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| an arrangement of a certain number of lines, usually four or more, sometimes having a fixed length, meter, or rhyme scheme, forming a division of a poem. |
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| a form of verse introduced into English by Chaucer, consisting of seven-line stanzas of iambic pentameter in which there are three rhymes, the first line rhyming with the third, the second with the fourth and fifth, and the sixth with the seventh. ABABBCC |
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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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| unrhymed verse, especially the unrhymed iambic pentameter most frequently used in English dramatic, epic, and reflective verse. |
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| A recognizable though varying pattern of stressed syllables alternating with syllables of less stress. Compositions written in meter are said to be in verse. There are many possible patterns of verse. Each unit of stress and unstressed syllables is called a "foot." |
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| Iambic rhythm/ iambic meter |
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| a lightly stressed syllable followed by a heavily stressed syllable. |
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| monometer, dimeter, trimeter, tetrameter, pentameter, hexameter, heptameter, octameter |
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one foot
two feet
three feet
four feet
five feet
six feet
seven feet
eight feet |
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| two light syllables followed by a stressed syllable |
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| a stressed followed by a light syllable |
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| a stressed syllable followed by two light syllables |
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| the pattern of rhymes used in a poem, usually marked by letters to symbolize correspondences, as rhyme royal, ababbcc. |
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| A poetic device in which a word in the middle of a line rhymes with a word at the end of the same metrical line. |
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| verse that does not follow a fixed metrical pattern. |
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| masculine rhyme/ feminine rhyme |
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| if a line ends in a standard iamb, with a final stressed syllable, it is said to have a masculine ending. If a line ends in a lightly stressed syllable, it is said to be feminine. |
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| A three-line stanza form with interlocking rhymes that move from one stanza to the next. The typical pattern is ABA, BCB, CDC, DED, and so on. |
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| the commencement of two or more stressed syllables of a word group either with the same consonant sound or sound group |
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| a passing or casual reference; an incidental mention of something, either directly or by implication |
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| The intentional repetition of beginning clauses in order to create an artistic effect. |
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| the placing of a sentence or one of its parts against another to which it is opposed to form a balanced contrast of ideas |
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| the act of addressing some abstraction or personification that is not physically present |
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| rhyme in which the same vowel sounds are used with different consonants in the stressed syllables of the rhyming words |
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| a descent in literature in which a poet or writer--striving too hard to be passionate or elevated--falls into trivial or stupid imagery, phrasing, or ideas. |
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| the use of words that combine sharp, harsh, hissing, or unmelodious sounds. |
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| a break, especially a sense pause, usually near the middle of a verse, and marked in scansion by a double vertical line |
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| Used of poetic or literary treatment, criticism, mental complexion, etc., in various obvious senses, as mingled ‘clearness and obscurity’, ‘cheerfulness and gloom’, ‘praise and blame,’ etc. |
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| An elaborate or unusual comparison--especially one using unlikely metaphors, simile, hyperbole, and contradiction |
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| The extra tinge or taint of meaning each word carries beyond the minimal, strict definition found in a dictionary. |
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| A special type of alliteration in which the repeated pattern of consonants is marked by changes in the intervening vowels--i.e., the final consonants of the stressed syllables match each other but the vowels differ. |
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| The minimal, strict definition of a word as found in a dictionary, disregarding any historical or emotional connotation. |
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| The choice of a particular word as opposed to others. |
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| A poem in which a poetic speaker addresses either the reader or an internal listener at length. |
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| when the poet takes a word that ends in a vowel, and a following word that begins with a vowel, and blurs them together to create a single syllable, the result is an elision. |
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| A line having no pause or end punctuation but having uninterrupted grammatical meaning continuing into the next line. |
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| a line ending in a full pause, often indicated by appropriate punctuation such as a period or semicolon. |
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| Repetition of a concluding word or word endings |
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| Attempting to group words together harmoniously, so that the consonants permit an easy and pleasing flow of sound when spoken |
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A deviation from what speakers of a language understand as the ordinary or standard use of words in order to achieve some special meaning or effect.
A literal passage, story, or text is one intended only (or primarily) as a factual account of a real historical event rather than a metaphorical expression, an allegorical expression of a larger symbolic truth, or a hypothetical example. |
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| the trope of exaggeration or overstatement. |
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| imagery(visual/tactile, auditory, olfactory, gustatory) |
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| A common term of variable meaning, imagery includes the "mental pictures" that readers experience with a passage of literature.Imagery is not limited to visual imagery; it also includes auditory (sound), tactile (touch), olfactory (smell), and gustatory (taste). |
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| Imagists believed poets should use common, everyday vocabulary, experiment with new rhythm, and use clear, precise, concentrated imagery. |
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| "saying one thing and meaning another." |
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| A comparison or analogy stated in such a way as to imply that one object is another one, figuratively speaking. |
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| When you use a word that is in reference to something bigger. Part of the whole. ex. The pen is mightier than the sword. |
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| The use of sounds that are similar to the noise they represent for a rhetorical or artistic effect. |
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| Using contradiction in a manner that oddly makes sense on a deeper level. ex. jumboshrimp |
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| Using contradiction in a manner that oddly makes sense on a deeper level. ex. Without laws, we can have no freedom |
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| A trope in which abstractions, animals, ideas, and inanimate objects are given human character, traits, abilities, or reactions. |
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| A play on two words similar in sound but different in meaning. |
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| A line or set of lines at the end of a stanza or section of a longer poem or song--these lines repeat at regular intervals in other stanzas or sections of the same work. |
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| the act of ostensibly saying one thing but meaning another. |
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| An analogy or comparison implied by using an adverb such as like or as, in contrast with a metaphor which figuratively makes the comparison by stating outright that one thing is another thing. |
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| symbol (stock/conventional) |
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| A word, place, character, or object that means something beyond what it is on a literal level. |
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| part represents the whole (usually attributed to parts of the body) ex. all hands on deck |
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| A rhetorical trope involving shifts in imagery. It involves taking one type of sensory input (sight, sound, smell, touch, taste) and comingling it with another separate sense in an impossible way. |
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| the standard word order and sentence structure of a language |
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| The means of creating a relationship or conveying an attitude or mood. |
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| ballads/ballad stanza/literary ballads |
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a ballad is a narrative poem consisting of quatrains of iambic tetrameter alternating with iambic trimeter.
