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| 8709155008 | chiasmus *ex:* Coleridge: "Flowers are lovely, love is flowerlike." | In poetry, a type of rhetorical balance in which the second part is syntactically balanced against the first, but with the parts reversed. In prose, this is called *antimetabole* | 0 | |
| 8709161915 | caesura *ex:* Alexander Pope: "To err is human, to forgive divine." One would naturally pause after "human" | a natural pause or break; a pause, usually near the middle of a line of verse, usually indicated by the sense of the line, and often greater than the normal pause. | 1 | |
| 8709166647 | enjambment *ex:* Milton's Paradise Lost: "... Or if Sion hill / Delight thee more, and Siloa's brook that flowered / Fast by the oracle of God ..." | the continuation of the sense and grammatical construction from one line of poetry to the next | 2 | |
| 8709168248 | kenning *ex:* King: "ring-giver"; Ocean: "whale-road" | a device employed in Anglo-Saxon poetry in which the name of a thing is replaced by one of its functions or qualities | 3 | |
| 8709171770 | meter | the repetition of a regular rhythmic unit in a line of poetry. Emphasizes the musical quality of the language and often relates directly to the subject matter of the poem. Each unit is known as a foot. | 4 | |
| 8709175249 | poetic foot *ex:* Poem by Samuel Taylor Coleridge illustrates all of these feet except the pyrrhic foot: "Trochee trips from long to short. / From long to long in solemn sort / Slow Spondee stalks; strong foot! yet ill able Ever to come up with Dactyl trisyllable. / Iambics march from short to long; / With a leap and a bound the swift Anapests throng. | a group of syllables in verse usually consisting of one accented syllable and one or two unaccented syllables associated with it. The most common type are as follows: iambic u /; trochaic / u; anapestic u u /; dactylic / u u; pyrrhic u u; spondaic / / | 5 | |
| 8709185705 | Scansion | a system for describing the meter of a poem by identifying the number and type(s) of feet per line. Following are the most common types of meter: monometer: one foot per line dimeter: two feet per line trimeter: three feet per line tetrameter: four feet per line pentameter: five feet per line hexameter: six feet per line heptameter: seven feet per line octameter: eight feet per line iambic pentameter: a line consisting of five iambic feet anapestic tetrameter: a line consisting of four anapestic feet *In order to determine the meter of a poem, the lines are scanned, or marked to indicate stressed and unstressed syllables which are then divided into feet.* | 6 | |
| 8709198376 | devices of sound | the techniques of deploying the sound of words, especially in poetry. Among devices of sound are *rhyme, alliteration, assonance, consonance, and onomatopoeia.* The devices are used for many reasons, including *to create a general effect of pleasant or of discordant sound, to imitate another sound, or to reflect a meaning.* *rhythm*: a rise and fall of the voice produced by the alternation of stressed and unstressed syllables in language. *feminine rhyme*: a rhyme of two syllables, one stressed and one unstressed, as waken and forsaken and audition and rendition. Feminine rhyme is sometimes called double rhyme. *masculine rhyme*: rhyme that falls on the stressed and concluding syllables of the rhyme-words. Examples include keep and sleep, glow and no, and spell and impel. *eye rhyme*: rhyme that appears correct from spelling, but is half-rhyme or slant rhyme from the pronunciation. Examples include watch and match, and love and move. *internal rhyme*- rhyme that occurs within a line, rather than at the end. The following lines contain internal rhyme: Once upon a midnight dreary, while I pondered weak and weary, / Over many a quaint and curious volume of forgotten lore / While I nodded, nearly napping. . suddenly there came a tapping . . . . *end-stopped*- a line with a pause at the end. Lines that end with a period, a comma, a colon, a semicolon, an exclamation point, or a question mark are end-stopped lines. True ease in writing comes from Art, not Chance, / As those move easiest who have learned to dance. | 7 | |
| 8709209103 | types of poems | a composition in verse, especially one that is characterized by a highly developed artistic form and by the use of heightened language and rhythm to express an intensely imaginative interpretation of the subject. *Elegy*: a poem of mourning, usually about someone who has died. A *Eulogy* is great praise or commendation, a laudatory speech, often about someone who has died. *Epic*: a long narrative poem, written in heightened language , which recounts the deeds of a heroic character who embodies the values of a particular society. *Free verse*: poetry that does not conform to a regular meter or rhyme scheme. *Lyric poem*: a poem that does not tell a story but expresses the personal feelings or thoughts of the speaker. A *ballad* tells a story. any short poem that presents a single speaker who expresses thoughts and feelings. Love lyrics are common, but lyric poems have also been written on subjects as different as religion and reading. *Sonnets and odes* are lyric poems *narrative poem*: a non-dramatic poem which tells a story or presents a narrative, whether simple or complex, long or short. *Epics and ballads* are examples of narrative poems. *Didactic poem*: a poem which is intended primarily to teach a lesson. The distinction between didactic poetry and non-didactic poetry is difficult to make and usually involves a subjective judgment of the author's purpose on the part of the critic or the reader. Alexander Pope's Essay on Criticism is a good example of didactic poetry. *dramatic poem*: a poem which employs a dramatic form or some element or elements of dramatic techniques as a means of achieving poetic ends. The *dramatic monologue* is an example. | 8 | |
| 8709223405 | structure | the arrangement of materials within a work; the relationship of the parts of a work to the whole; the logical divisions of a work. The most common units of structure in a poem are the *line and stanza*. *stanza*- usually a repeated grouping of three or more lines with the same meter and rhyme scheme *refrain*: a word, phrase, line, or group of lines that is repeated, for effect, several times in a poem. *blank verse*- unrhymed iambic pentameter. Blank verse is the meter of most of Shakespeare's plays, as well as that of Milton's Paradise Lost. *couplet*- a two-line stanza, usually with end-rhymes the same. *octave*- an eight-line stanza. Most commonly, octave refers to the first division of an Italian sonnet. *quatrain*- a four-line stanza with any combination of rhymes; a four-line stanza with any combination of rhymes. *rhyme royal*- a seven-line stanza of iambic pentameter rhymed ababbcc, used by Chaucer and other medieval poets. *sestet*- a six-line stanza. Most commonly, sestet refers to the second division of an Italian sonnet. *sonnet*- normally a fourteen-line iambic pentameter poem. The conventional Italian, or Petrarchan sonnet is rhymed abba, abba, cde, cde; the English, or Shakespearean, sonnet is rhymed abab, cdcd, efef, gg. *tercet*- a stanza of three lines in which each line ends with the same rhyme. *terza rima*- a three-line stanza rhymed aba, bcb, cdc,etc. Dante's Divine Comedy is written in terza rima. *villanelle*- a nineteen-line poem divided into five tercets and a final quatrain. The villanelle uses only two rhymes which are repeated as follows: aba, aba, aba, aba, aba, abaa. Line 1 is repeated entirely to form lines 6, 12, and 18, and line 3 is repeated entirely to form lines 9, 15, and 19; thus, eight of the nineteen lines are refrain. Dylan Thomas's poem "Do Not Go Gentle Into That Good Night" is an example of a villanelle. | 9 |
