Terms : Hide Images
| 7497025607 | amphibrach | 3-syllable foot, unstressed, stressed, unstressed (adj. form amphibrachic) | 0 | |
| 7497037666 | anapest | 3-syllable foot, unstressed, unstressed, stressed (adj. form anapestic) | 1 | |
| 7497046214 | caesura | a purposeful pause in a poem; unusually uses punctuation to establish | 2 | |
| 7497049445 | catalexis | incompleteness of the last foot of a line or stanza of poetry | 3 | |
| 7497052984 | dactyl | 3-syllable foot, stressed, unstressed, unstressed, (adj. form dactylic) | 4 | |
| 7497079487 | dimeter | two feet | 5 | |
| 7497079488 | end-stoppage | a line of poetry in which the reader is meant to pause at the end of the line | 6 | |
| 7497082216 | enjambment | a line of poetry which is not end-stopped, in which the thought continues into the next line without any pause | 7 | |
| 7497090725 | feminine ending | when a line ends on an unstressed syllable | 8 | |
| 7497093008 | foot | a basic repeated sequence of meter comprised of two or more accented (') or unaccented (U) syllabels | 9 | |
| 7497098209 | heptameter | seven feet | 10 | |
| 7497103708 | hexameter | six feet | 11 | |
| 7497135986 | iamb | 2-syllable foot, unstressed, stressed, (adj form: iambic) | 12 | |
| 7497140667 | masculine ending | when a line ends on a stressed syllable | 13 | |
| 7497164482 | meter | arrangement of accented and unaccented syllables in a line of poetry | 14 | |
| 7497166933 | monometer | one foot | 15 | |
| 7497171768 | octameter | eight feet | 16 | |
| 7497171769 | pentameter | five feet | 17 | |
| 7497174006 | prosody | a term that refers to that technical aspects of verse (meter, rhythm, stress) | 18 | |
| 7497177153 | pyrrhus | 2 unstressed syllables, not used as primary meter, (adj form pyrrhic aka dibrach) | 19 | |
| 7497184043 | scansion | the process of analyzing a poem's meter and rhythm | 20 | |
| 7497186132 | spondee | 2 stressed syllables (adj form spondaic) | 21 | |
| 7497233715 | substitution | a foot within a line that does not match the established meter of the rest of the poem | 22 | |
| 7497233716 | tetrameter | four feet | 23 | |
| 7497233717 | trimeter | three feet | 24 | |
| 7497235636 | trochee | 2-syllable foot, stressed, unstressed, (adj form trochaic) | 25 | |
| 7497238574 | alliteration | repetition of initial consonant sounds | 26 | |
| 7497243697 | assonance | repetition of internal vowel sounds | 27 | |
| 7497245478 | consonance | repetition of final consonant sounds (as opposed to alliteration's repetition of initial sounds) | 28 | |
| 7497248531 | end rhyme | rhyme that occurs at the end of lines of poetry; denoted with letters of the alphabet to signify which lines rhyme | 29 | |
| 7497254715 | eye rhyme | rhyme in which words are spelled similarly but pronounced differently | 30 | |
| 7497268153 | half rhyme | "almost" rhyming; AKA imperfect, slant, approximate or off rhyme | 31 | |
| 7497271014 | internal rhyme | rhyme that occurs within the middle of lines of poetry | 32 | |
| 7497273215 | onomatopoeia | words that sound like the idea or thing they represent | 33 | |
| 7497276917 | perfect rhyme | when the end sounds of nearby words match perfectly | 34 | |
| 7497282313 | repetition | the reiterating of a word or phrase within a poem | 35 | |
| 7497298162 | rhyme | the repetition of the end sounds of nearby words | 36 | |
| 7497391249 | rhyme scheme | the controlling pattern or sequence in which rhyme occurs in a poem | 37 | |
| 7497395295 | blank verse | unrhymed iambic pentameter (meant to mimic actual speech patterns) | 38 | |
| 7497399453 | cinquain | five lines | 39 | |
| 7497401876 | couplet | two lines with end rhyme | 40 | |
| 7497404184 | free verse | poetry that does not use consistent meter or regular rhyme scheme | 41 | |
| 7497405492 | heroic couplet | two lines of rhyming iambic pentameter | 42 | |
| 7501267235 | lyric poetry | a poem in which a speaker expresses what they feel, perceive or think; can be very diverse in topic, style, or form,; usually short, usually first-person speakers | 43 | |
| 7501269407 | octave | eight lines | 44 | |
| 7501269408 | quatrain | four lines | 45 | |
| 7501269935 | refrain | a repeating stanza or line | 46 | |
| 7501308327 | septet | seven lines | 47 | |
| 7501308794 | sestet | six lines | 48 | |
| 7501308795 | stanza | a grouping of lines of poetry, indicated by an empty space before the next one begins | 49 | |
