Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
| Sonnet LXXV (One day I wrote her name upon the strand) |
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
| Sonnet XIX (On His Blindness) |
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
| The World Is Too Much with Us |
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
| Tell all the truth but tell it slant |
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
| The Circus Animals' Desertion |
|
Definition
|
|
Term
| The House Was Quiet and the World Was Calm |
|
Definition
|
|
Term
|
Definition
|
|
Term
| In a Station of the Metro |
|
Definition
|
|
Term
| The Love Song of J. Alfred Prufrock |
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
| the rhythm of a piece of poetry, determined by the number and length of feet in a line |
|
|
Term
|
Definition
| the measured flow of words and phrases in verse or prose as determined by the relation of long and short or stressed and unstressed syllables |
|
|
Term
|
Definition
| emphasis given to a particular syllable or word in speech, typically through a combination of relatively greater loudness, higher pitch, and longer duration |
|
|
Term
|
Definition
| a group of syllables constituting a metrical unit. In English poetry it consists of stressed and unstressed syllables, while in ancient classical poetry it consists of long and short syllables. |
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
| meter of poem based on the number of feet |
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
| How do you describe the meter of a line? |
|
Definition
| name the predominant foot (iambic) and the number of feet the line contains (pentameter) |
|
|
Term
|
Definition
| the act of scanning a line of verse to determine its rhythm |
|
|
Term
|
Definition
| unstressed final syllable in line |
|
|
Term
|
Definition
| stressed final syllable in line |
|
|
Term
|
Definition
| stops in the poem (punctuation) that coincide with the end of a line |
|
|
Term
|
Definition
| the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza |
|
|
Term
|
Definition
| a pause near the middle of a line |
|
|
Term
|
Definition
| correspondence of sound between words or the endings of words |
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
| rhyme consisting of a single stressed syllable |
|
|
Term
| feminine rhyme/double rhyme |
|
Definition
| repetition of two syllables to rhyme |
|
|
Term
|
Definition
| rhyme that corresponds sounds almost exactly (moat, boat) |
|
|
Term
|
Definition
| endings spelled alike, but don't sound alike |
|
|
Term
| slant/partial/imperfect rhyme |
|
Definition
| near rhymes, less consistent than perfect rhymes, but still considered a rhyme |
|
|
Term
|
Definition
| a poem of fourteen lines using any of a number of formal rhyme schemes; in English typically having ten syllables per line |
|
|
Term
| Petrarchan (Italian) Sonnet |
|
Definition
| octave (abbaabba) followed by sestet (cdecde) or some variant |
|
|
Term
| Shakespearean (English) Sonnet |
|
Definition
| three quatrains and a concluding couplet (abab cdcd efef gg) |
|
|
Term
|
Definition
| also called a turn, a volta is a sudden change in thought, direction, or emotion at the conclusion of a sonnet. The invisible turn is followed by a couplet (English) or a sestet (Italian) |
|
|
Term
|
Definition
| a group of lines forming the basic recurring metrical unit in a poem; a verse |
|
|
Term
|
Definition
| two lines of verse, usually in the same meter and joined by rhyme, that form a unit |
|
|
Term
|
Definition
| a set or group of three lines of verse rhyming together or connected by rhyme with an adjacent tercet |
|
|
Term
|
Definition
| a stanza of four lines, especially one having alternate rhymes |
|
|
Term
|
Definition
| the last six lines of a sonnet (stanza of six lines) |
|
|
Term
|
Definition
| a poem or stanza of eight lines; an octet |
|
|
Term
|
Definition
| repetition of sounds for effect |
|
|
Term
|
Definition
| repetition of a sequence of two or more consonants, but with a change in the intervening vowel: live - love, lean - alone, pitter - patter |
|
|
Term
|
Definition
| repetition of identical or similar vowels, especially in stressed syllables, in a sequence of nearby words |
|
|
Term
|
Definition
| figures of speech which establish a striking parallel, usually ingeniously elaborate, between two very dissimilar things or situations |
|
|
Term
|
Definition
| a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike |
|
|
Term
|
Definition
| play on words which sound similar, but are quite different in significance |
|
|
Term
|
Definition
| a statement that seems at first to be absurd, but is interpretable in a way which makes sense |
|
|
Term
|
Definition
| joining two seemingly contradictory terms into a new idea: jumbo shrimp, pleasing pains, burning ice |
|
|
Term
|
Definition
| deliberate break from conventions of writing for effect |
|
|
Term
|
Definition
| words or phrases which are used in a way that effects a conspicuous change in their standard meaning |
|
|
Term
|
Definition
| tenor for subject, vehicle for metaphorical term itself. A statement that denotes one kind of thing is applied to another. comparison not using like or as |
|
|
Term
|
Definition
