| 7905996755 | Monologue | a single person speaking alone with or without an audience | | 0 |
| 7906009321 | Soliloquy | A moment when a character is alone and speaks his or her thoughts aloud. Doesn't acknowledge the audience | | 1 |
| 7906024997 | Aside | A device in which a character in a drama makes a short speech that is heard by the audience but not by other characters in the play | | 2 |
| 7906028754 | Dramatic Monologue | a poem in which there is one imaginary speaker addressing an imaginary audience | | 3 |
| 7906043529 | Satiric Techniques | a manner of writing that mixes a critical attitude with wit and humor in an effort to improve mankind and human institutions. Ridicule, irony, exaggeration, and several other techniques are almost always present. The satirist's goal is to point out the hypocrisy of his target in the hope that either the target or the audience will return to a genuine following of the moral code. Thus, satire is inescapably moral even when no explicit values are promoted in the work, for the satirist works within the framework of a widely spread value system | | 4 |
| 7906049031 | Ridicule | the act of making someone or something the object of scornful laughter by joking, mocking | | 5 |
| 7906056689 | Hyperbole | extreme exaggeration | | 6 |
| 7906061105 | Understatement | not exaggerated | | 7 |
| 7906068199 | Sarcasm | A sharp, caustic attitude conveyed in words through jibes, taunts, or other remarks | | 8 |
| 7906074556 | Humor | A term used to denote one of he two major types of writing (humor and wit) whose purpose is to evoke laughter. A comical mode that is sympathetic, tolerant, and warmly aware of the depths of human nature. | | 9 |
| 7906077228 | Wit | primarily intellectual, the perception of similarities in seemingly dissimilar things—the "swift play and flash of mind" -and is expressed in skillful phraseology, plays on words, surprising contrasts, paradoxes, epigrams etc | | 10 |
| 7906080885 | Irony | A situation or statement characterized by a significant difference between
what is expected or understood and what actually happens or is meant. | | 11 |
| 7906090920 | Cosmic or Irony of fate | Some Fate with a grim sense of humor seems cruelly to trick a human being. Cosmic irony clearly exists in poems in which fate or the Fates are personified and seen as hostile, as in" Oedipus" and Thomas Hardy's "The Convergence of the Twain" and Robinson's "Richard Cory"). Evidently it is a twist of fate for the most envied man in town to kill himself. | | 12 |
| 7906102009 | Dramatic | The audience understands something that the character or characters do not realize. It occurs when a character or speaker says or does something that has different meanings from what he or she thinks it means, though the audience and other characters understand the full implications of the speech or action. | | 13 |
| 7906106571 | Situational | occurs when a situation turns out differently from what one would normally expect-though often the twist is oddly appropriate | | 14 |
| 7906108801 | Socratic | Adapting a form of ironic false modesty in which a speaker claims ignorance regarding a question or philosophical problem. The speaker then turns to another "authority" and raises the question humbly, asking for the expert's answer. When the "authority," presents an answer, the "modest" original speaker continues to ask pointed questions, eventually revealing the limitations or inadequacies of the supposed expert—all the while protesting his or her own inferior knowledge. The irony comes from the speaker's continuing presentation of himself as stupid even as he demolishes inferior ideas others present to him. This is the method Socrates supposedly took regarding philosophical inquiry, and it is named socratic irony in his honor. | | 15 |
| 7906129494 | Verbal | occurs when a speaker or narrator says one thing while meaning the opposite. | | 16 |
| 7906133121 | Absurdity, distortion, and incongruity | In contemporary literature and criticism, a term applied to the sense that human beings, cut off from their roots, live in meaningless isolation in an alien universe. Although the literature of the
absurd employs many of the devices of EXPRESSIONISM and SURREALISM, its philosophical base is a form of EXISTENTIALISM that views human beings as moving from the nothingness from which they came
to the nothingness in which they will end through an existence marked by anguish and absurdity, but they must make their own choices and accept responsibility for those decisions. | | 17 |
| 7906141153 | Burlesque | A form of comedy characterized by ridiculous exaggeration and distortion. A serious subject may be treated frivolously or a frivolous subject seriously. | | 18 |
