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| a poem that tells a story |
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| The most widely used type of poem, so diverse in its format that a rigid definition is impossible. |
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| an exalted, complex rapturous lyric poem written about a dignified, lofty subject |
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| usually mourns the death of an individual, the absence of something deeply loved, or the transience of mankind |
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| 14-line poem with a strict rhythm and rhyme scheme |
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| verse with end rhyme and usually with regular meter |
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| lines of iambic pentameter without end rhyme |
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| lines that do not have a regular meter and do not contain rhyme |
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| the pattern of stressed and unstressed syllables established in a line of poetry. The stressed syllable (represented /) is also called the accented syllable. The unstressed syllable (represented u) is also called the unaccented syllable. |
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| a unit of meter. 2 or 3 syllables. Usu. one stressed and one or more unstressed syllables |
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| a two-syllable foot with the stress on the second syllable. This is the most common foot in English. |
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| a stressed syllable followed by an unstressed syllable. |
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| consists of three syllables with the stress on the last syllable. |
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| consists of two stressed syllables. |
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| contains three syllables with the stress on the first syllable. |
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| consists of two unstressed syllables. This type of foot is rare and is found interspersed with other feet. |
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| the most prominent meter exhibited by a poem (some poems use several different types of meter, which is called metrical variation) |
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| squeezing words to fit into the length of line desired |
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| make words fit the metrical demands of lines; to require usually silent syllables of words to be pronounced |
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| the similarity of sound existing among words |
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| Near, Off, or Slant Rhyme |
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| Rhyme based on an imperfect or incomplete correspondence of end syllable sounds |
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| syllables are spelled the same and look as though they should rhyme, but they are not pronounced the same way |
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| similar sound occurs at the end of two or more lines of verse |
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| at least one of the repetitions of sound occurs within a line of verse (as opposed to the end of the line) |
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| occurs when only the last syllable of the words rhymes |
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| occurs when the last 2 syllables of a word rhyme with another word |
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| occurs when the last 3 syllables of a word rhyme |
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| The pattern or sequence in which end rhyme occurs |
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| The similarity or repetition of a vowel sound but not the following consonant sound in two or more words |
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| A division of a poem based on thought or form |
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| two successive rhyming lines that contain a complete thought(usu. in IP) |
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| A three-line stanza form with an interlaced or interwoven rhyme scheme: a-b-a, b-c-b, c-d-c, d-e-d, etc. (Usu. in IP) |
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| A five-line nonsense poem with an anapestic meter |
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Consists of four lines with a rhyme scheme of a-b-c-b.
The first and third lines are tetrameter and the second and fourth are trimeter |
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| A stanza consisting of seven lines in iambic pentameter rhyming a-b-a-b-b-c-c |
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| Consists of eight iambic pentameter (but traditionally, eleven-syllable) lines with a rhyme scheme of a-b-a-b-a-b-c-c. |
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A nine-line stanza consisting of 8 iambic pentameter lines followed by an alexandrine, a line of iambic hexameter.
The rhyme scheme is a-b-a-b-b-c-b-c |
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Consists of five tercets and a quatrain with no set syllables per line
The first and third lines of the opening tercet recur alternately at the end of each of the other tercets and together as the last two lines of the quatrain, providing a refrain throughout the poem
There are only two rhyming sounds at the ends of the lines. |
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| A fourteen-line stanza form consisting of iambic pentameter lines. |
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| Italian (Petrarchan) Sonnet |
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Divided usually between eight lines called the octave, and six lines called the sestet
The octave follows this rhyme scheme: a-b-b-a-a-b-b-a
The sestet follows this rhyme scheme: c-d-c-d-c-d or c-d-e-c-d-e or c-d-d-c-d-d |
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| English (Shakespearean) Sonnet |
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Composed of three quatrains and a concluding couplet
The quatrains rhyme a-b-a-b c-d-c-d e-f-e-f
The couplet rhymes g-g |
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| The repetition of the initial letter or sound in two or more words in a line of verse |
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| The repetition of consonant sounds within a line of verse. |
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| a direct or explicit comparison between two usually unrelated things indicating a likeness or similarity between some attribute found in both things. Uses like or as to introduce the comparison. |
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| A comparing or equating of two usually unrelated things indicating a likeness or analogy between attributes found in both things. |
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| the giving of human characteristics to inanimate objects, ideas, or animals. |
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| the technique of mentioning a part of something to represent the whole |
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| the substitution of a word naming an object/person for another word closely associated with it |
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| A word or image, setting, object, or event that signifies something more than and different in essence from what it literally designates |
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| a narrative or description having a single, specific second meaning beneath the surface one, often relating each literal term to a fixed, corresponding abstract idea or moral principle |
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| an exaggeration for the sake of emphasis or to make a point |
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| framing something as less important, urgent, awful, good, powerful, etc. than it actually is, often for comic or satiric effect |
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A particular type of understatement in which an affirmative statement is created by negating its opposite
"he was not unhandsome" |
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| the balancing or contrasting of one term against another |
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| A direct address to an abstraction (Time), a thing (the Wind), an animal, or an imaginary or absent person |
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| When someone says one thing but means another or when what is said is the opposite of what is expected, creating a noticeable incongruity |
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| an incongruity between actual circumstances and those that would seem appropriate or between what is anticipated and what actually comes to pass in a story |
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| A discrepancy between what the character says or thinks and what the reader knows to be true |
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| a statement or situation containing apparently contradictory or incompatible elements that actually work together to reveal a truth |
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a compact paradox; combines two contradictory
words, placed side by side |
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| a reference in literature or in art to previous literature, history, mythology, current events, or the Bible |
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| an element in a story that is out of its time frame; sometimes used to create a humorous or jarring effect, but sometimes the result of poor research on the author’s part |
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| a short and often personal story used to emphasize a point, develop a character or a theme, or to inject humor |
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| a terse statement that expresses a general truth or moral principle; sometimes considered a folk proverb |
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| a character, situation, or symbol that is familiar to people from all cultures because it occurs frequently in literature, myth, religion, or folklore |
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| a far-fetched comparison between two seemingly unlike things; an extended metaphor that gains appeal from its unusual or extraordinary comparison; common in metaphysical poetry |
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| associations a word calls to mind; what a word suggests beyond its basic definition |
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| A word's basic defenition |
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| in poetry, the running over of a sentence from one line of verse or one stanza into the next without stopping at the end of the prior line. |
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| anything that affects or appeals to the reader’s senses: sight (visual), sound (auditory), touch (tactile), taste (gustatory), or smell (olfactory) |
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| a poem, play, or story that celebrates and idealizes the simple life of shepherds and shepherdesses |
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| the quality of a literary work or passage which appeals to the reader’s or viewer’s emotions |
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| humorous play on words that have several meanings or words that sound the same but have different meanings |
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| the reiterating of a word or phrase within a poem |
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| the repetition of one or more phrases or lines at intervals in a poem, usually at the end of a stanza |
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| the use of humor to ridicule and expose the shortcomings and failings of society, individuals, and institutions, often in the hope that change and reform are possible |
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