| 7501310632 | tercet/triplet | three lines | 50 | |
| 7501311013 | anaphora | intentional repetition of words or phrases at the beginning of successive lines, stanzas, sentences, or paragraphs | 51 | |
| 7577081692 | antithesis | words or phrases with opposite ideas or meanings are balanced against each other | 52 | |
| 7577085368 | apostrophe | spoken to a person who is absent or imaginary, or to an object or abstract idea | 53 | |
| 8083009058 | chiasmus | a verbal pattern (a type of antithesis) in which the second half of an expression is balanced against the first with the parts reversed | 54 | |
| 8083014119 | ellipsis | the omission of one or more words, which must be supplied by the listener or the reader | 55 | |
| 8083025038 | figurative language | words or phrases that are not intended to be interpreted literally | 56 | |
| 8083029210 | figures of speech | (AKA schemes) devices that change expected syntax to create a special effect for the work or on the reader | 57 | |
| 8083038832 | figures of thought | (AKA tropes) words or phrases that are used in ways that effect an obvious change in their standard meaning | 58 | |
| 8083043893 | hyperbole | a deliberate and purposeful exaggeration | 59 | |
| 8083045797 | litotes | a positive is stated by negating its opposite; a form of understatement that requires the negative statement rather than just the understatement | 60 | |
| 8083059653 | metaphor | a comparison of two seemingly unlike things that does not use comparative words | 61 | |
| 8083066269 | metonymy | one word is substituted for another with which it is closely associated | 62 | |
| 8083069849 | mixed metaphor | when two or more incongruous vehicles are used to describe the same tenor | 63 | |
| 8083076073 | oxymoron | a kind of paradox that links seemingly contradictory elements that turn out to make sense together | 64 | |
| 8083079610 | paradox | a statement that appears contradictory or impossible but turns out to make sense together | 65 | |
| 8083082774 | parallelism | repetition of the syntactical structure of a line or phrase | 66 | |
| 8083086404 | pathetic fallacy | a type of personification in which inanimate aspects of nature (weather, landscape) are given human qualities or feelings. Usually reflects or foreshadows events and contributes to tone | 67 | |
| 8191381518 | periphrasis | the point is stated by deliberate circumlocution rather than directly | 68 | |
| 8191390696 | personification | nonhuman things or abstract ideas are given human attributes | 69 | |
| 8191397431 | rhetorical question | a question is asked not to get answered but to emphasize an already implied conclusion | 70 | |
| 8191399952 | simile | a comparison of two seemingly unlike things that uses comparative words (such, like, as, etc) | 71 | |
| 8191404455 | syllepsis | kind of ellipsis in which one word (usually a verb) is understood differently in relation to two or ore other words, which it modifies or governs | 72 | |
| 8191411546 | syllogism | a deductive scheme of a formal argument consisting of a major and a minor premise and a conclusion | 73 | |
| 8191416313 | synecdoche | a part is used to designate the whole or the whole is used to designate a part | 74 | |
| 8191421738 | synesthesia | one sensory experience is described in terms of another sensory experiences; a form of figurative language; for example: hearing colors or seeing sounds | 75 | |
| 8191428311 | tautology | needless repetition of an idea, statement, or word | 76 | |
| 8191431535 | tenor | the aspect of a comparison (metaphor/simile/analogy, etc) that is the literal subject; the thing that is being described | 77 | |
| 8191437632 | understatement | a form of irony which a point is expressed as lesser in some way than it really is | 78 | |
| 8191440635 | vehicle | the aspect of a comparison (metaphor/simile/analogy etc) that conveys ("drives") intended understanding of the subject; the thing being used to describe the subject | 79 | |
| 8191474978 | allusion | a passing reference to another work; a historical or mythical event, person, etc | 80 | |
| 8191480217 | analogy | comparison of a subject to something that is similar in order to clarify the nature of the subject | 81 | |
| 8191486141 | atmosphere | the predominant mood in all or part of literary work; established through setting, dialogue, diction | 82 | |
