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| Communicates a Speaker's mood, feelings or state of mind |
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Accomplishments of heroic figures
Expansive settings
Superhuman feats
Gods and Supernatural beings
Language is elevated and often elaborate |
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Originally intended to be sung
Uses repeated words and phrases including a refrain to advance the story |
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| Poet mourns the death of a specific person or thing |
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Long lyric poem
Formal and serious in style tone and subject
Typically complex stanzaic pattern |
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Poem about mourning
Usually celebrates coming of dawn |
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Focuses on a physical object
Uses this object as a vehicle for considering larger issues |
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| Celebrates the simple, idyllic pleasures of country life. |
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Speaker addresses one or more listeners
The speaker often reveals more than s/he intends |
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| A short poem that makes a pointed comment in an unusually clear and often witty manner |
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A three lined poem, Japanese form that traditionally has 17 syllables.
Noted for their extreme economy of words and striking images |
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Describes events feelings and ideas to readers
Speaker is a persona, a mask the author or poet assumes within the poem
Sometimes the speaker has a set identity (king, beggar, rich man, husband, wife, child)
Title, word choice, direct statements by the speaker, how the speaker addresses the listener (dramatic monologue flattery, false modesty) Help reader discover info about the speaker |
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Conveys the speaker's attitude toward his or her subject or audience
Poets use rhyme, meter, word choice, sentence structure, figures of speech and imagery to convey tone.
Shifts in tone reveal speakers attitude
A shift in tone can create an ironic contrast between speaker and her subject |
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Occurs when a discrepancy occurs between two levels of meaning or experience
Readers must understand the difference between what is said and what is meant |
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| When the speaker believes one thing and readers realize it is something else (speaker tells of murder in a flat emotional tone and readers realize the speaker is mad) |
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| Occurs when the situation itself contradicts the reader's expectations (two lovers meet and there is murder instead of joy) |
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| Occurs when words say one thing but mean another often exactly the opposite |
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| Enormous weight is given to each word the choice of words is extremely unimportant |
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| Word denotes an item that is a perceivable, tangible entity (a kiss or a flag) |
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| Word refers to an intangible idea, condition or quality that cannot be perceived by the senses (love/patriotism/etc) |
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| Refer to entire classes or groups of items. The degree of a worlds specificity or generality denotes on the relationship to other words. |
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| What a word signifies without emotional associations, judgements or opinions |
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| Learned vocabulary, grammatically correct forms, no colloquialisms, shortened word forms, contractions, slang, regional expressions, nonstandard words. |
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| Close to everyday conversation, including colloquialisms, shortened word forms, contractions, slang, regional expressions, non standard words |
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A regional variety of language
Generally used to suggest an authentic unedited voice, can suggest sense of place (London: Cockney; South: y'all, ain't) |
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Syntax can be natural or manipulated with words intentionally placed out of conventional order (subject, verb, object)
A poet may place emphasis on a word by locating it first or last in line, or by placing it in stressed position in a line. |
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| Language that evokes a physical sensation produced by one of the five senses (sight/hearing/taste/touch/smell) |
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| Imagery: Emotional associations with words |
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| Ex) Red to connotate love/anger/desire |
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| Imagery can establish Atmosphere or mood |
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| Ex) Falling snow- quiet mystical mood |
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| Advantage of Imagery: Economy |
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| Few words enable a poet to present ideas that would be difficult to convey in any other way. |
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| Imagery enables poets to present ideas that would be difficult to convey in any other way |
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| Ex) Beauty or mystery are hard to define but single images/ series of images an embody these ideas |
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| Freeze the moment and thereby give timeless quality of painting or sculpture |
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| Convey a sense of motion or change |
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When one sense is described in away that is appropriate for another
Ex)Feeling blue or saying music is hot |
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| A comparison between to unlike items using like or as |
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| A comparison between to unlike items NOT using like or as |
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| Endowing inanimate objects or abstract ideas with life or with human characteristics |
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| Extended simile or Extended metaphor |
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| Illuminating the connection between two images or the essence of each image through extended comparison |
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An intentional exaggeration (I will love you until the sea runs dry)
Used to attract reader's attention, to ridicule and satirize and to inflame and shock |
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| Saying less than what is meant. Used to subtly convey powerful emotions allowing the ideas to speak for themselves. (speaking of the end of the world: "for destruction of ice/ is also great/ and would suffice) |
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| The substitution of the name of one thing for the name of another thing that most readers associate with the first ("suits" for business executives" |
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| A specific kind of metonymy involves the subsistion of part for the whole (Ex: "Give us this day our daily bread" where bread means food) or "You can take the boy out of Brooklyn, but you can't take the Brooklyn (distinctive traits) out of the boy |
