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| identical sounds at the endings of words, as rule and fool |
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| rhymes inside the lines, or a word inside a line that rhymes with a word at the end of a line |
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| rhyme at the ends of lines of poetry |
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| also called sight rhyme, these are rhymes that look alike, but do not sound alike; they rhyme visually, not to the ear, such as through and enough |
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| using letters to show the arrangement of rhyme, such as ababcdcdefefgg for a sonnet |
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| one-syllable rhyme, as road and strode |
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| two-syllable rhyme, as fiddle and griddle |
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| a word that sounds like what it describes: boom! |
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| the repetition of initial vowels or consonants, such as slurp and soul, or omit and open |
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| the repetition of vowel sounds: make and flame |
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| the repetition of consonant sounds: edit and mode |
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| consonants that stop the breath: PB TD KG |
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| a rearrangement of repeated sounds, as wall and law |
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| a pause (period or comma) at the end of the line |
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| no pause at the end of the line |
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| also called slant rhyme, this is almost rhyme, as reward and rearward |
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| the last syllable of one word rhymes with the next-to-last syllable of another ! the words man and savanna are examples |
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| there are two syllables that would be a perfect rhyme except for the vowel in the second syllable. the words livid and lived are an example |
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| two syllables are identical, but in reverse! examples would be stick and kits, kill and lick, or (almost) Nile and lion |
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| when words share the first syllable sound, such as native, nature, nadir, and nation |
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| when two syllables share their beginning and ending consonants, but not the vowel in between. The words stand and stunned are an example, as are cattle and kettle |
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| the manipulation of language sounds |
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| the pattern of rhythm of syllables |
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| the emphasis given to certain syllables in words |
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| the repeating unit of meter |
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| a two-syllable foot with the stress on the second syllable. The English language is naturally so, and Shakespeare used these for the speeches of good or noble figures. |
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| a two-syllable foot with the stress on the first syllable. These are anti-iambic, and are often used to convey a feeling of danger or evil. shakespeare used this sort of meter for the witches' chant in Macbeth: Double, double, toil and trouble. |
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| a three-syllable foot with the stress on the third |
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| a three-syllable foot with the stress on the first |
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| a two-syllable foot with both syllables stressed |
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| dropping an unstressed syllable from the end of a trochaic or dactylic line |
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| a two-syllable foot, both syllables unstressed |
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| rare, a three syllable foot, with the middle syllable stressed: petunia |
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| rare: a three-syllable foot, the middle syllable is short, and the first and third are long |
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| a natural break or pause in a line of poetry, usually near the middle of the line, usually marked by punctuation. It is indicated by a double slash//. |
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| five iambs to a line of ten syllables. Sonnets, rime royal, and heroic couplets all use this |
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| a part of a poem, based on form of meter and rhyme |
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| a three-line stanza, also called a tercet |
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| a five-line stanza, also called a quinquain |
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| special poetic ways of expressing things, especially comparisons that are not literally true |
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| an openly expressed comparison using like or as; Robert Burns used it in "my luve is like a red, red rose." |
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| an elaborate, highly developed comparison the model for this if the very long, wonderful comparisons that we find in Homer's Iliad |
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| an implied comparison. Shakespeare used it in Hamlet to say that "Life is a walking shadow." |
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| portraying an object as a person |
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| addressing someone or something not present, as though present. Shelley's Ode to the West Wind" is an example: "O wild, west wind . . . " |
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| an expression that seems to contradict itself, but actually does not, such as "victory in defeat," or "bright darkness." |
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| a substitution of a part for the whole, as when Christopher Marlowe, in Dr. Faustus, wrote of Helen of Troy, "Was this the face that launced a thousand ships?" To call fifty ships fifty "sail" would be another example. Also works in reverse if we let the whole represent the part. |
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| letting a related object represent something, such as "payment to the crown." To say we "read Shakespeare" is an example; we actually read his plays and poems. |
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