| 8191491242 | diction | word choice; phrasing | 83 | |
| 8191494105 | dramatic irony | the audience knows something that one or more of the characters do not know | 84 | |
| 8191525489 | formal diction | use of more elevated, esoteric vocabulary; can help to establish an air of authority or superiority; largely informs characterization | 85 | |
| 8191535094 | imagery | descriptive language that relies on at least one of the five senses | 86 | |
| 8191539621 | informal | AKA: Colloquial Diction, use of less complicated, more simplistic vocabulary to establish familiarity, simplicity, etc; largely informs characterization | 87 | |
| 8191552713 | inversion | a change in what would be considered "normal" | 88 | |
| 8191584383 | rhetorical strategies | a loose term for techniques that help shape or enhance a literary work | 89 | |
| 8191589824 | sarcasm | taunting use of approval or praise when the opposite is what is felt. more crude than verbal irony and is intended to cause emotional pain | 90 | |
| 8191598337 | situational irony | AKA Irony. that which is expected is not what occurs (not necessarily the opposite of what's expected) | 91 | |
| 8191607602 | symbol | anything (word, phrase, person, action, etc) that represents itself but also stands for a more abstract idea | 92 | |
| 8191612876 | syntax | the order/arrangement of words in a line of poetry (or in a sentence) | 93 | |
| 8191618223 | verbal irony | implying a different meaning from, and often opposite of, what is actually stated. can be misconstrued as sincere | 94 | |
| 8191625904 | verisimilitude | writing that tries to be as close to the truth (real-seeming) as possible | 95 | |
| 8191630645 | bildungsroman | a story in which a character goes from immaturity to maturity; childhood to adulthood, naivete to awareness, etc | 96 | |
| 8191730154 | first-person | indicated by pronouns I, me, we, etc... narrator tells a story in which they are a character | 97 | |
| 8191736873 | intrusive narration | the narrator offers commentary on characters and events in a clear effort to influence the perceptions of the audience. first and third person narrators can be intrusive | 98 | |
| 8191745315 | mood | the attitude of the author toward the subject matter and audience. established through the interplay of all devises used in a work | 99 | |
| 8191782318 | motif | a reoccurring idea found in a work. established through plot and symbols. contributes largely to the theme | 100 | |
| 8191789167 | second-person | indicated by pronoun you. narrator tells a story in which the reader is a character | 101 | |
| 8191832704 | speaker | the voice that "speaks" in a poem; as opposed to the "narrator of a book or story | 102 | |
| 8191836601 | theme | the central idea that a work conveys; that which the author intended the reader to understand, think about or know as a result of having read the work; established through plot, characterization, motif, etc | 103 | |
| 8191874624 | third person limited omniscient | indicated by pronouns they, he, she, it, etc. narrator is not a character in the story but knows the thoughts and feelings of only one or a select few characters | 104 | |
| 8191884766 | third person objective | indicated by pronouns they, he, she, it, etc, narrator is not a character in the story and knows only what is visible; does not know the thoughts or feelings of any characters | 105 | |
| 8191895675 | third person omniscient | indicated by pronouns they, he, she, it, etc. narrator is not a character in the story but knows everything about all the characters and events including inner thoughts, full background, etc | 106 | |
| 8191905022 | tone | the attitude of the speaker toward the subject matter and audience. established mostly through tone and syntax | 107 | |
| 8191911448 | unreliable narration | the narrator interprets events and intentions in their narration and thus influences (intentionally or unintentionally) the perceptions and attitudes of the audience. First-person narrators are more likely to be unreliable. Tone is meant to be seen as exaggerated or misleading | 108 | |
| 8193495478 | voice/point of view | the one who tells the story; differs from the author themselves; can change throughout a single work; contributes largely to tone. indicated by pronoun use | 109 |
