Terms : Hide Images
| 4134828858 | narrative | a narrative poem tells a story. It can be all of a story or part of a story. Ex: Odyssey | 0 | |
| 4134829653 | lyric | a poem that deals with emotions, feelings, thoughts. General category because poems of all kinds can contain lyrical elements | 1 | |
| 4134831118 | aubade | a poem about the separation of lovers. A very emotional moment of experience. Traditionally, the separation is at dawn | 2 | |
| 4134831872 | ballad | a song or poem with song-like qualities. Will often have refrain lines that repeat | 3 | |
| 4134832783 | dramatic monologue | a poem that has a definite speaker who speaks to a particular person. the listener does not respond but the listener can influence or have an effect on the speaker | 4 | |
| 4134833942 | elegy | poem about death, mourning or somber reflection. Another word: Dirge | 5 | |
| 4134834711 | ode | celebratory poem. Can be of praise for a person, an object, an event | 6 | |
| 4134838006 | pastoral | shepherds, rural theme, idealizing country life Another Word: Idyllic | 7 | |
| 4134840068 | sestina | poem of six 6-line stanzas (sestets) with an ending tercet (3 line stanza). Repetition using the ending words in each sestet, changing the order in each successive sestet. Three of the ending words also are the ending words of the tercet. | 8 | |
| 4134842410 | sonnet | 14 line poem | 9 | |
| 4134843487 | English sonnet | 3 quatrains and ending couplet. Rhyme scheme: abab cdcd efef gg. First 2 quatrains set theme of situation, answered or furthered by the third quatrain, and summarized for finalized by the ending couplet. | 10 | |
| 4134845335 | Italian sonnet | divided into an octave or octet and a sestet Rhyme Scheme differs but: abba, abba, cde, cde More uniform is rhyme scheme than the sestet. Octave will present the theme, problem, or situation which is then answered or resolved in the sestet | 11 | |
| 4134849501 | Terza Rima | 3 line stanzas with a defined interlocking rhyme scheme (aba, bcb, cdc, etc). Most are written in iambic pentameter but whatever the meter, the established meter remains the same throughout the poem. Shorter poems can end in a couplet. | 12 | |
| 4134851982 | Villanelle | 19 line poem with 5 three line stanzas and an ending quatrain. Rhyme Scheme: aba aba aba aba aba abaa. Contains a refrain, repetition of the first and third lines of the first stanza | 13 | |
| 4134860360 | Speaker | 1st or 3rd person. Don't assume the speaker is the poet | 14 | |
| 4134861132 | Audience | audience or group specified by speaker, or general | 15 | |
| 4134861881 | subject | majestical > trivial human condition: life's complexities, love, hate, despair, jealousy... Prior 19th century= existence of individual in relation to spiritual universe From 19th century on= concerns moved to the individual in relation to nature, science, the industrial world, society, psychology, and loss of humanity | 16 | |
| 4134865586 | imagery | use of figures of speech to create vivid images that appeal to one of the senses "a picture in words" | 17 | |
| 4134866421 | metaphor | direct comparison of two dissimilar objects. A metaphor may be developed over more than one line | 18 | |
| 4134867465 | extended metaphor | metaphor that is developed throughout the stanzas or entire poem. Could also be a controlling image if it dominates entire work | 19 | |
| 4134868516 | conceit | Another name for extended metaphor; more startling metaphor; prevalent in metaphysical poetry | 20 | |
| 4134869677 | simile | using "like" or "as" predominately; direct comparison of two dissimilar obects | 21 | |
| 4134870324 | symbol | represents something; may carry multiple meanings | 22 | |
| 4134871059 | irony | incongruity between what is and what is expected | 23 | |
