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| Rhyme that occurs within a line of verse. |
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| The repetition of the same sounds or of the same kinds of sounds at the beginning of words or in stressed syllables; predominantly consonantal; certain literary traditions, such as Old English verse, also use vowel sounds. |
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| The most common verse line in English poetry. It consists of five verse feet, with each foot an iamb; that is, an unstressed syllable followed by a stressed syllable. |
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| The repetition of similar consonant sounds, especially at the ends of words. |
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| A quotation that is placed at the start of a work or section that expresses in some succinct way an aspect or theme of what is to follow. |
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1) A poem addressed to a patron, friend, or family member, thus a kind of "letter in verse."
2) An actual prose letter sent to another.
3) A distinct part of section of such a poem or letter. |
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| An adjective or adjective phrase appropriately qualifying a subject (noun) by naming a key or important characteristic of the subject. (Example: "A wine-dark sea." 'Wine-dark' characterizes 'sea' to produce the correct imagery the author is trying to illustrate.) |
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| An inscription on a tombstone or monument in memory of the person buried there, or a summary statement of commemoration for a dead person, often in verse. |
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| An exaggeration which stresses importance by saying more than is true. Its rhetorical name is hyperbole from a Greek word which means "excess." |
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A contrast or an incongruity between what is stated and what is really meant, or between what is expected to happen and what actually does happen. Two other kinds of irony are:
1) Verbal Irony- a writer/speaker says one thing and means something entirely different.
2) Dramatic Irony- a reader/audience member perceives something that a character in the story does not. |
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| A statement that seems absurd or self-contradictory, but which turns out to have a believable and coherent meaning. |
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| 1) A short poem written in a repeating stanzaic form, often designed to be set to music. It expresses the feelings, perceptions, and thoughts of a single poetic speaker in an intensely personal, emotional, or subjective manner. 2) Any poem having the form and musical quality of a song. 3) As an adjective, lyric can also be applied to any prose or verse characterized by direct, spontaneous outporing of intense feeling. |
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| A story told in verse and usually meant to be sung. |
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| Mock-Epic (or) Mock-Heroic |
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| A parody using epic form (a long narrative telling of a hero's deeds). |
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| A complex sentence in which the main clause comes last and is preceded by the subordinate clause. (Example: "John, the tough one, gave his mother flowers.") |
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| Shows a parallel relationship between two concepts of equal weight. |
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| A question asked not to elicit an answer, but to make an impact or call attention to something. |
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| A figure of speech in which inanimate objects or abstract ideas are endowed with human qualities. |
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| Establishing a clear, contrasting relationship between two ideas by joining then together or juxtaposing them, often in parallel structure. |
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| Expressing an idea with less emphasis or in a lesser degree than is the actual case: opposite of hyperbole. |
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| A fourteen-line lyric poem consisting of three quatrains (four line stanza) and a concluding couplet (two rhyming lines). Written in iambic pentameter with rhyme scheme abba cddc efef gg. |
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| Petrarchan (Italian) Sonnet |
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| A fourteen-line lyric poem consisting of two parts: the octave (or first eight lines) and the sestet (or last six lines). Its rhyme scheme is abbaabba cdecde. |
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| The direct address of a person or personified thing, either present or absent. Its most common purpose in prose is to give vent to or display intense emotion, which can no longer be held back. Thus an apostrophe often interrupts the dicussion. |
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| A boldly exaggerated statement that adds emphasis without intending to be literally true. |
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| A rhyme of two or more syllables with a stress on a syllable other than the last one. |
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| A metrical foot used in formal poetry consisting of a long syllable followed by a short one (Example: "TELL me NOT in MOURNful NUMbers.") |
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| The similar arrangement of a pair or series of related words, phrases, or sentences. (Example: "Perch are inexpensive; cod are cheap; trout are abundant; but salmon is best." This is an example because of the grammatical arrangement being the same in each: noun, verb, adjective.) |
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| Drawing a comparison in order to show a similarity in some respect. |
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| A form of extended metaphor in which objects and persons in a narrative, either in prose or verse, are equated with meanings that lie outside the narrative itself. Thus it represents one thing in the guise of another- an abstraction in that of a concrete image. The characters are usually personifications of abstract qualities. |
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| A form of metaphor in which the part stands for the whole, the whole for a part, the genus for the species, the species for the genus, the material for the thing made: in short, any portion, section, or main quality for the whole thing itself. (Example: "A nice set of wheels" represents the entire car by only talking about a certain part of the car.) |
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| A mournful poem; a lament for the dead. |
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| A short expository composition in verse, usually aimed at a general audience, which tries to persuade the reader to adopt a particular way of looking at a topic: a classical poetic mode for the discussion of any subject. |
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| The lyric of a love song. |
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| A common element of metaphysical poems that involves a verse, poem, or scrupture (from various texts and traditions) on which a group meditates (meditates on the meanings behind the poem). |
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| A neo-classical form of poetry, addressed to a friend, lover, or patron in the maner of an informal, well-argued letter. |
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| Adroitness and cleverness in replay-> a snappy response or retort; tou-che. |
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| A poem with five triplets and a final quatrain; only two rhyme sounds are premitted in the entire poem, and the first and third lines of the first stanza are repeated, alternately, as the third line of subsequent stanzas until the last, when they appear as the last two lines of the poem. |
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| The description of a particularized outer natural scene; an extended meditation, which the scene stimulates, and which may be focused on a private problem or a universal situation or both; the occurrence of an insight or vision, a resolution or decision, which signals a return to the scene originally described, but with a new perspective created by the intervening meditaion. |
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| A verse form consisting of unrhymed lines of iambic pentameter. |
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| Refers to poems characterized by their nonconformity patterms of meter, rhyme, and stanza. It uses elements such as speech patterns, grammar, emphasis, and breath pauses to decide line breaks, and usually does not rhyme. |
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| Ballad Meter (or) Ballad Stanza |
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| Usually a form of the folk ballad and its literal imitations, consisting of a quatrain in which the first and third lines have four stresses while the second and fourth lines have three stresses. |
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| Composed of tercets which are interlinked, in that each is joined to the one following by a common rhyme; aba bcb cdc. |
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| Deductive reasoning in which a conclusion is derived from two premises. |
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| A fallacious argument attacking the holder of a view rather than the position itself or a sound argument showing an inconsistency between a view held by a person and a consequence of that view. The person pointing out the inconsistency need not hold the initial view. |
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| Two lines of rhyming iambic pentameter. |
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| An audible oratory or coversation with oneself. It is a term that is typically applied to theatrical characters engaged in a monolougue, but can also be a term that is simply despcriptive of any occurrence when one talks with oneself. |
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| A combination of contradictory terms, also considered a paradox. It is usually reduced to two words that have an adverb-adjective or an adjective-noun relationship. |
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| The psychological effect in wich people experience a crossover in a sensory perception, such as hearing colors and seeing notes. |
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| Words or figures of speech used so that it can be understood in two ways, one of which is usually sexual or slighting. |
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