| 7906144655 | Parody | A composition imitating another, usually serious, piece. It is designed to ridicule a work or its style or author. | | 19 |
| 7906155216 | Caricature | Writing that exaggerates certain individual qualities of a person and produces BURLESQUE. It is more frequently associated with drawing rather than writing. Like satire, it lends itself to the ridicule of political, religious, and social foibles. | | 20 |
| 7906159263 | Coarse Mockery | ridicule that contains vulgar or bawdy references and sexual innuendo. | | 21 |
| 7906166554 | Invective | Harsh, abusive language directed against a person or cause. Vituperative writing | | 22 |
| 7906185234 | Sardonic Statements | bitterly scornful; cynical; expecting the worst; stronger anger than plain sarcasm | | 23 |
| 7919519664 | Verisimilitude or Realistic detail: | use of specific concrete details to describe persons, places, and objects. | | 24 |
| 7919527850 | Hamartia (tragic flaw) | The error, frailty, mistaken judgment or misstep through which the fortunes of the hero of a TRAGEDY are reversed. Aristotle asserts that this hero should be a person "who is not eminently good or just, yet whose misfortune is brought about by some error or frailty. " Hamartia may be the result of bad judgment, bad character, ignorance, inherited weakness, accident, or any of many other possible causes. It must, however, express itself through a definite action or failure to act. | | 25 |
| 7919530582 | Hubris | Excessive pride or insolence that results in the misfortune of the protagonist or a tragedy. Hubris leads the protagonist to break a moral law, attempt vainly to transcend normal limitations, or ignore a divine warning with calamitous results. | | 26 |
| 7919534898 | Catharsis (purgation) | the relief felt after witnessing a literary tragedy. A cleansing of emotions to see the tragedy come to a conclusion. | | 27 |
| 7919538806 | Recognition (anagnorisis) | The change in fortune for a protagonist. The reversal of fortune for a protagonist--possibly either a fall, as in tragedy, or a success, as in comedy. An action that turns out to have the opposite effect from the one its doer had intended. | | 28 |
| 7919545180 | Chorus | In ancient Greek drama, the groups of dancers and singers who participated in dramatic performances. Originally, they made up the bulk of the play, but later became interspersed between dialogue and monologues. They later evolved into prologues and epilogues. | | 29 |
| 7919548761 | Comedy | A lighter form of drama that aims primarily to amuse. It has a more sustained plot, subtle dialogue, more lifelike characters, and less boisterous behavior than farces or burlesque. It uses wit or humor; the comic effect arises from the recognition of some incongruity of speech, action, or character. The incongruity may be verbal (puns), or bodily (falling, distorted body parts) | | 30 |
| 7919552814 | Rhetorical techniques | The devices used in effective or persuasive language. The number of rhetorical techniques, like that of resources of language, is long and runs the gamut from apostrophe to zeugma. The more common examples include devices like contrast, repetitions, paradox, understatement, sarcasm, and rhetorical questions | | 31 |
| 7919556292 | Reiteration | repetition of an idea using different words, often for emphasis or other effect | | 32 |
| 7919560107 | Repetition | The deliberate use of any element of language more than once-sound, word, phrase, sentence, grammatical pattern, or rhythmical pattern | | 33 |
| 7919566916 | Anaphora | The same words begin successive sentences for emphasis and rhythm | | 34 |
| 7919569929 | Parison | Repeating the entire sentence or clause almost exactly. ("In such a night" is repeated eight times in the first twenty lines of The Merchant of Venice.) | | 35 |
| 7919573877 | Ploce | Repeating words in a line or clause (For she that scorned me, now scorned of me | | 36 |
| 7919578490 | Epizeuxis | Repeating words in immediate succession . (The horror. The horror.) | | 37 |
| 7919582376 | Anatanaclasis | The repetition of a key word, especially the last one, at the beginning of the next sentence or clause. ("He gave his life; life was all he could give.") | | 38 |
| 7919585783 | Chiasmus | A pattern in which the second part is balanced against the first but with the parts reversed, as in ("Flowers are lovely, love is flowerlike," or "Fair is foul, and foul is fair." | | 39 |
| 7919589651 | Asyndeton | The practice of leaving out the usual conjunctions between coordinate sentence elements. (Smile, shake hands, part.) | | 40 |