| 4134871591 | paradox | apparent contradiction that contains some truth ex: the one with the greatest perception is the blind man | 24 | |
| 4134872277 | hyperbole | obvious exaggeration or overstatement, not intended to be taken literally | 25 | |
| 4134872692 | understatement | something is purposely represented as being far less important than it actually is | 26 | |
| 4134873212 | litote | affirming with a negative | 27 | |
| 4134873213 | allusion | a reference in the work to literature, history, mythology | 28 | |
| 4134873885 | apostrophe | direct address to absent or dead person, or to object, quality or idea that are oftentimes personified | 29 | |
| 4134874500 | metonymy | using an attribute of something as an association of the entirety (Washington for the federal government) | 30 | |
| 4134875508 | synecdoche | using one part of an object to represent the entirety (wheels for car) | 31 | |
| 4134876213 | personification | non human objects given human characteristics | 32 | |
| 4134877188 | pathetic fallacy | something in nature that has human emotions | 33 | |
| 4134881081 | synethesia | using multiple sensory descriptions "sweet sound" | 34 | |
| 4134881737 | diction | authors choice of words | 35 | |
| 4134882158 | tone | attitude of writer | 36 | |
| 4134882159 | mood | prevailing emotional atmosphere in the poem, scene, or entire literary work | 37 | |
| 4134882654 | repetition | words, sounds, phrases of syntax that repeat | 38 | |
| 4134883075 | alliteration | repeition of intial sounds in consecutive or nealry consecutive words | 39 | |
| 4134883923 | assonance | repition of vowel sounds | 40 | |
| 4134883924 | consonance | repition of consonants | 41 | |
| 4134884394 | cacaphony | harsh, clashing word sounds ALSO CALLED DISSONANCE | 42 | |
| 4134884854 | euphony | pleasing, calm, melodious word sounds | 43 | |
| 4134885486 | anaphora | repeition of words or phrases at the beginning of consecutive lines of sentences | 44 | |
| 4134885822 | inversion | changing the normal or grammatical sequence in a line; used to place emphasis on a word or idea; used for rhyme rhythm or meter | 45 | |
| 4134887755 | caesura | pause in a line of poetry brought about by punctuation of the natural rhythm of the language | 46 | |
| 4134888713 | enjambment | continuation of one line of poetry to the next | 47 | |
| 4134889105 | onomatopoeia | word formed form the imitation of natural sounds (boom, splat, whoosh) | 48 | |
| 4134889954 | stanza | section of division in a poem | 49 | |
| 4134890365 | couplet | 2 lines | 50 | |
| 4134890615 | tercet | 3 lines | 51 | |
| 4134890616 | quatrain | 4 lines | 52 | |
| 4134890617 | cinquain | 5 lines | 53 | |
| 4134890859 | sestet | 6 lines | 54 | |
| 4134890860 | heptet | 7 lines | 55 | |
| 4134891537 | octet /octave | 8 lines | 56 | |
| 4134891538 | free verse | free of regular meter and rhyme | 57 | |
| 4134891893 | blank verse | lines in unrhymed iambic pentameter | 58 | |
| 4134892288 | rhyme | repetition of like sounds | 59 | |
| 4134892297 | end rhyme | repeition of the same sound at the end of a line | 60 | |
| 4134892734 | masculine rhyme | repetion of the same sound on the last accented syllable | 61 | |
| 4134893115 | heroric couplet | couplets in iambic pentameter ending in masculine rhyme | 62 | |
| 4134893713 | feminine rhyme | repeition of the same sound at the last unaccented sylable | 63 | |
| 4134894032 | off rhyme, slant rhyme, near rhyme | inexact but close rhyme | 64 | |
| 4134894529 | internal rhyme | rhyme that occurs within the line | 65 | |
| 4134894778 | initial rhyme | rhyme at the beginning of the line | 66 | |
| 4134894779 | sight rhyme | words that look like they should rhyme but they dont | 67 | |