| one thing applied to another via common relation or significance: the crown = king hollywood = movies |
|
|
Term
|
Definition
a part being used to signify a whole: ten hands = ten men
one hundred saids = one hundred ships |
|
|
Term
| Personification/Prosopopeia |
|
Definition
| giving human characteristics to something not human |
|
|
Term
|
Definition
a compound expression with metaphorical meaning
oar-steed = ship |
|
|
Term
|
Definition
| a passing reference to a literary or historical person, place, or event; or another work or passage |
|
|
Term
|
Definition
| any fairly short poem, uttered by a single speaker, who expresses a state of mind or a process of perception, thought, or feeling |
|
|
Term
|
Definition
| a word or phrase which signifies something, or suggests a range of reference |
|
|
Term
|
Definition
| figures of speech which depart from what is experienced by experienced users as the standard use of language, but not a radical change in the meaning of words themselves. |
|
|
Term
|
Definition
| deliberate repetition of a word or phrase at the beginning of a sentence, paragraph, line, etc. |
|
|
Term
|
Definition
| an address to an absent person or to an abstract or nonhuman entity |
|
|
Term
|
Definition
| a sequence of two phrases or clauses which are parallel in syntax, but reverse the order of the corresponding words |
|
|
Term
|
Definition
| a single word stands in the same grammatical relation to other words, but with a shift in its significance |
|
|
Term
|
Definition
| lines of iambic pentameter which are unrhymed |
|
|
Term
|
Definition
| divisions in blank verse poems |
|
|
Term
|
Definition
| the personal qualities of the writer as they appear in text |
|
|
Term
|
Definition
| attitude towards the reader |
|
|
Term
| voice/speaker/implied author |
|
Definition
| the voiced words of the author or narrator and its significant addition to the work |
|
|
Term
|
Definition
| employing words that deviate from common speech |
|
|
Term
|
Definition
| the kinds of words, phrases, and sentence structures that constitute any work of literature |
|
|
Term
|
Definition
| primary signification or reference |
|
|
Term
|
Definition
| range of secondary or associated significations and feelings which it commonly symbolizes or implies |
|
|
Term
|
Definition
| a lyric poem in the form of an address to a particular subject, often elevated in style or manner and written in varied or irregular meter |
|
|
Term
| negative capability (Keats) |
|
Definition
| describes quality of selfless receptivity necessary to a true poet |
|
|
Term
|
Definition
| the quality of being pleasing to the ear, especially through a harmonious combination of words |
|
|
Term
|
Definition
| a harsh, discordant mixture of sounds |
|
|
Term
|
Definition
| a poem in the form of a speech or narrative by an imagined person, in which the speaker inadvertently reveals aspects of their character while describing a particular situation or series of events. |
|
|
Term
|
Definition
| poetry that does not rhyme or have a regular meter |
|
|
Term
|
Definition
|
|
Term
|
Definition
the formation of a word from a sound associated with what is named
ex: sizzle, cuckoo |
|
|
Term
|
Definition
| a rhyme which is close, but not considered to be a full or perfect rhyme |
|
|
Term
|
Definition
| a way or writing which is characteristic of a particular period, place, person, or movement |
|
|
Term
|
Definition
| the subordination of one clause to another |
|
|
Term
|
Definition
| the placing of clauses or phrases one after another, without words to indicate coordination or subordination |
|
|
Term
|
Definition
| a poetic meter approximating speech, each foot having one stressed syllable followed by a varying number of unstressed ones |
|
|
Term
|
Definition
| a form of poetry consisting of stanzas of eight lines of ten or eleven syllables, rhyming (abababcc) |
|
|
Term
|
Definition
| break from classical literary traditions of the early 20th century |
|
|
Term
|
Definition
| typically free verse, tries to depict an image with no bias or message attached |
|
|
Term
| objective correlative (Eliot) |
|
Definition
| depicting emotion by objects, situations, or chains of events designed to invoke a particular feeling or emotion |
|
|
Term
|
Definition
| a nineteen-line poem with two rhymes throughout, consisting of five tercets and a quatrain, with the first and third lines of the opening tercet recurring alternately at the end of the other tercets and with both repeated at the close of the concluding quatrain |
|
|
Term
|
Definition
| a literary movement in the 1920s that centered on Harlem and was an early manifestation of black consciousness in the U.S. (Hughes) |
|
|
Term
| In Sonnet 18, what is the primary comparison being drawn? |
|
Definition
| you (lover) "thee", summer's day |
|
|
Term
End-stopped or enjambed?
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate: |
|
Definition
|
|
Term
What term describes the following technique?
"That I may rise, and stand, o'erthrow me" |
|
Definition
|
|
Term
| What kind of sonnet is "The World Is Too Much with Us?" |
|
Definition
| Italian/Petrarchan Sonnet |
|
|
Term
Who wrote the following lines?
I must lie down where all the ladders start
In the foul rag and bone shop of the heart. |
|
Definition
|
|