| 7919595210 | Polysyndeton | The use of more conjunctions than is normal. (...and swims, or sinks, or wades, or creeps, or flees) | | 41 |
| 7919597301 | Ellipsis | The omission of a word or several words necessary for a complete construction that is still understandable. "If rainy, bring an umbrella" is clear even though the words "it is" and "you" have been left out. | | 42 |
| 7919600644 | Parallelism | Refers to a grammatical or structural similarity between sentences or parts of a sentence. It involves an arrangement of words, phrases, sentences, and paragraphs so that elements of equal importance are equally developed and similarly phrased. | | 43 |
| 7919604702 | Rhetorical Question | A question asked for effect, not in expectation of a reply. The question presupposes only one possible answer. In theory, the effect of a rhetorical question is that it causes the listener to feel he has come up with the answer himself. | | 44 |
| 7919609222 | Ambiguity | A technique by which a writer deliberately suggests two or more different, and sometimes conflicting, meanings in a word, phrase, or even an entire work. (What happened at the end of "The Most Dangerous Game"?) | | 45 |
| 7919614790 | Duality | A doctrine that recognizes the possibility of the coexistence of antithetical or complementary principles: Spiritual and Physical, Good and Evil, Mind and Matter. The concept that the world is ruled by opposing forces or that man has two basi c natures, the physical and spiritual. | | 46 |
| 7919619679 | Antithesis | A rhetorical opposition or contrast of ideas by means of a grammatical arrangement of words, clauses, or sentences. ("They promised freedom but provided slavery." Or "Ask not what your country can do for you, but what you can do for your country.") | | 47 |
| 7919623202 | Juxtaposition | A poetic and rhetorical device in which normally unassociated ideas, words, or phrases are placed next to one another, creating an effect of surprise and wit. ("The apparition of these faces in the crowd;/Petals on a wet, black bough.") | | 48 |
| 7919626588 | Antecedent | That which goes before, especially the word, phrase, or clause to which a pronouns refers. (In the sentence "The witches cast their spells," the antecedent of the pronoun "their" is the noun "witches." ) | | 49 |
| 7919630808 | 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 principles of structure are series (A,B,C,D,E), contrast (A vs. B, C vs. D. E vs. F), and repetition (AA,BB). The most common units of structure are—play: scene, act; novel: chapter; poem: line, stanza. | | 50 |
| 7919634674 | Style | The mode of expression in language; the characteristic manner of expression of an author. Many elements contribute to style, and if a question calls for a discussion of style or of "stylistic techniques," you can discuss diction, syntax, figurative language, imagery, selection of detail, sound effects, and tone, using the ones that are appropriate. "Devices of style," "narrative techniques," "rhetorical techniques," "stylistic techniques," and "resources of language" are all phrases that call for a consideration of more than one technique but do not specify what techniques you must discuss. | | 51 |
| 7919638842 | Syntax | the manner in which a writer arranges words into sentences. | | 52 |
| 7919642304 | Clause | a group of words that has a subject (usually a noun or pronoun) and a verb | | 53 |
| 7919645264 | Main (Independent) Clause | expresses a complete thought and can stand alone as a sentence (I love to study vocabulary) | | 54 |
| 7919650014 | Subordinate (Dependent) Clause | does not express a complete thought and cannot stand alone as a sentence. | | 55 |
| 7919658280 | Phrase | a group of related words that does not contain a subject and a verb. They act as nouns, adjectives, or adverbs. | | 56 |
| 7919661787 | Appositive phrase | a noun or pronoun and its modifiers that identifies or describes a nearby word in the sentence. (Mrs. Jones, the newest guidance counselor, has an office next door.) | | 57 |
| 7919667396 | Prepositional phrase: | a group of words that has a preposition, a noun or pronoun, and any other modifiers. It can modify a noun, pronoun, verb, adjective, or adverb | | 58 |
| 7919674273 | Infinitive Phrase | a verb usually preceded by to used as a noun or a modifier (To be, or not to be) | | 59 |
| 8008694488 | Gerund Phrase | a word ending in -ing that is formed from a verb and used as a noun and its modifiers(Running is a great sport) | | 60 |
| 8009127331 | Participial Phrase | a word formed from a verb and used as an adjective (baked potato, running shoes) | | 61 |
| 8009127332 | Sentence Length | Does the sentence length fit the subject matter?
