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| a statement about its subject; what a poem says |
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| the poem's attitude or feelings toward the theme; how it makes the statement |
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| the event or topic the poem chooses to engage |
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| whose voice do we hear? does not necessarily have to be the poet who is speaking |
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| a section of a poem designated by spacing |
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| reference to something outside the poem that carries a history of meaning and strong emotional associations |
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| the time in which the poem takes place |
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| an incongruity between what we expect and what actually occurs- out of the observation |
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| "dictionary" meaning of certain words |
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| feelings coming from the words themselves |
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| suggestions of emotional coloration that imply our attitude and invite a similar one from our hearers |
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| using words to represent a specific image so that the reader can see it too |
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| giving an example familiar to the one we are trying to communicate through metaphors and similes |
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| when one thing is directly compared to something else |
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| when something is described as if it were something else |
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| treating an abstraction such as death, justice, or beauty, as if it were a person |
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| extend over a long section of a poem |
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| metaphors that extend through the whole poem |
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| similes that govern a whole poem |
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| something that stands for something else |
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| things that have acquired an agreed-upon significance before the poet cites them |
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| a word that captures or approximates the sound of what it describes |
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| each foot contains an unstressed syllable followed by a stressed one |
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| unit used in measuring poetry |
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| the lines are written in a meter consisting of five iambic feet |
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| an accented syllable followed by an unstressed one |
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| two unaccented syllables followed by a stressed one |
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| an accented syllable followed by two unstressed ones |
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| "In se'- | quent to'il | all fo'r- | wards do' | con- | te'nd..." |
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| "Once u- | po'n a | midnight | dre'ary, | while I | po'ndered, | we'ak and | we'ary..." |
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| "There are ma'n- | y who sa'y | that a do'g | has his da'y..." |
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| "This is the day | fo'rest pri- | me'val. The | mu'rmuring | pines and the | he'mlocks..." |
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| a shot pause often (though not always) signaled by a mark of punctuation |
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| sorting out the poem's metrical pattern |
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| based on the gradual unfolding of the story |
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| poems are organized like a treatise, an argument, or an essay |
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| poems are almost purely descriptive of someone or something |
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| mirroring as exactly as possible the structure of something that already exists as an object and can be seen |
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| reflective (or meditative) structures |
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| pondering a subject, theme, or event, and letting the mind play with it, skipping from one sound to another, or to related thought or subjects as the mind encounters them |
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| memory devices (sometimes called mnemonic devices) |
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| devices built into poems to help people remember them: rhyme |
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| uses only three rhyme sounds in nine rhymed lines |
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| has only one set of rhymes in four lines; lines 1 and 3 do not rhyme at all |
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| involve iambic meter and each line has five beats (pentameter) |
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| always has fourteen lines and is usually written in iambic pentameter, most often printed as if it were a single stanza |
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4-4-4-2
rhyme scheme: abab cdcd efef gg |
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| Petrarchan sonnet/Italian sonnet |
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abbaabba cdecde
division of two parts: octave and sestet |
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| depends on the measured repetition of words (rather than just sounds) in particular places |
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| depends on the patterned repetition of whole lines |
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| the construction of poems with visual appeal |
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