Terms : Hide Images
| 14503914950 | Alliteration | Repeated consonant sounds at the beginning of words placed near each other, usually on the same or adjacent lines ex. fast and furious | 0 | |
| 14503914951 | Assonance | repeated vowel sounds in words placed near each other, usually on the same or adjacent lines; should be in sounds that are accented rather than in vowel sounds that's unaccented ex. He's a bruisin' loser | 1 | |
| 14503914952 | Consonance | Repeated consonant sounds at the ending of words placed near each other, usually on the same or adjacent lines; should be in sounds that are accented; produces a pleasing kind of near-rhyme ex. cool soul | 2 | |
| 14503914953 | Cacophony | a discordant series of harsh, unpleasant sounds helps to convey disorder; often furthered by the combined effect of the meaning and difficulty of pronunciation ex. my stick fingers click with a snicker and chuckling, they knuckle the keys | 3 | |
| 14503914954 | Euphony | A series of musically pleasant sounds, conveying a sense of harmony and beauty to the language. ex. than oars divide the ocean, too silver for a seam- or butterflies, off banks of noon leap, plashless as they swim | 4 | |
| 14503914955 | Onomatopoeia | words that sound like their meanings ex. boom, buzz, crackle, gurgle, hiss | 5 | |
| 14503914956 | Repetition | The purposeful re-use of words and phrases for an effect; sometimes with longer phrases that contain a different key word each time, it'd be called parallelism ex. I was glad, so very, very glad | 6 | |
| 14503914957 | Rhyme | most commonly associated with poetry; words that have different beginning sounds but whose endings sound alike, including the final vowel sound and everything following it ex. time, slime, mime | 7 | |
| 14503914958 | Rhythm | helps to distinguish poetry from prose; the organization of speech rhythms (verbal stresses) into a regular pattern of accented syllables separated by unaccented syllables ex. i THOUGHT i SAW a DOGgy | 8 | |
| 14503914959 | Scansion | the conscious measure of the pattern of stressed and unstressed syllables in a line of poetry stressed = / unstressed= - | 9 | |
| 14503914960 | Allegory | a representation of an abstract or spiritual meaning through concrete or material forms; figurative treatment of one subject under the guise of another; can be a single word or can be a symbolic narrative | 10 | |
| 14503914961 | Allusion | brief reference to a person, event, work of art, Biblical or mythological situation or character | 11 | |
| 14503914962 | Ambiguity | A word or phrase that can mean more than one thing, even in its context; poets search out such words to add richness; often one meaning seems apparent but other, deeper and darker meanings await ex. Robert Frost's "The Subverted Flower" | 12 | |
| 14503914963 | Analogy | A comparison, usually something unfamiliar with something familiar ex. the plumbing took a maze of turns where even water got lost | 13 | |
| 14503914964 | Apostrophe | Speaking directly to a real or imagined listener or inanimate object; addressing that person or thing by name ex. O Captain! My Captain! | 14 | |
| 14503914965 | Cliche | Any figure of speech that was once clever and original but through overuse has become outdated ex. busy as a bee | 15 | |
| 14503914966 | Connotation | the emotional, psychological or social overtones of a word; its implication and associations apart from its literal meaning; distinguishes the precisely correct word from one that is merely acceptable | 16 | |
| 14503914967 | Contrast | Closely arranged things with strikingly different characteristics ex. He was dark and cruel; she was radiant and kind | 17 | |
| 14503914968 | Denotation | The dictionary definition of a word; its literal meaning apart from any association or connotations | 18 | |
| 14503914969 | Euphemism | An understatement, used to lessen the effect of a statement; substituting something innocuous for something that might be offensive or hurtful ex. she is at rest (she's dead) | 19 | |
| 14503914970 | Hyperbole | An outrageous exaggeration used for effect ex. he weighs a ton | 20 | |
| 14503914971 | Irony | A contradictory statement or situation to reveal a reality different from what appears to be true ex. Wow, thanks for the expensive gift...did it come with a fun mean or the burger king equivalent? | 21 | |
| 14503914972 | Metaphor | a direct comparison between two unlike things, stating that one is the other or does the action of the other ex. he's a zero; her fingers dances across the keyboard | 22 | |
| 14503914973 | Metonymy | a figure of speech in which a person, place, or thing is referred to by something closely associated with it ex. the white house; the crown | 23 | |
