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Unit 2 · Topic 2.1

2.1 How a speaker's words reveal a perspective

The speaker is the voice talking in a poem, and it's a voice the poet creates. Speakers reveal how they see the world through the words they pick, the details they notice, the order of their thoughts and what they decide to do. Describing that perspective precisely is where most poetry analysis starts.

Key terms

  • speaker
  • persona
  • perspective
  • attitude
  • poet

The speaker is not the poet

Just as a story has a narrator, a poem has a speaker. Sometimes the speaker sounds a lot like the poet, but you still can't assume they're the same person. Poets write as soldiers, children, animals, the dead and whole groups of people. A created voice like this is sometimes called a persona.

So in your writing, say "the speaker." Use the poet's name for the choices behind the poem: "Dunbar repeats the title phrase," not "Dunbar wears a mask."

Four places a speaker's perspective shows

  • Word choice: is the language tender, bitter, formal, slangy, plain? A speaker who calls the sea "endless" and one who calls it "empty" see it differently.
  • Details: what the speaker notices and leaves out tells you what they care about.
  • Order of thought: does the speaker move from doubt to certainty, from calm to panic, from the outside world to themselves? The order shows how their mind works.
  • Decisions and actions: what the speaker says they'll do, or refuses to do, reveals their values.

Perspective and bias

Perspective is how the speaker understands their situation. Bias is a leaning that tilts what they see. A speaker grieving a friend may describe the whole world as gray; a speaker in love may describe even rain as beautiful. Neither is lying, but both are filtering.

Noticing that filter helps you avoid a common trap: treating the speaker's view as the poem's final word. Sometimes a poem lets you see past the speaker.

Who is "we"?

Speakers aren't always single people. A speaker who says "we" speaks for a group, and that choice matters. It can make private pain feel shared, or it can make a reader ask who is included and who is left outside. When you see "we," ask who the group is, and how the poem tells you.

Reading the speaker's situation

Before analyzing anything else, ask three quick questions. Who seems to be speaking? To whom (a lover, a dead friend, God, the reader, themselves)? And in what situation (a funeral, a farewell, a sleepless night)? The title and the first few lines usually give you at least a partial answer. Even a rough answer helps you read every later word in the right light.

Worked examples

Try each one yourself first, then open the solution.

  1. Example 1

    A speaker who speaks for a group

    Here are the first lines of Paul Laurence Dunbar's "We Wear the Mask" (1895), lines 1–5: "We wear the mask that grins and lies, / It hides our cheeks and shades our eyes,— / This debt we pay to human guile; / With torn and bleeding hearts we smile, / And mouth with myriad subtleties." Describe the speaker's perspective and explain how word choice reveals it.

    Show the solution
    1. Step 1: Identify the speaker. It's "we," a group that hides its suffering. Many readers connect this "we" to Black Americans in the 1890s, Dunbar's own community, though the poem itself never names the group.
    2. Step 2: Look at word choice. The mask "grins and lies," so the smile is an act. The speaker calls the hiding a "debt we pay," which makes it feel forced, owed, not chosen.
    3. Step 3: Look at contrast. "Torn and bleeding hearts" sit right next to "we smile." The inside and outside don't match.
    4. Step 4: Put it together as a claim about how the speaker sees their situation.

    Answer: Model paragraph: Dunbar's speaker sees the cheerful face "we" show the world as a burden the group is forced to carry. By calling the mask one that "grins and lies," the speaker exposes the smile as a performance from the very first line. The speaker then describes this performance as a "debt we pay to human guile," language that makes hiding pain feel like a payment demanded by a dishonest world, not a free choice. The image of "torn and bleeding hearts" placed right beside "we smile" sharpens the split between what is felt and what is shown. Speaking as "we" turns one person's pain into a shared condition, so the poem becomes a statement about a whole community's survival.

Common mistakes

  • Writing "the poet feels" when you mean the speaker. Keep the voice and the writer separate.
  • Naming the speaker's mood with one vague word like "sad." Describe the perspective: what the speaker believes about their situation and why.
  • Ignoring a shift in the speaker's perspective. If the speaker changes their mind partway through, that change is a key piece of evidence.

