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Poetry Terms

Poetry Terms . Notecards. SONNET.

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Poetry Terms

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  1. Poetry Terms Notecards

  2. SONNET • Sonnet - a lyric poem of 14 lines, usually in iambic pentameter, with rhymes arranged according to certain definite patterns. It usually expresses a single, complete thought, idea, or sentiment. There are three different forms: Petrarchan (or Italian), English (or Shakespearean), and Miltonic.

  3. Shakespearean sonnet • an 18 line stanza written in iambic pentameter, that employs the rhyme scheme abab, cdcd, efef,gg, and can be divided into three quatrains and a couplet.

  4. quATRAIN A four line stanza (in poetry)

  5. couplet • A two line stanza

  6. Iambic pentameter • lines of poetry that can be divided into 5 metric feet with alternately unstressed and stressed syllables. • An iamb is a foot with one unstressed syllable followed by one stressed syllable – as in the word “deny” or “around”

  7. foot • A foot is a unit of meter, to measure poetry, consisting of a combination of stressed and unstressed syllables • It is important to remember that feet and words need not coincide. The feet in John Heath-Stubbs' line, "A caterpillar among those mulberry leaves", from 'The Mulberry Tree' appear thus:| a CAT | er PILL | ar a MONG | those MUL | berry LEAVES || u / | u / | u u / | u / | u / |

  8. Aesthetic distance • degree of emotional involvement in a work of art • The most obvious example of aesthetic distance (also referred to simply as distance) occurs with paintings. Some paintings require us to stand back to see the design of the whole painting; standing close, we see the technique of the painting, say the brush strokes, but not the whole. Other paintings require us to stand close to see the whole; their design and any figures become less clear as we move back from the painting.

  9. AESTHETIC DISTANCE (continued) • Similarly, fiction, drama, and poetry involve the reader emotionally to different degrees. Emotional distance, or the lack of it, can be seen with children watching a TV program or a movie; it becomes real for them. Writers like Dickens, the Brontẽ sisters, or Faulkner pull the reader into their work; the reader identifies closely with the characters and is fully involved with the happenings. Hemingway, on the other hand, maintains a greater emotional distance from the reader.

  10. ALLITERATION • the repetition of the same sound at the beginning of a word • such as the repetition of b sounds in Keats's "beaded bubbles winking at the brim" ("Ode to a Nightingale") or Coleridge's "Five miles meandering in a mazy motion ("Kubla Khan"). A common use for alliteration is emphasis. It occurs in everyday speech in such phrases as "tittle-tattle," "bag and baggage," "bed and board," "primrose path," and "through thick and thin" and in sayings like "look before you leap."

  11. Alliteration (continued) • Some literary critics call the repetition of any sounds alliteration. However, there are specialized terms for other sound-repetitions. Consonance repeats consonants, but not the vowels, as in horror-hearer. Assonance is the repetition of vowel sounds, please-niece-ski-tree.

  12. ALLUSION • allusion: a brief reference to a person, event, place, or phrase. • The writer assumes will recognize the reference. For instance, most of us would know the difference between a mechanic's being as reliable as George Washington or as reliable as Benedict Arnold. Allusions that are commonplace for readers in one era may require footnotes for readers in a later time.

  13. Ballad • Ballad: a relatively short narrative poem, written to be sung, with a simple and dramatic action. Ballads tell of love, death, the supernatural, or a combination of these. • Ballads often open abruptly, present brief descriptions, and use concise dialogue.

  14. Ballad (continued) • Two characteristics of the ballad are incremental repetition and the ballad stanza. • Incremental repetition repeats one or more lines with small but significant variations that advance the action. • The ballad stanza is four lines; commonly, the first and third lines contain four feet or accents, the second and fourth lines contain three feet

  15. Ballads - types • folk ballad is usually anonymous and passed from generation to generation by word of mouth – can be sung • literary balladis written to deliberately imitate the form and spirit of a folk ballad – authors are known and the work is meant to be read rather than sung. The Romantic poets were attracted to this form, as Longfellow with "The Wreck of the Hesperus," Coleridge with the "Rime of the Ancient Mariner.”

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