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| items from different classes are compared by a connective word such as like, as, or than |
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| compares terms that are incompatible without use of the word like or a verb such as appears |
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| Attributing human feelings or characteristics to inanimate objects or abstracts |
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addresses a person or thing not literally listening.
ex.- "Hope, thou bold taster of delight." |
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| poet creates so distinct a speaker that the character clearly is not us but is something Other. In it a highly specific character speaks in a clearly specified situation. |
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One's conscious or unconscious selection of words and grammatical constructions;
how you choose to speak |
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| The speaker's attitude from which they choose their words, pitch, and modulation |
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| when what is said contradicts what is really meant |
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| a form of irony. What is said understates what is really meant. |
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| Form of irony. Crude, contemptuous. |
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| Something is mentioned that replaces something close to it. Ex.- City Hall stands for municipal authority. |
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| what is stated is negated by what is suggested |
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| overstatement (hyperbole) |
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| Overstates what is really meant |
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| Verbal irony with a sense of contradiction |
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| Stresses at regular intervals. |
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| The study of principles of verse structure, including meter, rhyme, and other sound effects, and stanzaic patterns |
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| From the Greek word for measure. A pattern of stressed sounds. |
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| basic unit of measurement in poetry. Generally consists of two or three syllables, one of which is stressed. |
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| the stress is equally distributed over two syllables |
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| adjective iambic. one unstressed syllable followed by one stressed syllable. Most common pattern in English speech. |
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| one stressed syllable followed by one unstressed |
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| two unstressed syllables followed by one stressed |
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| one stressed syllable followed by two unstressed |
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| two stressed syllables, most often used as a substitute for an iamb or trochee |
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| two unstressed syllables, not often considered a legitimate foot in English |
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| tells you what the metrical line is named. Say anapestic trimeter (three anapests) |
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| line ending with a stress |
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| line ending with an extra unstressed syllable |
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| slight pause within the line |
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| concludes with a distinct syntactical pause |
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| has its sense carried over into the next line without syntactical pause |
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| the repitition of identical or similar stressed sound or sounds |
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| differing consonant sounds are followed by identical stressed vowel sounds and the following sounds are identical foe, toe; meet, fleet; buffer, rougher. |
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| only the final consonant sounds of the words are identical; the stressed vowel sounds as well as the initial consonant sounds differ ex.- soul, oil; mirth, forth; trolley, bully. |
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| the sounds do not rhyme but look as if they do ex.- cough, bough; again, rain. |
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| the final syllables are stressed and, after their differing initial consonant sounds, are identical in sound. ex.-stark, mark; support, retort |
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| stressed rhyming syllables are followed by identical unstressed syllables ex.- revival, arrival; flatter, batter. |
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| kind of feminine rhyme in which identical stressed vowel sounds are followed by two unstressed syllables. ex.- machinery, scenery; tenderly, slenderly. |
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| rhyming words occur at the end of the lines |
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at least one of the rhyming words occurs within the line
ex.- Each narrow cell in which we dwell. |
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| repetition of initial sounds |
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repetition of identical vowel sounds preceded and followed by differing consonant sounds.
ex.- tide and bide rhyme, but tide and mine are assonantal |
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| repetition of identical consonant sounds and differing vowel sounds in words in proximity ex.- fail, feel; rough, roof; pitter, patter |
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| words that imitate sounds |
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| stanza of two lines, usually with end rhymes |
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| rhyming couplet of iambic pentameter, often "closed," (containing a complete thought) |
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| three line stanza, usually with only one rhyme |
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| four line stanza, rhymed or unrhymed |
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| heroic (elegaic) quatrain |
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| iambic pentameter, rhyming abab. First and third lines rhyme. |
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| fourteen line poem, predominantly in iambic pentameter |
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| Italian (Petrarchan) Sonnet |
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| first eight lines, abba abba, are octave, the last six, rhyming cd cd cd, are sestet. |
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| English (Shakespearean) Sonnet |
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| arranged into three quatrains and a couplet |
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| unrhymed iambic pentameter |
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| passage of blank verse that has a rhetorical unity |
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| rhythmical lines varying in length, usually unrhymed |
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