Telegraphic (shorter than 5 words)
Short (5 words)
Medium (+or- 18 words)
Long and involved (30 words or more) | | 62 |
| 8009127333 | Simple | A simple sentence contains one subject and one verb. e.g., The singer bowed to her adoring audience. | | 63 |
| 8009127334 | Compound | A compound sentence contains two independent clauses joined by a coordinate conjunction (for, and, nor, but, or, yet, so) or by a semicolon (;) or a semicolon and a conjunctive adverb (however, therefore): (Ex., The singer bowed to the audience, but she sang no encores.) | | 64 |
| 8009127335 | Complex | A complex sentence contains an independent clause and one or more subordinate clauses: (Ex., You said that you would tell the truth) | | 65 |
| 8009127336 | Compound-Complex | A compound-complex sentence contains two or more principal clauses and one or more subordinate clauses: (Ex. The singer bowed while the audience applauded, but she sang no encores.) | | 66 |
| 8009127337 | Fragments | A word or word group that may be capitalized and punctuated as a sentence but does not contain both a subject and a verb or does not express a complete thought. (Ex., Athletes representing 160 nations.) | | 67 |
| 8009127338 | Run-ons | A run-on sentence is two or more completed sentences run together as one. (Ex. Barney Oldfield (1877-1946) was the first race-car driver to go at a speed of a mile per minute, he won his first race at Detroit in 1902.) | | 68 |
| 8009127339 | Loose or Cumulative Sentence | A loose sentence makes complete sense if brought to a close before the actual ending. (Ex. We reached Edmonton that morning after a turbulent flight and some exciting experiences.) | | 69 |
| 8009127340 | Periodic Sentences | A periodic sentence makes sense only when the end of the sentence is reached. A sentence that is not grammatically complete before the end. Its construction constantly throws the mind forward to the idea that will complete the meaning. It is effective when it is desired to arouse interest and curiosity; to hold an idea in suspense before its final phrases or clauses at the opening; by the use of dependent clauses preceding the independent clause; and by the use of such correlatives as neither...nor, not only...but also, and both ... and. (Ex. That morning, after a turbulent flight and exciting experiences, we reached home.) | | 70 |
| 8009127341 | Balanced Sentence | In a balanced sentence, the phrases or clauses balance each other by virtue of their likeness of structure, meaning, or length. (E.x., He maketh me to lie down in green pastures; he leadeth me beside the still waters). | | 71 |
| 8009127342 | Natural order of sentences | involves constructing a sentence so the subject comes before the predicate. (Ex. Oranges grow in California.)
Inverted order of sentences (sentence inversions): involves constructing a sentence so the predicate comes before the subject. ( Ex., In California grow oranges.) | | 72 |
| 8009127343 | Parallel structure (parallelism) | refers to a grammatic al or structural similarity between sentences or parts of a sentence. It involves an arrangement of words, phrases, sentences, and paragraphs so that elements of equal importance are equally developed and similarly phrased. (Ex. He was walking, running, and jumping for joy.) | | 73 |
| 8009127344 | Repetition | is a device in which words, sounds, and ideas are used more than once to enhance rhythm and create emphasis. (Ex. "...government of the people, by the people, for the people, shall not perish. "Address at Gettysburg" by Abraham Lincoln) | | 74 |
| 8009127345 | Juxtaposition | is a poetic and rhetorical device in which normally unassociated ideas, words, or phrases are placed next to one another, creating an effect of surprise and wit. (Ex.. "The apparition of these faces in the crowd | | 75 |
| 8009127346 | Petals on a wet, black bough." "In Station of the Metro" by Ezra Pound) | | | 76 |
| 8009127347 | Exclamatory | makes an exclamation. ( The king is dead!) | | 77 |
| 8009127348 | Interrogative | asks a question. (Is the king back?) | | 78 |
| 8009127349 | Imperative | gives a command. (Stand up.) | | 79 |
| 8009127350 | Declarative | makes a statement. (The king is sick.) | | 80 |
| 8009127351 | Epic | a long narrative poem, which in dignified and elevated style, tells of the mighty deeds of a great hero. The Odyssey, The Illiad | | 81 |
| 8009127352 | Ballad | simple, narrative verse which tells a story to be sung or recited; the folk ballad is anonymously handed down, while the literary ballad has a single author. "La Belle Dame sans Merci" "Richard Cory" "Sir Patrick Spens" | | 82 |
| 8009127353 | *Pastoral Poem | a poem dealing with shepherds and simple rural life "The Calendar of the Shepherd" Edmund Spenser | | 83 |
| 8009127354 | *Idyll | a pastoral poem that presents an incident of natural simplicity in a rustic setting; it is descriptive and presents a "little picture" of country life. | | 84 |
| 8009127355 | Dramatic Poetry | poetry written in the form of a play | | 85 |
| 8009127356 | Dramatic Monologue | poetry that reveals a "soul in action" : through conversation of one character in a dramatic situation. "My Last Duchess" "The Love Song of J. Alfred Prufrock" | | 86 |
