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| direct comparison, using like or as, of two unlike object |
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| direct comparison using two unlike objects |
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| the general mood that the poem/story gets across, hinges on speaker's attitude (level of authority, intentions for the subject) |
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| word choice; what kind of words you use and what they convey about your relationship to the subject matter |
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| calling on something external to the poem in order to make an image or valid comparison |
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| the feeling the reader takes away from the literature |
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| the person whose voice we hear when we read literature--this should never be assumed as the author. |
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| the poem's rhythm (meter implies a regular rhythm) measured in feet and the alternation of stressed/unstressed syllables. |
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| in poetry, any set formula for the poem's movement and/or meter/ |
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| a word/phrase is substituted for another object/concept which is closely associated: the king=the crown. |
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| can be anything repeated throughout the piece |
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| specifically a phrasal unit, a line, a sentence, or even something as short as a word repeated more-orless regularly throughout a poem |
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| italian for "little room." a "paragraph" of a poem |
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| end-sounds match. i.e. "light" "fight" |
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| close sound but not exact: "light" "eye" |
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| first person, second person, third person, plural or singular mode of address |
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| constant sounds are repeated "my eye maketh amorphous things" |
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| repeated vowel sounds: "I have a pie in the sky" |
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| first sounds of words (consonants) are repeated "pen pals push pencils perpetually" |
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| anything that gives the piece over to the senses (not only sight, could be smell, touch, etc) |
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| locations where the poem/story takes place. also includes time period and characteristics thereof. |
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| giving human-like characteristics to inanimate or non-human things. That is, animals thinking/speaking, performing human actions like running, etc. |
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| a used and used and reused image/thought that has become so saturated with the use that it is now meaningless (i.e. your eyes are like the sky) |
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| the kind of work you put into the poem/story, sculpting |
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| your preferences regarding modes of writing: experimental, tradition, formal, the qualities you judge 'good' writing on |
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| it is to the poem what conflict is to the short story. the writer's problem in writing. The balance of forces that are the piece's reason for existing. |
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