This is a glossary of poetry terms.

Basic composition

  • Accent
  • Cadence: the patterning of rhythm in poetry, or natural speech, without a distinct meter.
  • Line: a unit into which a poem is divided.
    • Line break: the termination of the line of a poem and the beginning of a new line.
  • Metre (or meter): the basic rhythmic structure of a verse or lines in verse. Metres are influenced by syllables and their 'weight'.
  • Metrical foot (aka poetic foot): the basic repeating rhythmic unit that forms part of a line of verse in most Indo-European traditions of poetry.
  • Arsis and thesis: the first and second half of a foot
  • Catalexis: Shortening of a line by one element (adjective: catalectic).
  • Prosody: the principles of metrical structure in poetry.
  • Syllable weight and stress: weight refers to the duration of a syllable, which can be defined by the length of a vowel; whereas stress refers to a syllable uttered in a higher pitch—or with greater emphasis—than others.
    • Stressed or long syllable (Ancient Greek: longum; notation: ): a heavy syllable
    • Unstressed or short syllable (Ancient Greek: brevis; notation: ): a light syllable
  • Stanza: a group of lines forming the basic recurring metrical unit in a poem. (cf. verse in music.)
  • Verse: formally, a single metrical line. (Not to be confused with musical verse.)

Other parts

  • Anceps: a position in a metrical pattern that can be filled by either a long or a short syllable.
  • Caesura: a stop or pause in a metrical line, typically marked by punctuation.[1]
  • Canto: a long subsection of a long narrative poem such as an epic.[1]
  • End rhyme (aka tail rhyme): a rhyme occurring in the terminating word or syllable of one line in a poem with that of another line, as opposed to internal rhyme.
  • End-stopping line
  • Enjambment: incomplete syntax at the end of a line; the meaning runs over from one poetic line to the next, without terminal punctuation.
  • Epigraph: a quotation from another literary work that is placed under the title at the beginning of a poem or section of a poem.
  • Hemistich: a half of a line of verse.
  • Internal rhyme: a rhyme that occurs within a single line of verse, or between internal phrases across multiple lines.
  • Refrain: repeated lines in a poem.
  • Strophe: the first section of a choral ode

Metrical feet

A metrical foot (aka poetic foot) is the basic repeating rhythmic unit that forms part of a line of verse in most Indo-European traditions of poetry.

In some metres (such as the iambic trimeter) the lines are divided into double feet, called metra (singular: metron).

  • Monosyllable
  • Disyllable: metrical foot consisting of 2 syllables.
    • Iamb (aka iambus): short-long
    • Trochee (aka choreus or choree): long-short
    • Spondee: long-long
    • Pyrrhic (aka dibrach): short-short
  • Trisyllable: metrical foot consisting of 3 syllables.
  • Tetrasyllable: metrical foot consisting of 4 syllables.
    • Tetrabrach (aka proceleusmatic): short-short-short-short
    • Dispondee: long-long-long-long
    • Paeon: a metrical foot of 1 long syllable and 3 short syllables in any order.
      • Primus paeon: long-short-short-short
      • Secundus paeon: short-long-short-short
      • Tertius paeon: short-short-long-short
      • Quartus paeon: short-short-short-long
    • Epitrite: a metrical foot consisting of 3 long syllables and 1 short syllable.
      • First epitrite: short-long-long-long
      • Second epitrite: long-short-long-long
      • Third epitrite: long-long-short-long
      • Fourth epitrite: long-long-long-short
    • Ionic: a metrical foot consisting of 2 short and 2 long syllables
      • Minor ionic (aka double iamb): short-short-long-long
      • Major ionic: long-long-short-short
      • Diamb: short-long-short-long (i.e., two iambs)
      • Ditrochee: long-short-long-short (i.e., two trochees)
      • Antispast: short-long-long-short
      • Choriamb: long-short-short-long (i.e., a trochee/choree alternating with an iamb)

Metrical lines

Forms

Verse meters

In a poetic composition, a verse is formally a single metrical line.

Types of verse

Verse forms

(A capital letter in any rhyme schemes below indicates a line that is repeated verbatim.)

Types of rhyming

A rhyme is the repetition of syllables, typically found at the end of a verse line.

Types of stanza

A stanza is a group of lines forming the basic recurring metrical unit in a poem. (cf. verse in music.)

