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When consonant sounds are repeated at the beginning of words, e.g. "creamy and crunchy" |
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When a poem mentions something or someone from history or literature to bring ideas or images to the reader’s mind. E.g. an allusion to Adam and Eve. |
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Contrasting words or ideas put together to create a feeling of balance (e.g. Too black for heaven, and yet too white for hell) |
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Words spoken in a poem to a person who is not there, or to an idea. E.g. “O World, I cannot hold thee close enough!” |
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Repeating of vowel sounds in different words: e.g. ‘The echoes roll from soul to soul’ |
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A poem which tells a story in a song-like way. |
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A type of poetry that has a regular metre (i.e. rhythm) but does not rhyme. |
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A cut or break in a line, used by a comma, semi-colon, full stop or dash. E.g. "Cynthia was the first; Cynthia will be the last" |
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Harsh, unpleasant or ugly sounding (‘cacophonic language’) |
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The emotional or cultural ‘baggage’ that a word carries with it. A ‘red rose’ connotes romance and love, as well as being a prickly bush with a red fragrant flower. |
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The repetition of consonant sounds (e.g. b, t, k, etc.) anywhere within the words, not just at the beginning. E.g. The sailor sings of rope and things/In ships upon the seas. |
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The lines of a poem follow each other without any obvious structure |
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A pair of lines; often rhyming (a rhyming couplet). E.g. "Jack's mother said, 'We're stony broke / Go out and find some wealthy bloke..." |
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The literal, dictionary meaning of a word, without emotion or attitude added. E.g. the word ‘rose’ denotes a prickly bush or shrub which has red, pink, white or yellow fragrant flowers. That is its denotation. |
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The writer's choice of words or manner of expression. |
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Poetry that tries to teach or 'preach' some idea. |
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When characters in a poem speak to other characters or to an unidentified listener; these poems usually contain dialogue. |
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Rhyming of words at the ends of two or more lines of poetry. E.g. “She always had to turn a light / Beside her attic bed at night.” |
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Also known as a run-on line; where the sense of the line ‘runs on’ into the next line, as with e. e. cummings:
“i carry your heart with me (i carry it in my heart) i am never without it (anywhere” |
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Beautiful, pleasant sounding (‘euphonic language’) |
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A simile or metaphor which is developed throughout the whole poem |
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Language that goes beyond the literal, with more creative possibilities. Figuratively, “Don’t rock the boat” means do not cause trouble. Similes and metaphors are also examples. |
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A small ‘segment’ of a line in a poem, made of two or more syllables, stressed or unstressed. Plural: feet. |
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Poetry that does not use metre or rhyme |
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A statement which is exaggerated to create strong feelings or to add emphasis. E.g. "I nearly died laughing" or "I tried a thousand times". |
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A type of meter used in poetry that has five ‘feet’ (so ten syllables). Each foot is an ‘iamb’, that is, having one unstressed and one stressed syllable. E.g. “Shall I compare thee to a summer's day?” |
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Language which describes things through the five senses: Visual imagery: sight
Auditory imagery: sound Olfactory imagery: smell Gustatory imagery: taste Tactile imagery: touch Organic imagery: human feelings, e.g. hunger |
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Rhyming of words within the same line (e.g. “His bridle reins were golden chains”) |
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When the meaning of something is expressed by language that normally means the opposite. A simple example is to say “Nice weather” when the weather is bad. |
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Words taken in their most basic sense; at face value. The literal meaning of “Don’t rock the boat” is do not rock the boat. |
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Rather than making a certain statement directly, a speaker expresses it even more effectively, or achieves emphasis, by denying its opposite. E.g. "This food is not bad!" means "This food is very good". Opposite of hyperbole. |
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A form of poetry used for the expression of personal thoughts and feelings |
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The comparison of two unlike things without using like or as. E.g. "The courage that my mother had / Went with her, and is with her still; Rock from New England..." Courage = a rock. |
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The number and length of ‘feet’ in a line of poetry. Iambic pentameter is a common metre in English poetry. |
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The emotion that a poem contains and communicates. |
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Tells a story, and, like a story, has a setting, characters and action. (A ballad is a special type of narrative poem.) |
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A rhyme that is close but not exact (when the words share either the same vowel or consonant sound, but not both – e.g. rose and lose). Sometimes called a ‘half rhyme’. |
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When a word sounds like the thing it is describing: e.g. crash, slam, hiss, tinkle. |
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Two words side by side which are contradictory – e.g. almost exactly, definite maybe, crash landing, minor crisis. |
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When animals or objects are given human characteristics. E.g. “The forests... shouted" or "The butterflies... danced". |
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A four-line stanza (often aabb, abab or abcb) |
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A repeated line, phrase or sentence which appears throughout a poem. |
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Analysing and marking up the metre of a poem with special signs: stressed syllable ( / ) unstressed syllable ( v ) |
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The comparison of two unlike things using like or as. E.g. “That courage like a rock, which she..." |
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A poetic form. An English sonnet is fourteen lines long, having three quatrains and a couplet. The rhyme scheme is a-b-a-b, c-d-c-d, e-f-e-f, g-g. In English poetry, it is usually written in iambic pentameter. |
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A group of lines in a poem. |
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Synecdoche (pron. sinekdokee) |
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When one part of a thing is used to represent the whole, or the whole used to represent one part, e.g. “His parents bought him a new set of wheels [car]” or “Use your head [brain] to figure it out.” |
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A symbol is a thing that stands for or represents something else. E.g. lion = courage. Symbolism is the use of symbols in literature. |
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The writer’s attitude to his or her subject. Tone shows itself most often in diction, but also appears in images, rhythms, or other events in the poem. |
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Another word for a stanza, a single line of a poem, a group of lines, or even poetry itself. |
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