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| The insight or idea about the subject of the poem. What it is trying to communicate. |
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| The one telling the story. The voice of the poem. |
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| Mood the poem creates. The attitude towards the subject. |
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| Describes a situation or statement with a discrepancy between what is expected or understood and what happens or is meant |
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| Describes a discrepancy between what words literally say and what the speaker means. |
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| Describes a discrepancy between what the reader thinks or knows and what a character thinks or knows. |
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| Describes a discrepancy between what appears to be true and what is true. |
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| Irony of fate, often implying that a force or spirit toys with lives. |
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| Words representing ideas, concepts, or a quality (e.g., beauty, love, victorian) |
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| Words representing something preceivable by the senses (e.g., fragrant rose, peaceful lake, tidy schoolroom) |
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| Literal or dictionary meaning of a word (e.g., house) |
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| Associations suggested by a word (e.g., home) |
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| Ordering of words into meaningful phrases, clauses and sentences. |
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| Formal pattern of organization of a poem into stanzas and/or sentences. |
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| Sensory experience created by a word or group of words (e.g., visual, auditory, olfactory, tactile, or gustatory) |
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| nonliteral way of examining one thing of another through a figure of speech (e.g., metaphor, simile, personification, symbol) |
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| Elaborate comparison based on Petrarchan sonnets and popular in sixteenth and seventeenth century poetry. |
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| Poem whose main purpose is to tell a story, usually emphasizing action (e.g., epics, ballads, romances, dramatic poetry) |
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| A long narrative poem. Example would be the odessey. |
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| Simple poem focusing on love or adventure of common people. Could be sung. |
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| Narrative poem focused on adventure and often magic or monsters. |
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| Poem presenting the voice of an imaginary character(s) speaking directly without additional intrusion by the author/narrator persona. This includes poetry written for the stage and closet drama. |
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| Type of dramatic poem written as a speech by a single character to a silent listener (e.g., Robert Browning's "My Last Duchess") |
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| Narrative poem in which objects and characters have meanings outside of the narrative context, or abstract qualities represented in concrete images. |
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| Subjective poem, usually brief, expressing thoughts or intense emotions of a speaker. |
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| Lyric poem of 14 lines, traditionally in iambic pentameter but with many variations, especially among modern poets. |
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| Meditating on death. Could be about a person, a general observation or expression of a solemn mood. |
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| A poem dealing with simple country living. Before 20th century subject was usually shepards living in a world filled with love, music and beauty (and sometimes sheep) |
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| A lyric poem about dawn or morning serenade. |
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| Brief, witty poem characterized by compression, pointedness, clarity, balance, and polish, often satirical in intent. |
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| Exalted or stately lyric poem, usually longer, expressing a dignified theme in an imaginative or intellectual tone. |
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| Poem written to commemorate an event. |
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| Poem describing social injustice or attacking unjust situations. |
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| Confessing an event in ones life. |
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| Poem treating its subject (e.g., person, institution, idea) with irony or ridicule. Making fun of an object. |
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| English Sonnet (Shakespearean Sonnet) |
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| 14 lines, 3 quatrains followed by a couplet. Couplet comments on quatrians. Typical rime scheme ABAB CDCD EFEF GG. The couplet must rhyme for it to be an English Sonnet. |
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| Italian Sonnet (Petrarchan Sonnet) |
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| 14 lines, made up of an octave and a sestet. Octave states the situation and sestet comments on it. The octave is usually ABBA ABBA and the sestet is CDECDE, CDCDCD or CDCCDC. |
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| Has structure, unrimed and typically in iambic pentameter. |
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| written in varying line lengths, no metrical pattern and nonrimed lines. |
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| Poem of seventeen syllables, usually organized into three lines of five, seven and five syllables as required in the original Japanese form. |
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| Light or humorous verse consisting of five predominantly anapestic lines riming AABBA, with trimeter lines 1,2, and 5 and dimeter lines 3 and 4 |
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| Grouping of lines set off by a space in a poem, often with a set meter or rime. |
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| Two-line stanza, or two lines of verse that express a complete thought. |
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| three-line stanza, or a one of the three-line groups of the sestet in an Italian sonnet. |
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| Tercet stanzas linked by rime scheme of ABA, BCB, CDC, DED, etc. |
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| group of three lines with similar end-rime |
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| Four-line stanza, or one of the four-line groups in an English sonnet. |
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| Six-line stanza, final six lines of an Italian sonnet, often a comment on the situation presented in the octave. |
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| Eight-line stanza, or the first eight lines of an italian sonnet. |
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| poem written in iambic meter with fourteen syllables per line. |