  • Alcaic: a 4-line stanza invented by the Classical Greek poet Alcaeus that uses a specific syllabic count per line and a predominantly dactylic meter.
  • Ballad
  • Biolet
  • Burns
  • Chaubola
  • Cinquain
  • Couplet: two successive rhyming lines ("aa"), usually of the same length (usually re-occurring as "aa bb cc dd ...").[1]
  • Envoi (or envoy): the brief stanza that ends French poetic forms such as the ballade or sestina.
  • Ghazal
  • Octave: an 8-line stanza or poem.
  • Ottava rima: an Italian stanza of eight 11-syllable lines, with a rhyme scheme of "abababcc."
  • Quatorzain
  • Quatrain: a 4-line poem or stanza
  • Quintain
  • Rhyme royal: a stanza of seven 10-syllable lines, rhyming "ababbcc."
  • Sapphic
  • Sestain
  • Sestet: a 6-line stanza
  • Spenserian: consists of 9 lines in total—8 iambic-pentameter lines and a final alexandrine—with a rhyme scheme of "ababbcbcc."
  • Tercet (or triplet): a unit of three lines, rhymed ("aaa") or unrhymed, often repeating like the couplet.
  • Triolet: an 8-line stanza with only two rhymes, repeating the 1st line as the 4th and 7th lines, and the 2nd line as the 8th ("ABaAabAB").
  • Terza rima: an Italian stanzaic form consisting of tercets with interwoven rhymes ("aba bcb ded efe...").

Genres

Genres by structure

  • Fixed form (French: forme fixe): the three 14th- and 15th-century French poetic forms:
    • Ballade: three 8-line stanzas ("ababbcbC") and a 4-line envoi ("bcbC"). The last line of the first stanza is repeated verbatim at the end of subsequent stanzas and the envoi. Example: Algernon Charles Swinburne’s translation “Ballade des Pendus” by François Villon.[1]
    • Rondeau: a mainly octosyllabic poem consisting of between 10 and 15 lines and 3 stanzas. It has only 2 rhymes, with the opening words used twice as an un-rhyming refrain at the end of the 2nd and 3rd stanzas.
    • Virelai
  • Found poem: a prose text or texts reshaped by a poet into quasi-metrical lines.
  • Haiku: a type of short poem, originally from Japan, consisting of three lines in a 5, 7, 5 syllable pattern.[2]
  • Lekythion: a sequence of seven alternating long and short syllables at the end of a verse.
  • Landay: a form of Afghani folk poetry that is composed as a couplet of 22 syllables.
  • Mukhammas
  • Pantoum: a Malaysian verse form adapted by French poets comprising a series of quatrains, with the 2nd and 4th lines of each quatrain repeated as the 1st and 3rd lines of the next. The 2nd and 4th lines of the final stanza repeat the 1st and 3rd lines of the first stanza.
  • Pastiche
  • Prose: a prose composition that is not broken into verse lines, instead expressing other traits such as symbols, metaphors, and figures of speech.
  • Rondel (or roundel): a poem of 11 to 14 lines consisting of 2 rhymes and the repetition of the first 2 lines in the middle of the poem and at its end.
  • Sonnet: a poem of 14 lines using any of a number of formal rhyme schemes; in English, they typically have 10 syllables per line.
    • Caudate sonnet
    • Crown of sonnets (aka sonnet redoublé)
    • Curtal sonnet
    • Petrarchan (or Italian): traditionally follows the rhyme scheme "abba, abba, cdecde"; a common variation of the end is "cdcdcd", especially within the final 6 lines
    • Shakespearean (or English): follows the rhyme scheme abab, cdcd, efef, gg, introducing a third quatrain (grouping of four lines), a final couplet, and a greater amount of variety with regard to rhyme than is usually found in its Italian predecessors. By convention, sonnets in English typically use iambic pentameter, while in the Romance languages, the hendecasyllable and Alexandrine are the most widely used meters.
    • Sonnet sequence
    • Spenserian sonnet
  • Sijo
  • Stichic: a poem composed of lines of the same approximate meter and length, not broken into stanzas.
  • Syllabic: a poem whose meter is determined by the total number of syllables per line, rather than the number of stresses.
  • Tanka: a Japanese form of five lines with 5, 7, 5, 7, and 7 syllables—31 in all.
  • Villanelle: a French verse form consisting of five 3-line stanzas and a final quatrain, with the first and third lines of the first stanza repeating alternately in the following stanzas.

Genre by form/presentation

  • Abecedarian: a poem in which the first letter of each line or stanza follows sequentially through the alphabet.[1]
  • Acrostic: a poem in which the first letter of each line spells out a word, name, or phrase when read vertically. Example: “A Boat beneath a Sunny Sky” by Lewis Carroll.
  • Concrete (aka pattern): a written poem or verse whose lines are arranged as a shape/visual image, usually of the topic.
  • Slam
  • Sound
  • Spoken-word
  • Verbless poetry: a poem without verbs