On the exam

  • Multiple-choice questions often ask about the speaker's attitude toward a subject. Eliminate answers that are too extreme or that describe the poet rather than the speaker.
  • In the poetry essay, opening with a precise description of the speaker's perspective gives your thesis something specific to argue about.

Connected topics

Videos

  • "What is a Persona?": A Literary Guide for English Students and Teachers

    OSU School of Writing, Literature and FilmWatch on YouTube (opens in a new tab)

  • Understanding Poetry: Who is the Speaker?

    DrybonesWatch on YouTube (opens in a new tab)

  • The elements of a poem | Reading | Khan Academy

    Khan AcademyWatch on YouTube (opens in a new tab)

  • Identifying the Speaker in a Poem

    Andrew EastonWatch on YouTube (opens in a new tab)

  • What makes a poem … a poem? - Melissa Kovacs

    TED-EdWatch on YouTube (opens in a new tab)

Check yourself

5 questions on 2.1 How a speaker's words reveal a perspective. Pick an answer to see if you got it, and why.

We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,—
This debt we pay to human guile;
With torn and bleeding hearts we smile,
Line 5
And mouth with myriad subtleties.
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.
Line 10
We smile, but, O great Christ, our cries
To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile;
But let the world dream otherwise,
Line 15
We wear the mask!

Paul Laurence Dunbar, “We Wear the Mask” (1895), from Lyrics of Lowly Life (1896)

Question 1 of 5

The speaker of the poem is best described as

When in disgrace with fortune and men’s eyes
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself, and curse my fate,
Line 5
Wishing me like to one more rich in hope,
Featur’d like him, like him with friends possess’d,
Desiring this man’s art, and that man’s scope,
With what I most enjoy contented least;
Yet in these thoughts my self almost despising,
Line 10
Haply I think on thee, and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven’s gate;
For thy sweet love remember’d such wealth brings
That then I scorn to change my state with kings.

William Shakespeare, Sonnet 29, from Shake-speares Sonnets (1609). “bootless”: useless. “Haply”: by chance.

Question 2 of 5

In lines 1–8, the speaker's attitude toward himself is best described as

Does the road wind up-hill all the way?
Yes, to the very end.
Will the day's journey take the whole long day?
From morn to night, my friend.
Line 5
But is there for the night a resting-place?
A roof for when the slow dark hours begin.
May not the darkness hide it from my face?
You cannot miss that inn.
Shall I meet other wayfarers at night?
Line 10
Those who have gone before.
Then must I knock, or call when just in sight?
They will not keep you standing at that door.
Shall I find comfort, travel-sore and weak?
Of labour you shall find the sum.
Line 15
Will there be beds for me and all who seek?
Yea, beds for all who come.

Christina Rossetti, “Up-Hill” (1861), from Goblin Market and Other Poems (1862)

Question 3 of 5

The poem is best described as

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs,
And towards our distant rest began to trudge.
Line 5
Men marched asleep. Many had lost their boots,
But limped on, blood-shod. All went lame, all blind;
Drunk with fatigue; deaf even to the hoots
Of gas-shells dropping softly behind.
Gas! GAS! Quick, boys!—An ecstasy of fumbling
Line 10
Fitting the clumsy helmets just in time,
But someone still was yelling out and stumbling
And flound'ring like a man in fire or lime.—
Dim through the misty panes and thick green light,
As under a green sea, I saw him drowning.
Line 15
In all my dreams before my helpless sight
He plunges at me, guttering, choking, drowning.
If in some smothering dreams, you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
Line 20
His hanging face, like a devil's sick of sin,
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs
Bitter as the cud
Of vile, incurable sores on innocent tongues,—
Line 25
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.

Wilfred Owen, “Dulce et Decorum Est,” from Poems (1920). The Latin in lines 27–28, from the Roman poet Horace, means “It is sweet and fitting to die for one's country.”

Question 4 of 5

In the final stanza (lines 17–28), the speaker addresses “you” and “My friend” chiefly in order to

Question 5 of 5

By calling the Latin saying “The old Lie” (line 27), the speaker reveals an attitude toward it that is best described as

0 of 5 answered