Introduction to Poetry by Billy Collins has become my all-time favorite piece of poetry. From the title you would think this piece of literary work would not even be a poem. Possibly a long rubric or guide in the subject of poetry, whether how to read or write. Maybe even a long essay on the famous and classic poets and poems that an individual should know. But instead, Colling chose to express how one should take poetry lightly, or for what it is no matter what the content-which totally contradicts what I've learned about approaching poetry all through every English class.

Collin develops and contributes to his main point with the use of imagery, diction, and style.  His first stanza is all about the concept of light. The concept of light, is light itself-certainly not heavy. Light allows a better, clear vision or truth to be shown, and that is what Collin is asking us to do with the poetry. By asking us to hold the poem "up to the light like a color slide," he is assuring us that the truth will unfold itself and possibly not be what we expect. Who expects a rainbow to appear when light is passed through something so colorless? 

Collin next transgresses into the imagery of feeling for a light switch.  Another form of how light reveals the truth. As soon as the light switch is turned on, the dark is no more, and all is seen.  This supports his concept of taking something for what it simply is. 

His last supporting imagery of "waterski across the surface" especially supports his theme. This imagery gives us, the audience, a sense of urgency and speed. When one waterskies, not only is the mind at a thrilling sense of peace, but so is the body. The whole self is literally going with the flow. It fully captures the opposite of one of his ending points on how poems are treated, "...and torture a confession out of it."

Aside from his imagery, Collin's diction supported also his theme. No word in this poem had to be looked up or questioned about. His diction were words that we use in everyday life, nothing complicated or heavy, it was all very natural. When something is unnatural and out of habit, it puts our body, mind and emotions to go through an obstacle in order to get back to the natural. There were no breaks to look up a word or stop and ask about what it meant. Compared to something unnatural, the poem was read with such fluidity and ease. 

His last supporting element was style. The poem is simply put, short and sweet. No stanza exceeds four lines. Collin's use of emjambment continued the train of thought. His style was fairly straightforward and stayed at an even pace. Collin also did not use any rhyme, a common trait in poetry. The lack of rhyme was another accessory to the fluidity and natural vibe of this literary work. It was all one train of thought that made sense. 

Collin's main emphasis on his plea comes in at the break between stanzas four and five. The idea shifts from light and breezy to dark and aggressive. He uses "I" and then stanza five, he shifts to "they." He suddenly starts to address us. The harsh break in thought only brings out how opposite the two parts are-which only highlights what Collin wants us to do verses what not to do with poetry. 

While Collin's imagery, diction and style support his main idea, there is actually hidden contradiction. His plea is for us readers to not "tie the poem to a chair with rope and torture a confession out of it," but is that not what I, you, or you're English class is doing with the poem? Is it even possible to take a poem and just "hold it up to the light?" Is it really possible to "waterski across the surface of a poem?" 

Compared to Collin's first stanza of light and truth, his second stanza strikes us with the imagery of a mouse that "probes his way out." The imagery there is almost bitter and bleak. The connotation shifts drastically. The idea of a mouse probing his way out indicates a sense of lost and wonder in a troubling way. The shift between the first and second stanza is forceful that it is impossible to not at least try to break down, you can't help but question such an odd, unnatural sense. This contradicts Collin's plea to just glide across a poem. He's taunting us readers by pleading to go a nice speed limit (I say 50 mph is the perfect drive) yet throws in a speed bump. 

His makes it seem clear that his goal is to ask us readers to take poetry for what it is. To read as it is given and to take in quick short breaths with it. To be natural with it. He even accentuates his imprecation with his choice in diction, style and imagery, yet he throws in the sore thumb between stanzas one and two. Collin is a quite the evil master mind behind this particular literary work of his. Why? Because we are sitting here trying to figure out is main idea. We're sitting down spending a significant amount of brain power into his poem in "beating it with a hose to find out what it really means." We are over analyzing a poem about not over analyzing. 


