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| makes reference to a place, event, literary work, myth or work of art |
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| Strong Pause comes in the middle line of poetry |
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| describes intimate information about details of the poets personal life, such as in poems about mental illness, sexuality, and depondence. |
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| mournful poem; a lament for the dead |
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| end of line coincides with the end of the sentence |
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| run-on lines; no punctuation at the end of a line |
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| a two-or-three syllable "beat" in a line of verse (IAMB i.e.) |
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| Poetry without a regular pattern of meter or rhyme. Modern and contemporary poets of the twentieth and twenty-first centuries often use free verse |
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| A type of metric foot with an unstressed syllable followed by a stressed one, as in the word "to-DAY" |
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| a collection of images; details and descriptions in order to create a sensory experience for the reader |
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| deliberate exxageration used for effect |
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| a comparison between essentially unlike things without an explicitly comparative word such as like or as |
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| the measured pattern of rhythmic accents in poems |
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| a poem that tells a story |
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| the angle of vision from which a story/poem is narrated |
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| falls between the "personal" and the "political," usually spoken from the viewpoint of the oppressed. |
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| the pattern of rhyme between lines of a poem or song |
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two lines that end-rhyme with each other.
AABB |
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| a figure of speech involving a comparison between unlike things using like, as, or as though |
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| a fourteen-line poem in iambic petameter; the early part of the poem sets up a conflict which is resolved in the end |
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| Shakespearean or English Sonnet |
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an eight-line octave and a six-line sestet, rhyming
ABBAABBA |
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| an object or action in a literary work that means more than itself |
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| one of the strictest forms of poetry; 19 line lyric poem that relies heavily on repetition-- 5 tercets and a concluding quatrain |
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| a "turn" or shift in the poem, usually a sonnet. It is most frequently encountered at the end of the octave, or the end of the twelfth line; it sets up the resolution of the "conflict" that was set up in the early part of the sonnet |
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| Sharron Olds and Sylvia Plath |
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Stephen Spender
Louis MacNiece
Cecil Day Louis |
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