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04 September 20XX

A Lesson in How to Read Poetry:

Diction and Imagery in “Introduction to a Poem” by Billy Collins

Billy Collins, the former U.S. Poet Laureate, is a humorous writer whose poetry often takes satirical stabs at how some readers approach poems. Although he has held numerous positions in prestigious universities, Collins is committed to making poetry readable for everyone. One of his most important contributions as U.S. Poet Laureate was helping readers to enjoy poems with normal, everyday language. He pokes fun at people who strip the enjoyment out of poetry by implying that real poetry only deals with abstract, philosophical ideas or is only written with fancy, archaic words. Collins makes clear that poems can be simple and accessible to all. “Introduction to a Poem” is a conversational, easy-to-read poem that teaches readers something rudimentary about poetry and how to read it. Collins expertly employs diction and imagery in “Introduction to a Poem” to show us that the best way to approach poetry is with an adventurous, curious spirit.

First, the narrator of the poem explains the correct way to approach poetry through two main kinds of word choice. At the beginning of the poem, the words are light and playful. For example, the narrator declares that he wants readers “to waterski over the surface of the poem.” This phrase suggests that readers do not always have to go deep; it is possible to stay on “the surface” and just enjoy the experience of language. By comparing reading to the sport of waterskiing, the speaker shows that poetry deserves to be a fun adventure. Later in the poem, though, the diction changes as the language in the last two stanzas begins to show the narrator’s frustration at the constant over-analyzation of poetry. The somber words in this part sharply contrast with the easygoing words in the opening of the poem. Collins describes someone who wants to “tie the poem to a chair” to show how desperate people can be when they have to squeeze meaning out of every word. He says some people are so determined to figure out the right meaning that they “torture” and ruin a poem by “beating it.” The diction here is threatening and demonstrates the way in which reading poetry can become a negative experience if the reader approaches it in a menacing manner. Collins’ two kinds of diction in this poem doubles down on his message that we would enjoy poetry more if we approached it with a light touch.

In addition to diction, Collins uses two contrasting kinds of imagery to get across his message about the best way to approach poetry. At the beginning of the poem, the narrator mainly uses natural imagery. For example, the speaker asks us to “press an ear against the hive” of a poem, which suggests that the correct way to read poetry involves being open and actively listening. Comparing the poem to a beehive helps us see it as natural and buzzing with possibility. Later in the poem, the speaker continues with imagery that makes us feel like poetry reading should be easy. For instance, the narrator invites us “to walk inside the poem’s room” and immerse ourselves in the language. This image suggests a casual approach to understanding a poem—it should not be scary because it is as natural as walking into a room. Finally, the narrator even says playfully that he is going to “drop a mouse into a poem,” just to see what will happen. This image makes clear that readers are meant to interact with the poem, not keep it at arm’s length. Towards the end of the poem, however, Collins switches gears and drags us to an interrogation room where a confession is being forced out of a poem. This imagery in this part is much more negative and shows us the problem with forcing an interpretation onto a text. The image of a poem tied to a chair evokes a picture of an unnatural setting that is very different from the image of the beehive. Collins is reiterating that a poem is at its best when left open-ended and free, not tied down to a single “correct” interpretation. He uses both positive and negative imagery in the poem to help us grasp his argument that readers should approach poetry calmly and playfully, not forcefully.

Billy Collins is a funny poet, but he has some serious ideas about writing and reading to share. It is obvious that he likes to make fun of his profession and all the confusion and clichés that surround it. In “Introduction to a Poem,” he uses powerful diction and imagery to tell his readers to let poems loose, to play with them, and enjoy them. He warns that if we do not do this, we risk turning poetry into a tortuous affair. Even though Collins is no longer the Poet Laureate of the United States, he is still spreading a fun-loving perspective about poetry and captivating young and old readers alike.

Works Cited

Collins, Billy. “Introduction to Poetry.” The Apple that Astonished Paris. University of Arkansas Press, 1996, p. 58.