| 4134895122 | rhyme scheme | representation of the pattern of rhyme in a poem expressed with use of the alphabet | 68 | |
| 4134895632 | meter | patterned repition of stressed and unstressed syllable | 69 | |
| 4134896345 | scansion | the analysis of the meter of a poem | 70 | |
| 4134896621 | iamb | 1 unaccented syllable, 1 accented syllable (enough, Irene) | 71 | |
| 4134897056 | Trochee | 1 accented syllable, 1 unaccented syllable (lip stick, Tanya) | 72 | |
| 4134897815 | spondee | 2 accented syllables (fat cat, Sue-Anne) | 73 | |
| 4134898079 | anapest | 2 unaccented syllables, 1 accented syllable (lemonade, Antoinette) | 74 | |
| 4134898777 | dactyl | 1 accented syllable, 2 unaccented syllable (possible, Deborah) | 75 | |
| 4134899410 | feet | building block of the metrical pattern in a poem | 76 | |
| 4134899860 | monometer | 1 foot | 77 | |
| 4134900738 | comma | continues the thought | 78 | |
| 4134901204 | semi-colon | joining of two or more similar thoughts | 79 | |
| 4134902038 | colon | designates importance of what is to follow | 80 | |
| 4134902319 | dash | off sets for emphasis | 81 | |
| 4134902726 | ellipsis | pause or omission; or where there is an omission of words but they are understood | 82 | |
| 4134902956 | end mark | period , question mark, exclamation point | 83 | |
| 4134926723 | Homer | Narrative Poetry | 84 | |
| 4134927419 | English Renaissance (1500-1650) | Major Poets: Shakespeare, Christopher Marlowe, Ben Johnson, Sir Walter Raleigh, Francis Bacon Time of renewal, promotion of the arts, sonnet, lyric and pastoral Themes: love, religon | 85 | |
| 4134929290 | Metaphysical Poets (1630-1700) | Major Poets: John Donne, Andrew Marvell, John Milton, George Herbert Philosophy dealing with the nature of existence, truth, and knowledge. Introspective. Human soul and the relationship with God. Themes: Romantic love Characterized by: irony, paradox, conceits and wit | 86 | |
| 4134932476 | Romantic Period (1750-1850) | Major Poets: William Wordsworth, John Keats, Percy Bryce Shelley, George Gordon, Lord Byron, Samuel Taylor Coleridge, William Blake Language of poetry became language of the people. Natural use of language that was simple, more direct, and informal. Themes: Beauty of nature and natural world, direct sincere expression of emotion Forms: lyric, ode, ballad, pastoral (LATER) Major Poets: Elizabeth Barrett Browning, Robert Browning Alfred, Lord Tennyson | 87 | |
| 4134937014 | Romantic Period (US) Transcendentalism (1750-1850) | Major Poets: Ralph Waldo Emerson, Edgar Allan poe, Henry Wadsworth Longfellow, Walt Whitman, Henry David Thoreau, Emily Dickinson Shared philosophy with english writers. Transcendentalism focused on human spirituality and the human soul. Believed that objects had a universal dimension to them. | 88 | |
| 4134941513 | Modern Period (1900-1945) | Major Poets: William Carlos Williams, EE Cummings, Marianne Moore, TS Eliot, Robert Frost, Carl Sanburg, Ezra Pound, Wallace Stevens Dealt with chaotic world. Rejection of tradition. Individual and relationship to complex, uncaring society. Psychological exploration. Free Verse | 89 | |
| 4134944045 | Harlem Rennaissance | Major Poets: Langston Hughes, Paul Dunbar, WEB Dubois 1920's in NY. African American voice in the arts | 90 | |
| 4134945252 | 1945-Present Post Modernism | Major Poets: Robert Lowell, Gwendolyn Brooks, Sylvia Plath, Anne Sexton, Adrienne Rich, Amiri Baraka (Leroi Jones), Denise Levertov, Ted Hughes, Robert Creeley, Richard Wilbur, Billy Collins All of modernism characteristics, allusions to popular culture | 91 | |
| 4134948270 | The Beats (1950-1960) | Major Poets: Allen Ginsberg, Gary Snyder, Lawrence Ferlinghetti Improv Style. Free flowing and experimental. Jazz like | 92 |