| 8009127357 | Lyric Poetry | poetry which expresses the personal feelings or thoughts of its author; it is subjective and emotional, imaginative, and melodious. | | 87 |
| 8009127358 | Lyric | (a specific subdivision of the general category) A short, simple, subjective poem that directly and forcefully expresses a single emotion.Emily Dickinson, Langston Hughes, | | 88 |
| 8009127359 | Song | a lyric intended to be sung "Eleanor Rigby" | | 89 |
| 8009127360 | Ode | a lyric poem which treats a serious subject thoughtfully and emotionally and which is marked by a dignified style and a complex metrical pattern; it is usually a tribute to a person or thing "Ode to a Nightingale" "Ode on a Grecian Urn" | | 90 |
| 8009127361 | Sonnet | a fourteen-line lyric poem written in iambic pentameter | | 91 |
| 8009127362 | English or Shakespearean Sonnet | consists of three quatrains rhymed abab cdcd efef and a concluding couplet rhymed gg; the three quatrains develop a single thought, and the couplet usually comments on them. "Shall I Compare Thee?" | | 92 |
| 8009127363 | Italian or Petrarchan Sonnet | has eight lines (the octave) for the development of a single thought, and six lines (the sestet) for a comment on, a solution to, or an application of the thought; rhyme scheme is abbaabba in the octave, and cdecde in the sestet. (any variation of the cd or cde is acceptable in the sestet. "On His Blindness" "Death, Be Not Proud" "How Do I Love Thee?" "London, 1802" "Douglass" | | 93 |
| 8009127364 | *Spenserian Sonnet | consists of nine iambic lines rhymed abab bcbc cdcd ee, all pentameter except last which is hexameter (6) or alexandrine and is the summary. | | 94 |
| 8009127365 | *Sonnet Sequence | series or group of sonnets written to one person or on one theme; develops a relationship but can be examined separately | | 95 |
| 8009127366 | *Companion Poems | poems by the same author designed to complement each other. Wordsworth's "Lucy" poems | | 96 |
| 8009127367 | Elegy | a poem that laments the dead (elegaic stanza) "To an Athlete Dying Young" | | 97 |
| 8009127368 | *Cinquain | a five-line poem with two syllables in the first line, four in the second, six in the third, eight in the fourth, and two again in the fifth (2,4,6,8,2) It is the American counterpart of the Japanese haiku, a three-line poem with 5, 7, then 5 syllables per line. | | 98 |
| 8009127369 | Villanelle | 19-line French verse form; the three lines in each of the first five stanzas rhyme aba; the final quatrain rhymes abaa. "Do Not Go Gentle into That Good Night" | | 99 |
| 8009127370 | *Complaint | a lyric poem frequent in the Middle Ages and the Renaissance in which the poet: laments the unresponsiveness of his mistress, bemoans his unhappy lot and seeks to remedy it, or regrets the sorry state of the world a poem expressing great grief | | 100 |
| 8009127371 | Rhythm | the reoccurring rise and fall of sounds in a line of poetry | | 101 |
| 8009127372 | Meter | the pattern of rhythm in a line of poetry | | 102 |
| 8009127373 | Foot | a portion of a line of poetry, usually consisting of one accented and either one or two unaccented syllables | | 103 |
| 8009127374 | Monometer | -one foot | | 104 |
| 8009127375 | Dimeter | - two feet | | 105 |
| 8009127376 | Trimeter | - three feet | | 106 |
| 8009127377 | Tetrameter | - four feet | | 107 |
| 8009127378 | Pentameter | - five feet | | 108 |
| 8009127379 | Hexameter | - six feet | | 109 |
| 8009127380 | Heptameter | - seven feet | | 110 |
| 8009127381 | Octameter | - eight feet | | 111 |
| 8009127382 | Iambus (adj- iambic) | unaccented , accented [I am] (Em bark re late "To arms. To arms") | | 112 |
| 8009127383 | Trochee (adj. - trochaic) | accented, unaccented [Tro key] (Frank ly quest ion) | | 113 |
| 8009127384 | Anapest (adj. - anapestic) | [an uh PEST] Unaccented , unaccented , accented (Oh he floats through the air with the great est of ease) | | 114 |
| 8009127385 | Dactyl (adj. - dactylic) | [Dac till lick] accented,unaccented,unaccented (laugh a ble) | | 115 |
| 8009127386 | Spondee (adj. - spondaic) | two accented syllables (Blood-red life-like) | | 116 |
| 8009127387 | Pyrrhic Foot | - two unaccented of the in the line "The sail,of the,depart,ing ship." | | 117 |
| 8009127388 | Scansion | distinguishing the line length and type of feet; Vertical lines mark the ends of feet; the metrical pattern is determined by scanning; the pattern is named by the prevailing type of foot (Trochaic trimeter"Teach me,half the, gladness" | | 118 |
| 8009127389 | Iambic Pentameter"There is a tide in the affairs of men")
**** | | | 119 |
| 8009127390 | Metrical Variations | If a poem rigidly adheres to a metrical pattern, much of its charm is often lost in the monotonous recurrence of the same rhythm. Poets vary the meter in different ways. They will use one foot (spondee or pyrrhic) that is different from the prevailing one.They will use a truncated or catalectic foot - - one in which a pause is substituted for an unaccented syllable."Break,break,break..."