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| poem written in alternating tetrameter and trimeter lines, usually in an ABCB rime scheme, and often with near rime. |
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| line of poetry that does not end in punctuation, causing it to be read with, at most, a slight pause at the end. |
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| line of poetry that ends with a full pause, usually with a punctuation mark. |
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| pause within a line of poetry, often indicated by a punctuation mark or spacing. |
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| Way of saying something different from the normal meaning of words, usually to enhance a description or to emphasize a similarity between the unlike or unusual pairing. |
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| Comparison showing resemblance of unlike things, joined by words such as "like", "as", "than" or "resembles" |
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| Implied comparison showing a resemblance of unlike things, saying that something is something else (e.g., my love is a red rose or "The moon was a ghostly galleon") |
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| Implied comparison that doesn't use a connective word or a form of the verb to be. (e.g., My love blooms with dangerous thorns) |
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| Detalied or complex implied comparison that is used in more than one place or throughout the work. |
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| Sustitution of something associated with a subject for the subject itself. (e.g., cross for Jesus, White House for president) |
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| is a specific type of metonymy where a part of something signifies the whole (e.g., "wagging tongue" to describe a gossip or "behind bars" to represent a prison) |
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| something that represents both itself and also figuratively represents something else. |
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| Reference to a historical, cultural, or literary person, work, or event to suggest meaning or associations. |
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| Attributing human characteristics to an animal, inanimate object or abstraction. |
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| Addressing an inanimate object (including a spirit or dead person) or someone who is absent and can't hear the speaker. |
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| Exaggeration of overstatement (e.g., I'll die if I miss the playoff game!" |
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| implying more than is directly stated (e.g., Frost's "Once could do worse than be a swinger of birches") |
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| Statement that seems contradictory but contains and underlying truth |
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| Condensed paradox using two contradictory words together (e.g., pretty ugly, jumbo shrimp) |
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| play on words based on words with similar or identical sound but different connotations. |
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| A word that resembles the sound of what it describes (e.g., Meow, Murmur, Sizzle) |
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| two or more words containing the same or similar sounds. |
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| Pattern formed by labeling the last sound of each line in a poem with a letter. |
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| Repetition of identical vowel sound followed by consonants with identical sounds. (e.g., love and dove) |
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| Repetition of identical final consonant sounds but with different vowel sounds. (e.g., loved and moved) |
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| Repetition of identical or similar sounds at the ends of lines. |
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| Repetition of identical or similar sounds within a line. |
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| Repetition of identical or similar sounds of one-syllable words or multiple-syllable words with an accented final syllable. (e.g., love and dove; divorce and remorse; source and remorse) |
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| Repetition of identical or similar sounds of multiple-syllable words with an unstressed last syllable (e.g., mellow and yellow) |
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| Patter with every first and third lines riming and every second and fourth lines riming. |
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| Repetition of a phrase that has a riming effect (e.g., Elizabeth Barret Browining's "How do I love thee" uses identic rime with repetition of "I love thee..." |
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| Two lines of verse written in rimed iambic pentameter. |
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| Repetition of consonant sounds at the beginning of words in relatively close succession (e.g., "he happily hurried home") |
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| Repetition of vowel sounds in relatively close succession (e.g., "Due to flu Hugh's mood is blue") |
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| Repetition of identical consonant sounds preceded by different vowel sounds (near rime) in relatively close succession (e.g., home and some; mirth and breath; gentle and subtle) |
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| Process of analyzing stressed and unstressed syllables in a line to determine meter. |
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| Patter of stressed and unstressed syllables in a poem. |
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| When a greater amount of force or emphasis is given to a syllable. |
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| Recurrence of a rhythmical pattern of stresses in a line of poetry. This is determined by the kind of foot and number of feet within a line. |
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| Unit of rhythm (two or three syllables containing a stress) within a line of poetry. |
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| Omission of an unstressed syllable for metrical regularity (e.g., "o'er", "oft") |
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| Foot of poetry with and unstressed syllable followed by a stressed syllable. U/U/U/... (e.g., about, enjoy, Imelda Marcos) |
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| Foot of poetry with a stressed syllable followed by an unstressed syllable /U/U/U... (e.g., purple, Little Women, Linda Ronstadt) |
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| Foot of poetry with two unstressed syllable followed by a stressed syllable. UU/UU/...(e.g., understand, Leonardo DiCaprio, indiscreet) |
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| Foot of poetry with a stressed syllable followed by two unstressed syllable. /UU/UU/UU... (e.g., Emily Dickinson, beautiful, awkwardly) |
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| Foot of poetry with two stressed syllables to slow the rhythm for empasis ///... (e.g., blackboard, whitewash, spondee) |
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