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| A reference to a statement, a person, a place, or an event from literature, history religion, mythology, politics, sports, science, or pop culture. |
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| The repetition of consonant sounds, especially at the beginning of words. |
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| Two unaccented syllables followed by an accented one, as in com-pre-HEND or in-ter-VENE. |
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| The repetition of similar vowel sounds in a sentence or a line of poetry |
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| A narrative poem written in four-line stanzas, characterized by swift action and narrated in a direct style. |
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| A line of poetry or prose in unrhymed iambic pentameter. |
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| The associations called up by a word that goes beyond its dictionary meaning. |
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| The repetition at close intervals of the final consonant sounds of accented syllables or important words |
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| A pair of rhymed lines that may or may not constitute a separate stanza in a poem |
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| A stressed syllable followed by two unstressed ones, as in FLUT-ter-ing or BLUE-ber-ry. |
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| Writers typically play off a word's denotative meaning against its connotations, or suggested and implied associational implications |
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| The selection of words in a literary work |
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| A lyric poem that laments the dead |
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| A long narrative poem that records the adventures of a hero |
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| A form of language use in which writers and speakers convey something other than the literal meaning of their words. |
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| A metrical unit composed of stressed and unstressed syllables |
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| Poetry without a regular pattern of meter or rhyme |
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| A three-line poem, Japanese in origin, narrowly conceived of as a fixed form in which the lines contain respectively five, seven, and five syllables |
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| A figure of speech in which exaggeration is used in the service of truth. |
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| An unstressed syllable followed by a stressed one, as in to-DAY |
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| A basic measure of English poetry, five iambic feet in each line. Blank verse is in unrhymed iambic pentameter. Heroic verse is in rhymed or unrhymed iambic pentameter. |
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| A concrete representation of a sense impression (sight, smell, sound, taste, touch), a feeling, or an idea. |
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| The pattern of related, comparative, sensory aspects of language, particularly of images that engage the senses (sight, smell, sound, taste, touch), in a literary work. |
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| A contrast or discrepancy between what is said and what is meant or between what happens and what is expected to happen in life and in literature. |
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| a short verse of five lines known for its humorous wit, following an AABBA rhyming pattern. |
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| A type of poem characterized by brevity, compression, and the expression of feeling. |
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| directly compares using the verb to be |
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| develops a comparison throughout the lines of the poem |
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| suggests a comparison without stating it directly |
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| The measured pattern of rhythmic accents of stressed and unstressed syllables in poems |
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| A poem that tells a story |
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| An eight-line unit, which may constitute a stanza; or a section of a poem |
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| A long, stately poem in stanzas of varied length, meter, and form |
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| The use of words to imitate the sounds they describe |
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| Mask or voice assumed by the poet within the speaker of the poem. The speaker is often the poet but not always. The poet may speak as someone younger or older than himself/herself or may speak as an animal or object. |
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| The endowment of inanimate objects or abstract concepts with animate or living qualities. |
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| A four-line stanza in a poem, the first four lines and the second four lines in a Petrachan sonnet. |
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| Repeated word, phrase, line, or group of lines used to build rhythm, commentary, and suspense. |
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| words that repeat some sounds but are not exact echoes |
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| is the same sound; for example, moon and June |
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| occurs at the end of the lines creating a rhyming pattern scheme |
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| occurs within the lines of poetry |
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| an imperfect ryhme in which the final consonants of stressed syllables agree but the vowel sounds do not match; thus a form of consonance |
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| A partial or imperfect rhyme, often using assonance or consonance only, as in dry and died or grown and moon |
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| slant rhyme or imperfect rhyme |
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| rhyme in which either the vowels or the consonants of stressed syllables are identical, as in eyes, light; years, yours. |
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| The rhyme scheme holds to a pattern that shapes a poem’s rhythm and tone |
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| The recurrence of accent or stress or repeated word patterns in lines of verse. |
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| A line of poetry without punctuation at its end. |
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| A six-line unit of verse constituting a stanza or section of a poem; the last six lines of an Italian sonnet. |
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| A poem of thirty-nine lines and written in iambic pentameter. Its six-line stanza repeats in an intricate and prescribed order the final word in each of the first six lines. After the sixth stanza, there is a three-line envoi, which uses the six repeating words, two per line. |
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| A figure of speech involving a comparison between unlike things using like, as, or as though. |
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| A fourteen-line poem in iambic pentameter. The Shakespearean or English sonnet is arranged as three quatrains and a final couplet, rhyming abab cdcd efef gg. The Petrarchan or Italian sonnet divides into two parts: an eight-line octave and a six-line sestet, rhyming abba abba cde cde or abba abba cd cd cd. |
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| Shakespearean or English sonnet |
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| The Shakespearean or English sonnet is arranged as three quatrains and a final couplet, rhyming abab cdcd efef gg. |
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| Petrarchan or Italian Sonnet |
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| The Petrarchan or Italian sonnet divides into two parts: an eight-line octave and a six-line sestet, rhyming abba abba cde cde or abba abba cd cd cd. |
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| A metricalfoot represented by two stressed syllables, such as KNICK-KNACK |
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| division or unit of a poem that is repeated in the same form--either with similar or identical patterns or rhyme and meter, or with variations from one stanza to another. |
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| The way an author chooses words, arranges them in sentences or in lines of dialogue or verse, and develops ideas and actions with description, imagery, and other literary techniques. The style also creates the speaker’s voice. |
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| An object or action in a literary work that means more than itself, that stands for something beyond itself. |
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| A three-line stanza, as the stanzas in Frost's "Acquainted with the Night" and Shelley's "Ode to the West Wind." The three-line stanzas or sections that together constitute the sestet of a Petrarchan or Italian sonnet. |
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| The idea of a literary work inferred from its details of language, character, and action, and cast in the form of a generalization is an implied theme. Stated theme is written within the poem or as its title. |
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| A poem’s title reflects its main idea and theme or hints at the poem’s overall impression or feeling. |
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| The implied attitude of a writer toward the subject and characters of a work |
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| An accented syllable followed by an unaccented one, as in FOOT-ball |
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