1. They will use one foot (spondee or pyrrhic) that is different from the prevailing one.
2. They will use a truncated or catalectic foot—one in which a pause is substituted for an unaccented syllable. (break, break, break)
3. They will use a feminine ending, in which two consecutive syllables of the rhyming words correspond with the accent on the first syllable: flying | | 120 |
| 8009127391 | dying
4. They will use the caesura (also cesura), which is a "sense" pause in a line that does not affect the metrical count or timing. It is marked with double vertical lines ( | | | 121 |
| 8009127392 | ). This method of variation is frequently found in blank verse. It is conducive to the run-on line as opposed to the end-stopped line. ("With loss of Eden, | | | 122 |
| 8009127393 | till the greater Man (run-on)
Restore us. and regain the blissful seat." (end-stopped) | | | 123 |
| 8009127394 | End-stopped line | break in the meter; meaning; pause in reading | | 124 |
| 8009127395 | Enjambment or Run-on Line | no pause or stop at the end of the line | | 125 |
| 8077375400 | Sprung Rhythm | lots of variations violations. A term coined by Gerard Manley Hopkins to designate the meter of poetry whose rhythm is based on the number of stressed syllables in a verse without regard to the number of unstressed syllables. | | 126 |
| 8009127396 | Rhyme | the similarity between the sounds of words or syllables; for there to be perfect
(a) The vowel sounds must be similar and accented.
(b) The sounds following the vowel must be similar.
(c) The sounds preceding the vowel must be different. | | 127 |
| 8077355582 | Exact Rhyme | Exact Rhyme: use of identical rhyming sound
(love, dove) | | 128 |
| 8077349142 | Internal Rhyme | rhyme of words in the same line or between a word in the line and one with the next.
"We were the first that ever burst..."
"The trees were black where the bark was wet...
I see them yet, in the spring of the year..." | | 129 |
| 8009127398 | Imperfect Rhyme | the use, where rhyme is expected, of words that do not strictly rhyme; Assonance and consonance are forms of imperfect rhyme, but these appear within the lines. Imperfect rhyme appears where a rhyme scheme has been established in the poem. | | 130 |
| 8009127399 | Rhyme Scheme | the pattern of rhymes in a stanza. It is usually marked by the use of letters of the alphabet, beginning with a and using the same letter to denote all lines which rhyme.
"They glide like phantoms, into the wide hall, A
Like phantoms, to the iron porch, they glide; B
..............................................sprawl, A
..........................................side; B | | 131 |
| 8009127400 | **Masculine Rhyme | the rhyming of a single syllable (run - run ; today - in May) | | 132 |
| 8009127401 | **Feminine Rhyme | one that is multiple with the first rhyming syllable accented (showers - flowers impulsively - convulsively) | | 133 |
| 8009127402 | Assonance | the agreement of vowel sounds without repetition of consonants
"My words l ike silent rain drops fell..." | | 134 |
| 8009127403 | Alliteration | the rhyme of initial consonant sounds ("The furrow followed free." Samson saw) | | 135 |
| 8009127404 | Consonance | the agreement of ending consonant sounds when the vowel sounds differ (gross - crass live - dove | | 136 |
| 8009127405 | Cacophony, Dissonance | harsh,inharmonious sounds (worse than slant rhymes) a harsh, unpleasant combination of sounds. May be used for effect as Hardy and Browning did. "Twas brillig, and the slithy toves , did gyre and gimble in the wabe" | | 137 |
| 8009127406 | Euphony | Pleasing sounds; the opposite of cacophony | | 138 |
| 8009127407 | Refrain | a group of words or lines that recurs regularly at the end of successive stanzas. | | 139 |
| 8009127408 | Repetition | the repeating of a word or phrase for emphasis; the same phrase, however, is not repeated regularly throughout the poem as in the refrain
"Alone, alone, all, all alone,
Alone on a wide, wide sea.
