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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 or prose |
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| 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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| associations called up by a word that goes beyond its dictionary meaning |
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| 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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| The dictionary meaning of a word. 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. A work's diction forms one of its centrally important literary elements, as writers use words to convey action, reveal character, imply attitudes, identify themes, and suggest values |
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| A lyric poem that laments the dead. |
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| 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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| 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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| -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 |
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| A basic measure of English poetry, five iambic feet in each line |
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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 limerick is a short verse of five lines known for its humorous wit, following an AABBA rhyming pattern |
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| 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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| or voice assumed by the poet within the speaker of the poem |
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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 |
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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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| 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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| Examples: moon and mourn; hollow and mellow |
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| Examples: moon and mourn; hollow and mellow |
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| Examples: moon and mourn; hollow and mellow |
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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 |
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| A poem of thirty-nine lines and written in iambic pentameter |
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| A figure of speech involving a comparison between unlike things using like or as |
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| A fourteen-line poem in iambic pentameter |
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| Shakespearean or English sonnet |
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| 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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| 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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| A 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 |
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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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| three-line stanza 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 |
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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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