar Perez, Jenell Rae, Jacob Skelton, Lisa Horvath, & Sara Behseta, used according to CC BY-NC-SA 4.0.