| 14503914974 | Oxymoron | a combination of two words that appear to contradict each other ex. a pointless point of view; bittersweet | 24 | |
| 14503914975 | Paradox | A statement in which a seeming contradiction may reveal an unexpected truth. ex. the hurrier I go, the behinder I get | 25 | |
| 14503914976 | Personification | attributing human characteristics to an inanimate object, animal, or abstract idea ex. the days crept by slowly, sorrowfully | 26 | |
| 14503914977 | Pun | Word play in which words with totally different meanings have similar or identical sounds ex. like a firefly in the rain, I'd be de-lighted | 27 | |
| 14503914978 | Simile | A direct comparison of two unlike things using "like" or "as." ex. He's as dumb as an ox | 28 | |
| 14503914979 | Symbol | an ordinary object, event, animal, or person to which we have attached extraordinary meaning and significance ex. a flag to represent a country; a lion to represent courage; a wall to symbolize separation | 29 | |
| 14503914980 | Synecdoche | indicating a person, object, etc. by letting only a certain part represent the whole ex. all hands on deck; the suits came by the other day | 30 | |
| 14503914981 | Point of View | the author's point of view concentrates on the vantage point of the speaker, or "teller" of the story; may be considered the poem's "voice" - the presence behind the overall work; sometimes referred to as the persona; consists of 1st, 2nd, and 3rd person | 31 | |
| 14503914982 | Line | fundamental to the perception of poetry, marking an important visual distinction from prose; poetry is arranged into a series of units that are a series of metrical feet; generally, the line is printed as one single line on the page and if it's more than one line, its remainder is indented to indicate continuation | 32 | |
| 14503914983 | Verse | a single line of a poem arranged in a metrical pattern | 33 | |
| 14503914984 | Stanza | a group of verses; a division of a poem created by arranging the lines into a unit, often repeating in the same pattern of meter and rhyme throughout; stanzas are separated by blank lines | 34 | |
| 14503914985 | Stanza Forms | the names given to describe the number of lines in a stanzaic unit such as: couplet (2), tercet (3), quatrain (4), etc.; some follow a set of rhyme scheme and meter in addition to the number of lines and are given specific names to describe them, such as ballad meter, ottava rima, etc. | 35 | |
| 14503914986 | Rhetorical Question | a question solely for effect, which does not require an answer; it's a means of achieving an emphasis stronger than a direct statement | 36 | |
| 14503914987 | Rhyme Scheme | the pattern established by the arrangement of rhymes in a stanza or poem, generally described by using letters of the alphabet to denote the recurrence of rhyming lines (ababbcc) | 37 | |
| 14503914988 | Enjambment | the continuation of the logical sense - and therefore the grammatical construction - beyond the end of a line of poetry; sometimes done with the title | 38 | |
| 14503914989 | Form | the arrangement or method used to convey the content, like free verse, ballad, haiku, etc.; the way it is said; sometimes applies to details within the composition of a text, but is probably used often in reference to the structural characteristics of a work | 39 | |
| 14503914990 | Open (form) | poetic form free from regularity and consistency in elements such as rhyme, line length, and metrical form | 40 | |
| 14503914991 | Closed (form) | poetic form subject to a fixed structure and pattern | 41 | |
| 14503914992 | Blank Verse (form) | unrhymed iambic pentameter (much of the plays of Shakespeare are written in this form) | 42 | |
| 14503914993 | Free Verse (form) | lines with no prescribed pattern or structure - the poet determines all the variables as seems appropiate (couplet, heroic couplet, quatrain) | 43 | |
| 14503914994 | Fixed Form | a poem which follows a set pattern of meter, rhyme scheme, stanza form, and refrain | 44 | |
| 14503914995 | Ballad (fixed form) | a narrative poem written as a series of quatrains in which lines of iambic tetrameter alternate with iambic trimeter with an xaxa, xbxb rhyme scheme with frequent use of repetition and often including a refrain; frequently deals with folklore or popular legends | 45 | |
| 14503914996 | Ballade (fixed form) | a french form, it consists of three seven or eight line stanzas using no more than three recurrent rhymes, with an identical refrain after each stanza and a closing envoi repeating the rhymes of the last four lines of the stanza | 46 | |
| 14503914997 | Concrete Poetry (fixed form) | also known as pattern poetry or shaped verse; are printed on the page so that they form a recognizable outline related to the subject; intended to be perceived as a whole | 47 | |
