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| Generalizations of concepts such as work, generosity, jealousy, pain. |
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| The prominence or emphasis given to a syllable or word. In the word poetry, the accent (or stress) falls on the first syllable. |
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| The repetition of the same or similar sounds at the beginning of words. Some famous examples of alliteration are tongue twisters such as Betty Botta bought some butter and Peter Piper picked a peck of pickled peppers. |
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| A metrical foot of three syllables, two short (or unstressed) followed by one long (or stressed), as in 'twas the night and to the moon. The anapest is the reverse of the dactyl. |
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| a foot of three syllables, two short followed by one long in quantitative meter, and two unstressed followed by one stressed in accentual meter, as in for the nonce. |
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| The deliberate repetition of a word or phrase at the beginning of several successive verses, clauses, or paragraphs; for example, "We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills" |
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| The repetition or a pattern of similar sounds, especially vowel sounds, as in the tongue twister "Moses supposes his toeses are roses." |
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| Poetry that is written in unrhymed iambic pentameter. Shakespeare wrote most of his plays in blank verse |
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| The use of harsh or discordant sounds in literary composition, as for poetic effect. |
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| A natural pause or break in a line of poetry, usually near the middle of the line. There is a caesura right after the question mark in the first line of this sonnet by Elizabeth Barrett Browning: "How do I love thee? Let me count the ways." |
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| Words that mean specific things such as milk, sock, etc. |
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| the associated or secondary meaning of a word or expression in addition to its explicit or primary meaning: A possible connotation of “home” is “a place of warmth, comfort, and affection.” |
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| The repetition of similar consonant sounds, especially at the ends of words, as in lost and past or confess and dismiss. |
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| In a poem, a pair of lines that are the same length and usually rhyme and form a complete thought. Shakespearean sonnets usually end in a couplet. |
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| A metrical foot of three syllables, one long (or stressed) followed by two short (or unstressed), as in happily. The dactyl is the reverse of the anapest. |
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'^^/'^^/'^^/'^^/'^^
Stressed, unstressed, unstressed. |
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| a word that names or signifies something specific: “Wind” is the denotation for air in natural motion. “Poodle” is the denotation for a certain breed of dog. |
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| Choice and use of words in speech or writing. |
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| A line of verse consisting of two metrical feet. |
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| Is performed onstage and presents the voice of the character(s) without narration. |
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| Rhymes at the end of lines. |
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| When a sense of a line terminates with a period. |
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| The continuation of a complete idea (a sentence or clause) from one line or couplet of a poem to the next line or couplet without a pause. An example of enjambment can be found in the first line of Joyce Kilmer's poem Trees: "I think that I shall never see/A poem as lovely as a tree." Enjambment comes from the French word for "to straddle." |
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| Agreeable sound, especially in the phonetic quality of words. |
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| Words that look similar though they are pronounced differently: ties/eternities, cough/rough, wind/find. |
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| Words that end in an unaccented final syllable: (partly, smartly) |
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| Two or more syllables that together make up the smallest unit of rhythm in a poem. For example, an iamb is a foot that has two syllables, one unstressed followed by one stressed. An anapest has three syllables, two unstressed followed by one stressed. |
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| Poetry composed of either rhymed or unrhymed lines that have no set meter. |
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Words that almost rhyme but do not: care/fear.