Onomatopoeia: the imitation of sounds by words either directly or suggestively
Directly: buzz, moo | | 140 |
| 8009127409 | Suggestively | "silken sad uncertain rustling of each purple curtain" (Here the alliteration produces the sound of the curtain.) | | 141 |
| 8009127410 | Verse | a single line of poetry | | 142 |
| 8009127411 | Stanza | a unit of poetry consisting of a group of related verses generally with a definite metrical pattern and rhyme scheme. | | 143 |
| 8009127412 | Canto | a division of a long poem, comparable to chapters in a book (The Inferno) | | 144 |
| 8009127413 | Book | a major division of a long poem, usually an epic; books can be divided into cantos and cantos into stanzas. (The 3 books of The Divine Comedy) | | 145 |
| 8009127414 | Blank Verse | unrhymed iambic pentameter (Shakespeare's plays) | | 146 |
| 8009127415 | *Alexandrine | a line of iambic hexameter | | 147 |
| 8009127416 | Free Verse (Vers Libre) | poetry with irregular meter and usually without rhyme, but definitely not the regular rhythm of traditional poetry | | 148 |
| 8009127417 | Couplet | a pair of successive verses which rhyme (often at the end of Shakespeare's sonnets) | | 149 |
| 8009127418 | Tercet | a stanza of three lines, usually all rhyming | | 150 |
| 8009127419 | Quatrain | a stanza of four lines; the most common in English | | 151 |
| 8009127420 | *Ballad Stanza | a quatrain in which the first and third lines are iambic tetrameter and may rhyme: the second and fourth lines are iambic trimeter and must rhyme. | | 152 |
| 8009127421 | *Quintain (Quintet) | a five-line stanza | | 153 |
| 8009127422 | Sestet | a six-line stanza or the last six lines of an Italian sonnet | | 154 |
| 8009127423 | Octave (Octet) | a stanza of eight lines, probably the second most common in English. It is also the name given to the first eight lines of an Italian sonnet. | | 155 |
| 8009127424 | *Heptastich; seven line stanza | | | 156 |
| 8009127425 | *Rhyme Royal | seven-line iambic pentameter stanza rhyming ababbcc: Chaucer used this; derived from use by Scottish King James I (also Wyatt; Shakespeare) | | 157 |
| 8009127426 | Terza rima | three-line stanza with interlocking rhymes that connect stanza to stanza (aba bcb cdc ded) Dante's Inferno is written in terza rima. | | 158 |
| 8009127427 | *Ottava rima | eight iambic pentameter lines that rhyme abababcc; Lord Byron in "Don Juan" and Yeats
Other Terms | | 159 |
| 8009127428 | *Prosody | The theory and principles of versification, particularly as they refer to rhythm, accent, and stanza. | | 160 |
| 8009127429 | *Metaphysical Poetry | Usually refers to the work of seventeenth-century poets who used similar methods and revolted against the romantic conventionalism of Elizabethan love poetry. They tended toward psychological analysis of the emotions of love and religion. They had a penchant for the unusual and shocking, used metaphysical conceits. They intended to express honestly, yet unconventionally, the poet's sense of the complexities and contradictions of life. (John Donne, George Herbert) The diction is simple as compared with that of the Elizabethan or Neo-Classic Periods, and echoes the words and cadences of common speech. The imagery is drawn from the commonplace or the remote. The form is frequently that of an argument with the poet's lover, with God, or with himself. | | 161 |
| 8077339168 | End Rhyme | the correspondence between the sounds of words at the ends of lines
"The woods are lovely, dark, and deep,
But I have promises to keep," | | 162 |