| 14503914998 | Epigram (fixed form) | a pithy, sometimes satiric, couplet or quatrain comprising a single thought or event and often aphoristic with a witty or humorous turn of thought | 48 | |
| 14503914999 | Epitaph (fixed form) | a brief poem or statement in memory of someone who is deceased, used as, or suitable for, a tombstone inscription; now, often witty or humorous and written without intent of actual funerary use | 49 | |
| 14503915000 | Haiku (fixed form) | a japanese form of poetry, consisting of three unrhymed lines of five, seven, and five syllables; the flavor of the form lies more in its touch and tone than its syllabic structure; are descriptions of nature that often convey some implicit insight or essence of a moment | 50 | |
| 14503915001 | Limerick (fixed form) | a light or humorous form of five chiefly anapestic verses of which lines one, two and five are of three feet and lines three and four are of two feet, with a rhyme scheme of aabba. | 51 | |
| 14503915002 | Lyric (fixed form) | originally designed to be sung; one of the three main groups of poetry, lyric verse is the most frequently used modern form; intended to evoke the recall of similar emotional experiences | 52 | |
| 14503915003 | Ode (fixed form) | any of several stanzaic forms more complex than the lyric, with intricate rhyme schemes and irregular number of lines, generally of considerable length, always written in a style marked by a rich, intense expression of an elevated though praising a person or object | 53 | |
| 14503915004 | Pantoum (fixed form) | derived from the Malayan pantun, it consists of a varying number of four-line stanzas with lines rhyming alternately; the second and fourth lines of each stanza repeated to form the first and third lines of the succeeding stanza, with the first and third lines of the first stanza forming the second and fourth of the last stanza, but in reverse order, so that the opening and closing lines of the poem are identical. | 54 | |
| 14503915005 | Rondeau (fixed form) | used mostly in light or witty verse, usually consisting of fifteen octo- or decasyllabic lines in three stanzas, with only two rhymes used throughout; word(s) from the first part of the first line are used as a (usually unrhymed) refrain ending the second and third stanzas (aabba aabR aabbaR) | 55 | |
| 14503915006 | Sestina (fixed form) | a fixed form consisting of six 6-line (usually unrhymed) stanzas in which the end words of the first stanza recur as end words of the following five stanzas in successively rotting order, and as the middle and end words of each of the lines of a concluding envoi in the form of a tercet | 56 | |
| 14503915007 | Sonnet (fixed form) | a fourteen-line poem in iambic pentameter with a prescribed rhyme scheme; its subject was traditionally love | 57 | |
| 14503915008 | Shakespearean Sonnet (fixed form) | a style of sonnet used by Shakespeare with a rhyme scheme of abab cdcd efef gg | 58 | |
| 14503915009 | Italian (Petrarchan) Sonnet (fixed form) | a form of sonnet made popular by Petrarch with a rhyme scheme of abbaabba cdecde or cdcdcd | 59 | |
| 14503915010 | Spenserian Sonnet (fixed form) | a variant of the Shakespearean form in which the quatrains are linked with a chain or interlocked rhyme scheme, abab bcbc cdcd ee | 60 | |
| 14503915011 | Sonnet Sequence (fixed form) | a series of sonnets in which there is a discernible unifying theme, which each retains its own structural independence | 61 | |
| 14503915012 | Triolet (fixed form) | a poem or stanza of eight lines in which the first line is repeated as the fourth and seventh lines, and the second line as the eighth, with a rhyme scheme of ABaAabAB | 62 | |
| 14503915013 | Villanelle (fixed form) | a poem consisting of five 3-line stanzas followed by a quatrain and having only two rhymes; in the stanzas following the first, the first and third lines of the first stanza are repeated alternatively as refrains and are the final two lines of the concluding quatrain; gives a pleasant impression of a simple spontaneity | 63 | |
| 14503915014 | Imagery | the use of vivid language to create mental images of objects, actions, or ideas; not only of visual sense but of sensation and emotion as well; includes impressions of sight, sound, touch, taste, and smell | 64 | |
| 14503915015 | Synesthesia | an attempt to fuse different senses by describing one in terms of another ex. the sound of her voice was sweet | 65 | |
| 14503915016 | Tone, Mood | the means by which a poet reveals attitudes and feelings, in the style of language or expression of thought used to develop the subject; tone can refer to the overall mood of the poem itself; tone can also be in reference to pitch or to the demeanor of a speaker as interpreted through inflections of the voice | 66 |