Also known as off rhyme, slant rhyme. |
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| A stanza composed of two rhymed lines in iambic pentameter. |
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| A line of poetry that has seven metrical feet. |
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| A line of poetry that has six metrical feet. |
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| A figure of speech in which deliberate exaggeration is used for emphasis. Many everyday expressions are examples of hyperbole: tons of money, waiting for ages, a flood of tears, etc. Hyperbole is the opposite of litotes. |
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| A metrical foot of two syllables, one short (or unstressed) and one long (or stressed). There are four iambs in the line "Come live/ with me/ and be/ my love," from a poem by Christopher Marlowe. (The stressed syllables are in bold.) The iamb is the reverse of the trochee. |
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| A word that is unstressed, stressed. |
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| A type of meter in poetry, in which there are five iambs to a line. (The prefix penta- means "five," as in pentagon, a geometrical figure with five sides. Meter refers to rhythmic units. In a line of iambic pentameter, there are five rhythmic units that are iambs.) Shakespeare's plays were written mostly in iambic pentameter, which is the most common type of meter in English poetry. An example of an iambic pentameter line from Shakespeare's Romeo and Juliet is "But soft!/ What light/ through yon/der win/dow breaks?" Another, from Richard III, is "A horse!/ A horse!/ My king/dom for/ a horse!" (The stressed syllables are in bold.) |
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| Repetition of the same word where you would expect the next rhyming word. |
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| A word within the line that rhymes with the end rhyme, or with another word within the line. |
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| A poem, such as a sonnet or an ode, that expresses the thoughts and feelings of the poet. A lyric poem may resemble a song in form or style. |
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| A figure of speech in which two things are compared, usually by saying one thing is another, or by substituting a more descriptive word for the more common or usual word that would be expected. Some examples of metaphors: the world's a stage, he was a lion in battle, drowning in debt, and a sea of troubles. |
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| The arrangement of a line of poetry by the number of syllables and the rhythm of accented (or stressed) syllables |
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| A figure of speech in which one word is substituted for another with which it is closely associated. For example, in the expression The pen is mightier than the sword, the word pen is used for "the written word," and sword is used for "military power." |
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| Telling a story. Ballads, epics, and lays are different kinds of narrative poems. |
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| A figure of speech in which words are used to imitate sounds. Examples of onomatopoeic words are buzz, hiss, zing, clippety-clop, cock-a-doodle-do, pop, splat, thump, and tick-tock. Another example of onomatopoeia is found in this line from Tennyson's Come Down, O Maid: "The moan of doves in immemorial elms,/And murmuring of innumerable bees." The repeated "m/n" sounds reinforce the idea of "murmuring" by imitating the hum of insects on a warm summer day. |
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| When the shape of the poem is invented for that specific poem. |
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| Five feet in a line of a poem. |
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| An emotion of something inhuman is given human qualities. |
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The Italian (Petrarchan) sonnet is divided into two sections by two different groups of rhyming sounds. The first 8 lines is called the octave and rhymes:
a b b a a b b a
The remaining 6 lines is called the sestet and can have either two or three rhyming sounds, arranged in a variety of ways:
c d c d c d
c d d c d c
c d e c d e
c d e c e d
c d c e d c |
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| A poem written in prose, without lines or stanzas. |
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| Most common type of rhyme. Initial sound of word differs, and the rest is identical (hill/still, storm/form). |
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| Five lines in a poem with no prescribed rhyme. |
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| Verse or poetry having correspondence in the terminal sounds of the lines. |
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| Pattern of rhyme in an entire poem. |
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| Movement or procedure with uniform or patterned recurrence of a beat, accent, or the like. |
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| End rhymes with an accented last syllable (repress/undress). |
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| Also known as a Chaucerian stanza, seven lines in a poem. |
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| Six lines in a poem variously rhymed or unrhymed. |
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| The most mysterious form used in English. Six six-line stanzas ending with a tercet. |
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| Comparing two things using "like" or "as." |
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| Same as off rhyme or half rhyme. Sounds are closely related but not identical. |
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| Fourteen lines, direct meter and rhyme scheme. Ends with a couplet that is the final thought and/or wraps up the poem. |
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| Two stressed syllables (deadhead, billboard, postcard). |
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| The different "sets" in a poem. Has a set pattern, stops, then starts the pattern again. There is usually a line space between stanzas. |
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| When a piece or part of the whole represents the whole. ("the long arm of the law," "she's a brain"). |
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| When one sensory perception is expressed in terms of a different sense (Seven fragrances of the rainbow, green wind, etc). |
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| The pattern of the word order in a sentence or phrase. |
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| Four metrical feet in a line of poetry. |
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| Poetry with fixed meter, rhyme scheme, etc. |
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| Three metrical feet in a line of poetry. |
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| Same as a tercet, three lines in a poem. |
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| Stressed, unstressed word. The opposite of an iamb (oxford, after, stagnant). |
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| to state or represent less strongly or strikingly than the facts would bear out; set forth in restrained, moderate, or weak terms: The casualty lists understate the extent of the disaster. |
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| A short poem of fixed form, written in tercets, usually five in number, followed by a final quatrain, all being based on two rhymes. Lyrical in form. |
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