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(unstressed – unstressed – stressed) (u,u,/) Rising |
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(stressed – unstressed – unstressed) (/,u,u) Falling |
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(unstressed – stressed) (u,/) Rising |
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(unstressed – unstressed) (u,u) |
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(stressed – stressed) (/,/) |
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(stressed – unstressed) (/,u) Falling |
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Pertaining to the sense of smell |
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A concrete representation of a sense expression |
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A pattern of related images in a poem |
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A direct comparison using an explicit verbal cue |
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A comparison substituting an attribute of the thing for the thing itself |
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An implied, less restricted comparative suggestion |
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Poem in which speaker addresses a silent listener |
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Endowing inanimate objects with abstract objects or animate characteristics |
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A comparison with a part representing the whole |
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The pattern of end rhymes in a poem |
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mission of unstressed vowel to preserve meter |
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How words are organized into sentences, clauses, and phrases |
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Example: "Honesty we did not expect in an elected official; discretion we did" |
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Example: "If a free society cannot help the many that are poor, it cannot save the few who are rich" |
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Cumulative (Loose) Syntax |
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Example: "He learned to fix cars from Alice McMahon, an elderly spinster who used to spend her spare time partying with volvo mechanics." |
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Example: "His confidence broken, limbs shaking, his collar wet with perspiration, he doubted whether he could ever again appear before an audience." |
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(AB:BA) with individual words Example: Pleasure's sin, and sometimes sin's a pleasure" |
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(AB:BA)with entire phrases ad parts of speech Example: "But her long fair hair was girlish: and girlisha nd touched with the wonder of mortal beauty her face" |
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One (foot per line)- monometer Two-dimeter Three-trimeter Four-tetrameter Five-pentameter Six-hexameter Seven-heptameter Eight-octameter |
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Re-occurance of stress, pulse or beat in a poem |
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Poem with no fixed metrical pattern |
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Unrhymed iambic pentameter |
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Matching of final vowel and consonant sound in 2 or more words |
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Rhyme occuring at the end of the line |
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Repetition of consonant wounds with the words. "Pitter patter" |
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Repetition of vowel sounds inside the words. "Hear them mEllow wEdding bElls" |
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English (Shakespearean) Sonnet |
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(ABAB CDCD EFEF GG) 3 quatrains and a couplet, imabic pentameter, couplet presents pithy observation or resolution or turnaround |
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2 lines-couplet 3 lines-tercet 4 lines-quatrain 6 lines-sestet 8 lines-octet/octave |
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Italian (Petrarchan) Sonnet |
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(ABBAABBA then CDECDE or CDCDCD or CDCDCE) one octave and sestet, imbic pentameter, problem/resolution, frequent tone change in sestet |
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(ABA BCB CDC DED...) Interlocking feel |
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(IBX ABI ABX ABI ABX ABIX (A and B = rhyme, I and X = repeated line)) 19 lines 6 stanzas |
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Brief pithy poem, often satirical |
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2 rhyming lines in imabic pentameter, favored by neoclassicals |
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Song-like, transmits a story, quatrain, alternates four and three stress lines |
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(1660-1798) REASON, classical works, heroic couplet, decorum, deism |
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England (1798-1832) American (1820-1860) Celebration of individual, goodness of man, heart v head |
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(1914-1945) alienation, existentialism, nihilism, solipsism, experimentation of form and subject |
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Continuing a phrase or idea through to the next line in a poem |
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Finishing a phrase or idea at the end of a line in poetry |
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A stop or pause in the middle of a line of poetry |
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A word that imitates the sound it is describing |
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Aurally displeasing sounds and syllables |
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Aurally pleasing sounds and syllables |
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The implied meaning of a word |
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The literal meaning of a word |
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An address to a person or thing not present |
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A lengthy comparison between two very unlike things |
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