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When a speaker addresses an absent person or thing
Addressing a historical or literary figure or even an inanimate object or abstract idea, talking to a coffee cup to express the feelings of loss for an absent lover) |
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The regular recurrence of sounds
Poets use repeated words and phrases to create rhythm
Poets use the distribution of words among the lines of a poem or the appearance of words on a printed page to create rhythm
Rhythm establishes a poems mood and can convey poet's emphasis and convey meanin |
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| The pattern of stressed and unstressed syllables that governs a poem's lines. (help create a suitable tone) (A light, skippy tone would be inappropriate for an elegy) |
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| Occurs when one syllable is emphasized more than another unstressed syllable |
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| Process of analyzing patterns of stressed and unstressed syllables within a line |
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| The basic unit of meter that is a group of syllables with a fixed pattern of stressed and unstressd syllables |
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Progresses from unstressed to stressed syllables in a constant pattern
They pace/in sleek/ chi val/ric cert/ain ty |
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Move from stressed to unstressed syllables in a constant pattern
Thou when. thou re/turn'st wilt/ tell me |
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Rise from unstressed to stressed syllables, by having 2 unstressed syllables followed by one stressed syllable
With a hey/ and a ho/ and a hey |
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| Move from stressed to unstressed syllables, by having a stressed syllable followed by two unstressed syllables |
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| Iambic and Anapestic--> Unstressed to stressed |
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| Trochaic and Dactylic--> Stressed to unstressed |
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| Less Common Meters (Spondee and Pyrric) |
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| Used for emphasis or to provide variety rather than create a dominant meeter of a poem |
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A series of stresses
Pomp/pride/ and circumstance of glorious war! |
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Series of unstressed syllables
A horse! a Horse! My king/dom for/ a horse |
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| Eight hun/dred of/the brave |
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| Oh how/ much more/ doth beau/ty beaut/teous seem |
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| Unrhymed lines of iambic pentameter (best suited for the rhythms of english speech and frequently occurring in plays and poems). |
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| A pause in rhythm , indicated with two parallel lines and it appears after a punctuation mark or natural break in phrasing within aline) |
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| Lines that have distinct pauses at the end .Lines can seem formal, or even forced, poems meter, rhythm and rhyme scheme rigidly dictate their length. |
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| Run- On Lines (Enjambment) |
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| Lines that do not end with strong pauses. These lines seem more natural, determined by the rhythms of speech. |
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| An effect pleasing to the ear |
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| A jarring or discordant effect |
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| Occurs when the sound of a word echoes its meaning (Bang/ crash/ hiss) |
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| The repetition of consonant sounds in consecutive or neighboring words, usually at the beginning of words |
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| The repetition of the same or similar vowel sounds, especially in stressed syllables. |
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| The use of matching sounds in two or more words |
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| Imperfect rhyme (near rhyme, slant rhyme, approximate rhyme, consonance) |
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| Occurs when the final consonant sounds in two words are thee same but the vowel sounds are different |
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| Occurs when two words look alike but are pronounced different (Ex watch and catch). |
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| Occurs at the end of a line |
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| Occurs at the beginning of a line |
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| Masculine Rhyme (Rising rhyme) |
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| Occurs when single syllables correspond (can/ran; descend/ contend) |
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| Double Rhyme (Falling Rhyme) |
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| Occurs when two syllables, a stressed one followed by an unstressed one, correspond (ocean/motion; sleeping/leaping) |
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| Occurs when there syllables correspond. This form is frequently used for humorous or satiric purposes. |
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| Greater stress falls on the second line of each pair. At the end of a line giving it double emphasis |
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| The design of a poem described in terms of rhyme, meter and stanzaic pattern. |
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| Unrhymed poetry with each line written in a set pattern of five stressed and five unstressed lines (Iambic pentameter) |
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| Is a group of two or more lines with the same metrical pattern and often with a regular rhyme scheme. ` |
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| A two-line stanza with rhyming lines of similar length and meter |
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| Consists of two rhymed lines of iambic pentameter with a weak pause after the first line and a strong pause after the second. |
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| Consists of three lines of similar length and a set rhyme scheme |
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| A special rhyme scheme (aba, bcb, cdc, ded) creates interlocking series of stanzas |
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| A four-lined stanza with lines of similar length and a set rhyme scheme. Most widely used and versatile unit |
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| A special kind of quatrain which alternates lines of eight and six syllables, typically only the second and fourth lines rhyme. (abcb) |
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| A four lined stanzaic pattern closely related to the ballad stanza. Rhyme scheme is abab |
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| Seven- line stanza (abab-bcc) set in iambic pentameter |
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| Eight-line stanza (abababcc) iambic pentameter |
