Skip to content
Storgy

Poetic Device · Reference

Apostrophe

A move poets keep coming back to.

What does it mean when a poet suddenly turns and speaks directly to something that isn’t there — a deceased person, an abstract idea, the wind? This move is called apostrophe.

Definition

In poetry, apostrophe occurs when the speaker addresses someone or something that is absent, dead, or unable to respond — like a deceased person, a personified force such as Liberty or Death, an inanimate object, or even an emotion like grief or joy. The term comes from the Greek word for "turning away," which perfectly captures the image: the speaker turns away from the audience and directs their words to something else entirely.

Poets employ apostrophe because it conveys emotions in a way that straightforward description cannot. When Keats speaks directly to a Grecian urn, or when Shelley calls upon the west wind, the poem transforms from a mere report of feelings into an active engagement with those sentiments. The reader witnesses the speaker reaching across an impossible distance, making the emotional stakes feel real and urgent. Apostrophe also allows poets to give a voice to things that lack one — like death, time, or a city — and in doing so, brings those abstract concepts to life in a personal way.

You’ll often find apostrophe in elegies, odes, and political poems, as these forms center around intense emotions directed at something the speaker cannot simply converse with. Once you recognize this device, you’ll notice it frequently and begin to appreciate the specific intimacy it creates: a connection aimed at the unreachable.

Examples of Apostrophe in poetry

From the corpus · I to IX.
  1. I.from the corpus

    O wild West Wind, thou breath of Autumn's being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing

    Why this works

    Shelley begins by addressing the West Wind as if it’s capable of hearing him. Although the wind is just a natural force and not a person, his use of direct address — "thou," "thy," "O" — makes it feel alive. This choice establishes a sense of intimacy and urgency right away. The reader senses the speaker's deep desire to be acknowledged by something immense and indifferent. By using apostrophe, Shelley personifies the wind effortlessly, allowing the direct address to convey this metaphor without needing further explanation.

    from Ode to the West Wind by Percy Bysshe Shelley
  2. II.from the corpus

    Wee, sleekit, cow'rin, tim'rous beastie, O, what a panic's in thy breastie! Thou need na start awa sae hasty, Wi' bickering brattle!

    Why this works

    Burns talks directly to a field mouse he has just startled with his plow. The mouse doesn't understand him, and that's the point: this apostrophe creates a one-sided conversation that underscores the speaker's guilt and the creature's vulnerability. By calling the mouse "thou" and "beastie," he gives it dignity and character. The tenderness in his words captures the poem's emotional core — that small, defenseless creatures deserve the same respect as humans.

    from To a Mouse by Robert Burns
  3. III.from the corpus

    Hail to thee, blithe Spirit! Bird thou never wert, That from Heaven, or near it, Pourest thy full heart

    Why this works

    Shelley opens by directly addressing the skylark with "Hail to thee" and the second-person pronoun "thou," invoking the absent, non-human bird as though it were a present listener — the defining gesture of apostrophe. The exclamatory salutation "Hail" mirrors the classical apostrophic convention of calling out to an entity that cannot literally receive the address, establishing this rhetorical stance for the entire ode.

    from To a Skylark by Percy Bysshe Shelley
  4. IV.from the corpus

    O Captain! my Captain! rise up and hear the bells; Rise up—for you the flag is flung—for you the bugle trills, For you bouquets and ribbon'd wreaths—for you the shores a-crowding, For you they call, the swaying mass, their eager faces turning;

    Why this works

    Whitman directly addresses his dead Captain — an absent, unhearing figure — with urgent imperatives ("rise up") and a cascade of "for you" constructions, making the one-sided, impossible address unmistakably apostrophic: the speaker is pouring speech toward someone who cannot receive it.

    from O Captain! My Captain! by Walt Whitman
  5. V.from the corpus

    Titan! to whose immortal eyes The sufferings of mortality, Seen in their sad reality, Were not as things that gods despise;

    Why this works

    Byron opens by addressing Prometheus directly with the exclamatory "Titan!" — a figure long dead and mythological — and then immediately directs a question to him ("What was thy pity's recompense?"), making the apostrophe unmistakable: the speaker turns away from any living audience to speak to an absent, unchallengeable presence using the second-person "thy."

    from Prometheus by George Gordon Byron
  6. VI.from the corpus

    Stern Daughter of the Voice of God! O Duty! if that name thou love Who art a Light to guide, a Rod To check the erring, and reprove;

