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| Refers to the stressed portion of a word. An accent is used to place emphasis on a word. |
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| A description that has a second meaning. Characters are usually personifications. |
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| A literary device where successive words begin with the same syllable. It contributes to the euphony of a passage and may give a humorous effect. It may also aid in setting a poem’s tone. |
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| Refers to an event from an external content. It is understandable only to those with prior knowledge of the reference in question (as the writer assumes the reader has). |
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| Something that addresses an object or person who is not present as though he/she/it could reply. |
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| The juxtaposition of contrasting words or ideas to create a feeling of balance (e.g Too black for heaven, and yet too white for hell) |
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| The repetition of vowels, may also add to euphony. |
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| Poetry referring to either the dawn, a love song or about parting lovers. |
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| Iambic Pentameter that doesn’t rhyme. (Much of Shakespeare’s plays for example were written in this.) |
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| A cut or break in a line, could be a comma or a semicolon. |
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| Harsh sounding and generally unpleasant. |
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| The repetition of consonant sounds. Enforces relation. |
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| Lines follow each other without any type of structural organization except by blocks of meaning. |
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| Poetry which tries to preach or teach. |
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| An apostrophe, simile, metaphor, etc. which is developed throughout a poem. |
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| Language through the experience of sense. |
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| Sight. The most frequent type. |
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| Human sensations. (Hunger, for example) |
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| Dramatic or otherwise, conveying an aspect that is intrinsically unexpected or self-contradictory. |
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| Comparing something without using the words like or as. |
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| Words which represent a sound. (SHAZAM!) |
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| A statement which appears to contradict itself. |
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| Animals or objects are given human characteristics. |
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| A word whose sound emphasizes its meaning. |
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| Language which is not in meter. |
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| A repeated line, phrase, sentence, etc. which appears throughout a poem. |
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| Poetry written in superfluous language with the intention of being over dramatic. |
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| The process of measuring verse. |
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| A poem of 14 lines using any of a number of formal rhyme schemes, in English typically having ten syllables per line. |
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| The writer's attitude toward the subject. |
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| Repetition of the same word or words from the beginning of sentences, lines, or phrases. |
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| The comparison of two dissimilar things. ("Shall I compare thee to a summer's day") |
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| Narrator speaks to himself. The speaker is not the author. |
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| A realization or comprehension of the essence of something. |
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| Two syllable (disyllabic) rhyme consisting of stressed syllable followed by unstressed. |
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| Use of words to create an archaic effect. (Opening scene of Macbeth and the Weird Sisters) |
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| Repetition of succeeding stanzas with small substitutions of changes. |
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| Substitutes the name of one thing with something closely associated with it. |
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| Substitutes a part of one thing to represent the whole, or vice versa. |
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| A reflection of the action/events through nature/weather. (A thunderstorm during the creation of Frankenstein's monster sequence) |
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| The character created by the narrator. |
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| A blending of sensations. |
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| A way of extending the meanings of words beyond the literal. |
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| Twelve-syllable poetic line of French origin. |
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| A poem or section consisting of two successive lines, usually rhyming and having the same meter and often forming a complete thought. |
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| A poem of loss and consolation. |
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| Praise for an individual, a group of people, or a body. |
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| A poem which is a continuous sequence of lines without any division into stanzas. |
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| 19 lines divided into 5 stanzas. |
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