Thematic genres

Movements

Other poetic devices

  • Allusion: a brief, intentional reference to a historical, mythic, or literary person, place, event, or movement; in other words, a figure of speech using indirect reference."[1]
  • Anacrusis: brief introduction.
  • Anaphora: the repetition of a word or words at the beginning of successive phrases, clauses, or lines to give emphasis.[1]
  • Apostrophe: an address to a dead or absent person, or personification as if that person were present. Example: "O Captain! My Captain!" by Walt Whitman.[1]
  • Blason: describes the physical attributes of a subject, usually female.[1]
  • Circumlocution: a roundabout wording. Example: In "Kubla Khan" by Samuel Taylor Coleridge—“twice five miles of fertile ground” (i.e., 10 miles).
  • Epistrophe (aka epiphora): the repetition of a word or expression at the end of successive phrases or verses.
  • Epizeuxis: the immediate repetition of a word or phrase for emphasis.
  • Metaphor: a rhetorical figure of speech marked by implicit comparison, rather than direct or explicit comparison like in a simile. In a metaphor, the tenor is the subject to which attributes are ascribed (i.e., the target); the vehicle is the subject from which the attributes are derived/borrowed (i.e., the source); and ground is the shared properties between the two.[3][4]
    • Conceit: a typically unconventional, logically complex, or surprising metaphor whose appeal is more intellectual than emotional.[1]
    • Extended metaphor (aka sustained metaphor): the exploitation of a single metaphor or analogy at length through multiple linked tenors and vehicles throughout a poem.[5]
      • Allegory: an extended metaphor in which the characters, places, and objects in a narrative carry figurative meaning. Often, the meaning of an allegory is religious, moral, or historical in nature. Example: "The Faerie Queene" by Edmund Spenser.[1]
  • Periphrasis: the usage of multiple separate words to carry the meaning of prefixes, suffixes or verbs.
  • Objective correlative
  • Simile: a figure of speech that directly/explicitly compares two things.
  • Syzygy: the combination of 2 metrical feet into a single unit, similar to an elision.

Theory

See also

References

  1. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 "Glossary of Poetic Terms". Poetry Foundation. 2021-03-03. Retrieved 2021-03-04.
  2. ↑ Lanoue, David G. Issa, Cup-of-tea Poems: Selected Haiku of Kobayashi Issa, Asian Humanities
  3. ↑ Richards, I.A. (2001). Principles of Literary Criticism. Psychology Press. ISBN 0415254027.
  4. ↑ Cuddon, J. A. (1998) "Tenor and vehicle." In A Dictionary of Literary Terms and Literary Theory (4th ed.). Oxford & Malden, MA: Blackwell. p. 904
  5. ↑ "Extended metaphor". ChangingMinds.org. Retrieved 2 November 2012.

Further reading

  • M. H. Abrams. A Glossary of Literary Terms. Thomson-Wadsworth, 2005. ISBN 1-4130-0456-3.
  • Chris Baldick. The Concise Oxford Dictionary of Literary Terms. Oxford Univ. Press, 2001. ISBN 0-19-280118-X.
  • —— The Concise Dictionary of Literary Terms. Oxford Univ. Press, 2004. ISBN 0-19-860883-7.
  • Edwin Barton & G. A. Hudson. Contemporary Guide To Literary Terms. Houghton-Mifflin, 2003. ISBN 0-618-34162-5.
  • Mark Bauerlein. Literary Criticism: An Autopsy. Univ. of Pennsylvania Press, 1997. ISBN 0-8122-1625-3.
  • Karl Beckson & Arthur Ganz. Literary Terms: A Dictionary. Farrar, Straus and Giroux, 1989. ISBN 0-374-52177-8.
  • Peter Childs. The Routledge Dictionary of Literary Terms. Routledge, 2005. ISBN 0-415-34017-9.
  • J. A. Cuddon. The Penguin Dictionary of Literary Terms and Literary Theory. Penguin Books, 2000. ISBN 0-14-051363-9 .
  • Dana Gioia. The Longman Dictionary of Literary Terms: Vocabulary for the Informed Reader. Longman, 2005. ISBN 0-321-33194-X.
  • Sharon Hamilton. Essential Literary Terms: A Brief Norton Guide with Exercises. W. W. Norton, 2006. ISBN 0-393-92837-3.
  • William Harmon. A Handbook to Literature. Prentice Hall, 2005. ISBN 0-13-134442-0.
  • X. J. Kennedy, et al. Handbook of Literary Terms: Literature, Language, Theory. Longman, 2004. ISBN 0-321-20207-4.
  • V. B. Leitch. The Norton Anthology of Theory and Criticism. W. W. Norton, 2001. ISBN 0-393-97429-4.
  • John Lennard, The Poetry Handbook. Oxford Univ. Press, 1996, 2005. ISBN 0-19-926538-0.
  • Frank Lentricchia & Thomas McLaughlin. Critical Terms for Literary Study. Univ. of Chicago Press, 1995. ISBN 0-226-47203-5.
  • David Mikics. A New Handbook of Literary Terms. Yale Univ. Press, 2007. ISBN 0-300-10636-X.
  • Ross Murfin & S. M. Ray. The Bedford Glossary of Critical and Literary Terms. Bedford/St. Martin's, 2006. ISBN 0-312-25910-7.
  • John Peck & Martin Coyle. Literary Terms and Criticism. Palgrave Macmillan, 2002. ISBN 0-333-96258-3.
  • Edward Quinn. A Dictionary of Literary And Thematic Terms. Checkmark Books, 2006. ISBN 0-8160-6244-7.
  • Lewis Turco. The Book of Literary Terms: The Genres of Fiction, Drama, Nonfiction, Literary Criticism, and Scholarship. Univ. Press of New England, 1999. ISBN 0-87451-955-1.
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