    Why this works

    Wordsworth opens by directly addressing "Duty" — an abstract moral concept — as though it were a living person present in the room, calling it "Stern Daughter of the Voice of God" and using the second-person pronoun "thou" throughout, which is the defining gesture of apostrophe: turning toward an absent or non-human entity and speaking to it face to face.

    from Ode to Duty by William Wordsworth
  7. VII.from the corpus

    MILTON! thou shouldst be living at this hour: England hath need of thee: she is a fen Of stagnant waters: altar, sword, and pen, Fireside, the heroic wealth of hall and bower,

    Why this works

    The poem opens mid-apostrophe: Wordsworth addresses Milton directly by name with an exclamation ("MILTON!") and sustains the second-person address ("thou," "thee") to a man long dead, the defining hallmark of apostrophe — turning away from the present audience to speak to an absent, unreachable figure as though he were present and listening.

    from London, 1802 by William Wordsworth
  8. VIII.from the corpus

    Thy country's curse is on thee, darkest crest Of that foul, knotted, many-headed worm Which rends our Mother's bosom—Priestly Pest! Masked Resurrection of a buried Form!

    Why this works

    The poem opens in direct second-person address — "thee," "thy" — aimed at the Lord Chancellor, an authority figure Shelley cannot literally confront, making this a textbook apostrophe: the speaker turns to an absent, powerful target and hurls accusation as though he were present. The sustained "thee/thy" construction throughout the opening stanza anchors the entire poem's rhetorical stance as direct, dramatic address to someone who cannot hear or respond.

    from To the Lord Chancellor by Percy Bysshe Shelley
  9. IX.from the corpus

    Thou, whose exterior semblance doth belie Thy Soul's immensity; Thou best Philosopher, who yet dost keep Thy heritage, thou Eye among the blind,

    Why this works

    Wordsworth pivots from narrative reflection to directly addressing the Child — an absent, non-speaking entity — with the repeated second-person pronoun "Thou," the defining grammatical signature of apostrophe. The escalating titles ("best Philosopher," "Eye among the blind," "Mighty Prophet! Seer blest!") heap attributes onto this figure who cannot respond, making the rhetorical distance between speaker and addressee — and thus the apostrophic turn itself — dramatically explicit.

    from Ode Intimations of Immortality by William Wordsworth

Reader’s guide

How to spot apostrophe

Here’s what to keep an eye out for when reading:

  1. Direct address markers. Phrases like "O," "oh," "thou," "you," or a name mentioned at the beginning of a line or stanza indicate that the speaker is turning to address someone or something.
  2. The addressee is absent, deceased, or non-human. If the speaker is conversing with a living person present in the scene, it's dialogue, not apostrophe. The crucial point is that no real response can be expected.
  3. Imperative or interrogative sentences directed at the subject. Commands ("Blow, winds!") and questions ("Death, be not proud — but why?") aimed at an abstraction or absent figure are classic examples of apostrophe.
  4. Personification nearby. Apostrophe often goes hand in hand with personification. If an abstract noun (like Truth, Time, or Grief) is being addressed, it's likely the poet has personified it too.
  5. A shift in tone or intensity. Apostrophe usually marks an emotional high point. When the speaker suddenly turns to address something directly, the emotional temperature of the poem typically increases. Look for that shift as a signal.

Writer’s guide

How to write with apostrophe

Here are three practical moves you can experiment with in your own poetry:

  1. Talk to an abstraction that’s been on your mind. Choose a concept—like envy, silence, or luck—and start a stanza by addressing it directly, as if it just entered the room. Example: "Silence, you have followed me from every house I have ever left."
  1. Engage with someone who has passed away, but do it in the middle of your poem instead of at the start. Allow the poem to unfold through imagery or memories, then make a sharp turn into direct address at a moment of emotional intensity. Example: "And that is when I turned to tell you, Dad, and remembered you were gone."
  1. Speak to an object that has witnessed something significant. Whether it’s a chair, a road, or a window, give it a voice and ask what it observed. The fact that it can’t respond adds depth to the poem’s meaning. Example: "Old kitchen table, you held every argument we ever had and never once took sides."

In each instance, the strength lies in the contrast between the emotional weight of the address and the silence that follows. Focus on that contrast as you write.

Poems that turn on apostrophe

From the public-domain corpus

Adjacent in Rhetorical turns

Open the collection →

Postscript

Frequent definitions