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Unstressed followed by a stressed (I am [what] I am; destroy; impose) Very common in English. Examples in poetry: “To be or not to be…” (Shakespeare, “Hamlet”) |
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Stressed followed by unstressed. Is a trochee: Topsy-turvey are two trochees. The sentence “Iamb is also a troche” has its trochees in bold. “Honour, riches, marriage blessing” (Shakespeare, “Tempest”) |
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Two unstressed syllables followed by one stressed syllable: “The Assyrian came down like a wolf/ on the fold” (I can really hear it in the final two anapests; “Assyrian” is harder for my ear to scan) “The Cat in the Hat” is written in anapests: “It sun did not shine. It was too wet to play. So we sat in the house, on that cold, cold wet day.” |
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One accented/stressed syllable followed by two unstressed: “ten’ der- ly”/Catherine/Jessica. Accordingly to the PHPT, infrequent in English (but for some 19th century guys like Browning [yay] and Swinburne [diplomatic silence]) . Wikipedia lists this, and I love it as an example: “A modern example is the Beatles song "Lucy in the Sky with Diamonds": Picture your self in a boat on a river with tangerine tree-ees and marmalade skii-ii-es”. |
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Dramatic description of an unusual object |
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Doctrine understood in terms of practical consequences |
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Formal properties of a work versus What surrounds the text: ie) history/background |
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Direct treatment of a "thing" whether subjective or objective Uses no word that didnt contribute to the presentation Regarding rhythm: Sequence of musical phrases not metronome This is the standard Imagists held poetry too |
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literary critisism, fallacy that meaning/value of work may be judged or defined in terms of writer's intentions |
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figure of speech where name or descriptive word or phrase is transfered to an object/action |
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The poem can be a similie, we can add "like" or "as" and the poem becomes an obvious comparison |
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Large and small levels of patterns |
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passage of 6 lines, usually in a sonnet |
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Syllabics Accentual Accentual-syllabic Quantitative |
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2 equally stressed "A-men" |
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Iamb, Trochee, Spondee, etc |
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AbbaAbbacdecde or Abbaabba/cdcdcd or abbaabba/cdcdee |
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2 cabs. No; its the placement of clauses one after another, without indicating by connecting words the relation |
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The attribution of human emotion or responses to animals or inanimate things, especially in art and literature |
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An address to a dead or absent person, an animal, a thing or an abstract idea or quality as if it were alive, present, and capable of understanding (or hearing) |
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In English prosody: A pause or breathing place about the middle of a metrical line, generally indicated by a pause in the sense |
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Rhyme that takes place inside the line with no line break Domestic strife, Jack led/a college life, says Goldsmith or from strife, Jack led a college life,/says Gold NOT Secluded from domestic strife,/ Jack led a college life,/ says Goldsmith (that is "end rhyme") |
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Perfect, Full, or True Rhyme |
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Correspondence or repetition of vowel sound and following consonant(s)--but not of the consonant(s) before the vowel: Much-touch Jelly-belly |
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Form of expression, grammatical construction, phrase etc that is unique to a particular language A peculiarity of phraseology approved by the usage of a language Easy as pie |
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Any principle precept expressed in few words; a short pithy sentence containing a truth of general import; a maxim |
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Part is substituted for the whole Mortals for humans Jeans for pants |
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One word is substituted for another on the basis of some material, causal, or conceptual relationship--a container for the thing contained Ex: Have you read your Moore? So many mouths to feed=many bodies The White House issued a statement |
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An edition, esp. of the complete works of a classical author, containing the notes of various commentators or editors Used to denote an edition, usually of an author's complete works, containing variant readings from manuscripts or earlier editions |
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Literary or artistic works produced in the author's youth |
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Theory or science of the method or grounds of knowledge |
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Science/study of being; branch of metaphysics concerned with nature/essence of being |
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View or theory that self is only object of real knowledge or the only thing really existent |
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Enviornment author surrounds themselves with, certain ideas slip in without a concious agenda |
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serving to find out or discover, places people as discoverers to learn by doing rather than hearing |
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The state of being other or different; diversity; otherness |
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Sequence of lines in some pattern and sequence skeem; stands alone |
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Clause carries over from one line to another |
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general term for structures of rhymes of speech in writing |
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uses last syllables of the word One, two, buckle shoe |
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uses 2 or more syllables listen & glisten: 2 syllables, both ryhme |
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Repetition at the beginning Pretty Persuassion |
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Impressionism and Symbolism in Heart of Darkness |
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Heart of Darkness and Racism |
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An Image of Africa: Racism in Conrad's Heart of Darkness |
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Imperialism, Impressionism, and the Politics of Style |
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The need for one text to be read in the light of its allusions to and differences from the content or structure of other texts; the (allusive) relationship between esp. literary texts. |
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