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| 13050872288 | alliteration | the repetition of initial consonant sounds Example"Silence surged softly..." |  | 0 |
| 13050872289 | assonance | the repetition of vowel sounds followed by different consonants in two or more stressed syllables Examples: "purple curtain," "young love" |  | 1 |
| 13050872290 | cacophony | the opposite of euphony; a harsh, unpleasant combination of sound. Cacophony may be an unconscious flaw, or it may be used consciously for effect, as Browning and Hardy often used it. |  | 2 |
| 13050872291 | consonance | the repetition in two or more words of final consonants in stressed syllables Example: "east and west" |  | 3 |
| 13050872292 | euphony | pleasing sounds. Opposite of cacophony. |  | 4 |
| 13050872293 | meter | a generally regular pattern of stressed and unstressed syllables in poetry | 5 | |
| 13050872294 | Iambic | duh-DUH, as in "above" |  | 6 |
| 13050872295 | Anapestic | duh-duh-DUH as in "but of course" | 7 | |
| 13050872296 | Dactylic | DUH-duh-duh, as in "honestly" | 8 | |
| 13050872297 | Trochaic | DUH-duh, as in "pizza" |  | 9 |
| 13050872298 | Iambic pentameter | duh-DUH (five iambic feet in one line...Shakespearean sonnets) |  | 10 |
| 13050872299 | Approximate/slant rhyme | two words are alike in some sounds, but do not rhyme exactly (Example: now and know) |  | 11 |
| 13050872300 | End rhyme | occurring at the ends of lines (the most common type of rhyme) |  | 12 |
| 13050872301 | Internal rhyme | occurring within a line |  | 13 |
| 13050872302 | rhyme scheme | the pattern of end rhymes, labeled with capital letters for the purpose of analysis |  | 14 |
| 13050872303 | ballad | a song or poem that tells a story of tragedy, adventure, betrayal, revenge, or jealousy |  | 15 |
| 13050872304 | blank verse | verse written in unrhymed, iambic pentameter |  | 16 |
| 13050872305 | dramatic monologue | a poem in which a character speaks to one or more listeners who remain silent or whose replies are not revealed |  | 17 |
| 13050872306 | elegy | a poem of mourning, usually over the death of an individual |  | 18 |
| 13050872307 | epic | a long narrative poem that relates the great deeds of a larger-than-life hero who embodies the values of a particular society |  | 19 |
| 13050872308 | epitaph | an inscription on a gravestone or a commemorative poem written as if it were for that purpose |  | 20 |
| 13050872309 | free verse | unrhymed poetry not written in a regular rhythmical pattern or meter. It seeks to capture the rhythms of speech |  | 21 |
| 13050872310 | limerick | a humorous, rhyming five-line poem with a specific meter and rhyme scheme |  | 22 |
| 13050872311 | lyric poem | verse that expresses the personal observations and feelings of a single speaker |  | 23 |
| 13050872312 | narrative poem | a poem that tells a story |  | 24 |
| 13050872313 | ode | a complex and often lengthy lyric poem, written in a dignified formal style on some lofty or serious subject, addresses a subject Example ode to my coffee |  | 25 |
| 13050872314 | Shakespearean/English sonnet | a sonnet which consists of three quatrains and a couplet. The most common rhyme scheme is abab cdcd efef gg. |  | 26 |
| 13050872315 | Petrarchan/Italian sonnet | a sonnet which consists of an octave and a sestet with the rhyme scheme being abbaabba cdecde. There is usually a pronounced tonal shift between the octave and sestet as well. |  | 27 |
| 13050872316 | sestina | a poem that consists of six six-line stanzas and a three-line envoy. It makes no use of refrain. The form is usually unrhymed; rather it has a fixed pattern of end-words which demands that these end-words in each stanza be the same, though arranged in a different sequence each time. |  | 28 |
| 13050872317 | villanelle | a poem that has 19 lines, 5 stanzas of three lines and 1 stanza of four lines with two rhymes and two refrains. The 1st, then the 3rd lines alternate as the last lines of stanzas 2,3,and 4, and then stanza 5 (the end) as a couplet. It is usually written in tetrameter (4 feet) or pentameter. |  | 29 |
| 13050872318 | caesura | (or cesura) A pause or break in a line of verse. Originally, in CLASSICAL literature, the caesura characteristically divides a FOOT between two words, usually near the middle of a line. Some poets, however, have sought diversity of rhythmical effect by placing the caesura anywhere from near the beginning of a line to near the end. |  | 30 |
| 13050872319 | couplet | two consecutive lines of poetry that rhyme. Heroic couplet is also in iambic pentameter. |  | 31 |
| 13050872320 | enjambment | the continuation of the sense and grammatical construction of a verse or couplet on to the next verse or couplet. In other words, the line is not end-stopped, but wraps around to the next line. |  | 32 |
| 13050872321 | stanza | a group of lines in a poem, considered as a unit, like a paragraph in prose Examples of types of stanzas Couplet, two lines that rhyme Tercet- 3 lines quatrain 4 lines, Cinquain- 5 lines, sestet 6 lines Septets- 7 lines, octaves 8 lines | 33 | |
| 13050872322 | allusion | reference to a well-known person, text, historical event, etc. Example Shakespearean and Biblical allusions |  | 34 |
| 13050872323 | apostrophe | when an absent person, an abstract concept, or an important object is directly addressed. | 35 | |
| 13050872324 | conceit | unconventional/unexpected metaphors |  | 36 |
| 13050872325 | metaphor | unexpected comparison between two unalike things |  | 37 |
| 13050872326 | extended metaphor | a metaphor carried throughout the text or poem | 38 | |
| 13050872327 | personfication | giving human qualities to an inanimate object or force | 39 | |
| 13050872328 | connotation | all the meanings, associations, or emotions that a word suggests |  | 40 |
| 13050872329 | denotation | dictionary definition of a word |  | 41 |
| 13050872330 | diction | word choice. To discuss a writer's diction is to consider the vocabulary used, the appropriateness of the words, the vividness of the language, and the accompanying connotations of a specific word choice |  | 42 |
| 13050872331 | metonymy | a figure of speech in which the name of one object is substituted for that of another closely associated with it. Example: The soldier led with his gun. "The pen (publishing) is mightier than the sword ( military)." |  | 43 |
| 13050872332 | Synechdoche | a figure of speech in which the name of one object is substituted for that of another closely associated with it. Example: "All hands on deck!" "Lend me your ears." "I left my heart in San Francisco." |  | 44 |
| 13050872333 | synesthesia | from the Greek (syn-) "union", and (aesthesis) "sensation"; is the mixing of the senses Examples: Sound that smells of Granny's brownies and tastes like the toil of a dancer. |  | 45 |
| 13050901911 | Litotes (understatement) | a figure of speech in which a negative statement is used to affirm a positive statement. | 46 | |
| 13050906957 | Asyndeton | omission of conjunctions between coordinate phrases, clauses, or words | 47 | |
| 13050909422 | Polysyndeton | the use, for rhetorical effect, of more conjunctions than is necessary or natural | 48 | |
| 13050915085 | Anaphora | repetition of a word or phrase at the beginning of successive phrases, clauses, or lines | 49 | |
| 13050920142 | Antithesis | 50 |