a four-line stanza consisting of unrhymed first and third lines in iambic tetrameter and rhymed second and fourth lines in iambic trimeter, often used in ballads.
a narrative poem created by a poet in imitation of the old anonymous folk ballad. Usually the literary ballad is more elaborate and complex; the poet may retain only some of the devices and conventions of the older verse narrative. |
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Poetry written in a a specific or traditional pattern according to the required rhyme, meter, line length, line groupings, and number of lines within a genre of poetry.
A poem of variable length, one which can consist of as many lines as the poet wishes to write. Every poem written in open poetic form, therefore, is unique. |
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| Two lines--the second line immediately following the first--of the same metrical length that end in a rhyme to form a complete unit. |
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| comic or burlesque, and usually loose or irregular in measure. |
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| is drama written in verse to be spoken or sung, and appears in varying, sometimes related forms in many cultures |
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| refers to any poem written in elegiac meter (alternating hexameter and pentameter lines). |
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a genre of classical poetry
think Iliad and Odyssey |
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| An inscription in verse or prose on a building, tomb, or coin. (2) a short verse or motto appearing at the beginning of a longer poem or the title page of a novel, at the heading of a new section or paragraph of an essay or other literary work to establish mood or raise thematic concerns. |
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| Two successive rhyming lines of iambic pentameter. The second line is usually end-stopped. |
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| A five-line closed-form poem in which the first two lines consist of anapestic trimeter, which in turn are followed by lines of anapestic dimeter, and a final line in trimeter. They rhyme in an AABBA pattern. |
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| A short poem (usually no more than 50-60 lines, and often only a dozen lines long) written in a repeating stanzaic form, often designed to be set to music. it expresses the feelings, perceptions, and thoughts of a single poetic speaker (not necessarily the poet) in an intensely personal, emotional, or subjective manner. |
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| typically satires or parodies that mock common Classical stereotypes of heroes and heroic literature. |
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| poetry that has a plot. The poems that make up this genre may be short or long, and the story it relates to may be simple or complex. It is usually nondramatic, with objective regular scheme and meter.[1] Narrative poems include epics, ballads, idylls and lays |
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| An artistic composition dealing with the life of shepherds or with a simple, rural existence. |
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| a highly structured poem consisting of six six-line stanzas followed by a tercet, for a total of thirty-nine lines. |
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sonnet/fixed form:
Shakespearean (English)
Petrarchan (Italian)
Spenserian |
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Definition
A lyric poem of fourteen lines, usually in iambic pentameter, with rhymes arranged according to certain definite patterns. It usually expresses a single, complete idea or thought with a reversal, twist, or change of direction in the concluding lines.
Shakespearean sonnet uses three quatrains; each rhymed differently, with a final, independently rhymed couplet that makes an effective, unifying climax to the whole. Its rhyme scheme is abab, cdcd, efef, gg.
Petrarchan sonnet has an eight line stanza (called an octave) followed by a six line stanza (called a sestet). The octave has two quatrains rhyming abba, abba, the first of which presents the theme, the second further develops it. In the sestet, the first three lines reflect on or exemplify the theme, while the last three bring the poem to a unified end. The sestet may be arranged cdecde, cdcdcd, or cdedce.
the rhyme scheme is, abab, bcbc, cdcd, ee. |
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| Stanza forms: tercet, quatrain, quintet, sestet, septet, octave |
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An arrangement of lines of verse in a pattern usually repeated throughout the poem.
composed of three lines of poetry, forming a stanza or a complete poem.
composed of four, five, six, seven, and eight |
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| a poetry form which is a combination of the villanelle and the terza rima. It is nineteen lines total, with five triplets and a concluding quatrain. The middle line of each triplet stanza is repeated as the third line of the following stanza, and the first and third lines of the initial stanza are the second and final lines of the concluding quatrain; thus, seven of the lines are repeated in the poem. |
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Definition
| A genre of poetry consisting of nineteen lines--five tercets and a concluding quatrain. The form requires that whole lines be repeated in a specific order, and that only two rhyming sounds occur in the course of the poem |
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