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| Nine line stanza (ababbcbcc) whose first 8 lines are in iambic pentameter and last line is in iambic hexameter |
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| Characterized by regular patterns of meter, rhyme, line length and stanzaic divisions. |
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| Most familiar closed form, 14 line poem with a distiincive scheme and metrical pattern |
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14 lines in 3 stanzas and concluding in a couplet written in iambic pentameter
(abab cdcd efef gg) |
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| 14 lines of iambic pentameter lines divided into an 8 line stanza (octave) and a six line stanza *sestet (rhyme scheme of (abba abba; cdecde) |
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| Composed of six six-line stanzas and 3-line conclusion (Envoi) Does not require end rhyme. Each line ends with one of 6 key words (repeated rhyme in fixed order) (abcdef, fabcde, cfdabe, ecbfad, deacfb, bdfeca, envoi). |
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19 line poem composted of five tercets and a concluding quatrain (aba aba aba aba abaa)
Line 1 appears again in lines 6,12 and 18
Line 3 appears in lines 9, 15, and 19
Each tercet concludes with an exact duplication of line 1 or line 3 final quatrain repeats both line 1 and line 3 |
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| Very brief poem that makes a pointed, often sarcastic comment in a surprising twist at the end. Poem with a punchline |
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| Brief unrhymed poem that presents the essence of some aspect of nature concentrating a vivid image in just 3 lines |
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| Makes the occasional use of rhyme or meter, no familiar identifiable pattern or design. Encourages reader to discover the relationship between form and meaning |
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| Uses words and sometimes different fonts and type sizes to shape a picture on the page. Form is determined by a visual image the poet created. |
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| The design of a poem described in terms of rhyme, meter and stanzaic pattern. |
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| Unrhymed poetry with each line written in a set pattern of five stressed and five unstressed lines (Iambic pentameter) |
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| Is a group of two or more lines with the same metrical pattern and often with a regular rhyme scheme. ` |
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| A two-line stanza with rhyming lines of similar length and meter |
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| Consists of two rhymed lines of iambic pentameter with a weak pause after the first line and a strong pause after the second. |
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Definition
| Consists of three lines of similar length and a set rhyme scheme |
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Definition
| A special rhyme scheme (aba, bcb, cdc, ded) creates interlocking series of stanzas |
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Definition
| A four-lined stanza with lines of similar length and a set rhyme scheme. Most widely used and versatile unit |
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Definition
| A special kind of quatrain which alternates lines of eight and six syllables, typically only the second and fourth lines rhyme. (abcb) |
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| A four lined stanzaic pattern closely related to the ballad stanza. Rhyme scheme is abab |
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| Seven- line stanza (abab-bcc) set in iambic pentameter |
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| Eight-line stanza (abababcc) iambic pentameter |
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| Nine line stanza (ababbcbcc) whose first 8 lines are in iambic pentameter and last line is in iambic hexameter |
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| Characterized by regular patterns of meter, rhyme, line length and stanzaic divisions. |
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| Most familiar closed form, 14 line poem with a distiincive scheme and metrical pattern |
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14 lines in 3 stanzas and concluding in a couplet written in iambic pentameter
(abab cdcd efef gg) |
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| 14 lines of iambic pentameter lines divided into an 8 line stanza (octave) and a six line stanza *sestet (rhyme scheme of (abba abba; cdecde) |
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| Composed of six six-line stanzas and 3-line conclusion (Envoi) Does not require end rhyme. Each line ends with one of 6 key words (repeated rhyme in fixed order) (abcdef, fabcde, cfdabe, ecbfad, deacfb, bdfeca, envoi). |
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19 line poem composted of five tercets and a concluding quatrain (aba aba aba aba abaa)
Line 1 appears again in lines 6,12 and 18
Line 3 appears in lines 9, 15, and 19
Each tercet concludes with an exact duplication of line 1 or line 3 final quatrain repeats both line 1 and line 3 |
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| Very brief poem that makes a pointed, often sarcastic comment in a surprising twist at the end. Poem with a punchline |
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| Brief unrhymed poem that presents the essence of some aspect of nature concentrating a vivid image in just 3 lines |
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| Makes the occasional use of rhyme or meter, no familiar identifiable pattern or design. Encourages reader to discover the relationship between form and meaning |
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| Uses words and sometimes different fonts and type sizes to shape a picture on the page. Form is determined by a visual image the poet created. |
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An idea or image that suggests something else but not in a simple way. Transcends literal or denotative meaning in a complex way
Meaning cannot be easily pinned down or defined
Symbol must support poems theme |
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| Recognized by people who share certain cultural and social assumptions |
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| Likely to be recognized by people regardless of their culture |
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| Certain images or ideas reside in the subconscious of all people. Universal symbols *water, rebirth; spring, growth; winter, death). |
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| Most complex and particular to the author. A number of the authors works must be analyzed to understand the complex network of symbolic associations |
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Form of narrative that equates abstract ideas with people, places and things, turning them into a story, which offers moral or political lesson.
Allegorical elements can be assigned specific meanings |
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| A brief reference to a person place or event, historical or actual that readers are expected to recovnize |
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| A narrative that embodies or helps explain the religious, philosophical, moral and political values of a culture. Using gods and supernatural beings to make sense of occurrences in the natural world, often contain archetypal images. |
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