AP Poetry Terms Flashcards

1
Q

the repetition of identical or similar consonant sounds, normally at the beginning of words. EX. Gnus never know pneumonia.

A

Alliteration

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2
Q

a reference in a work of literature to something outside the work, especially to a well-known historical or literary event, person, or work. EX: Love story by Taylor Swift

A

allusion

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3
Q

a figure of speech characterized by strongly contrasting words, clauses, sentences, or ideas, as in: Man proposes; God disposes. A balancing of one term against another for emphasis or stylistic effectiveness. The second line of the following couplet by Alexander Pope is an example of antithesis:
The hungry judges soon the sentence sign,
And wretches hang that jury-men may dine.

A

antithesis

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4
Q

a figure of speech in which someone (usually, but not always absent), some abstract quality, or a nonexistent personage is directly addressed as though present. Following are two examples:
Papa Above!
Regard a Mouse.
-Emily Dickinson
Milton! Thou shouldst be living in this hour;
England hath need of thee . . ..
-William Wordsworth

A

apostrophe

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5
Q

the repetition of identical or similar vowel sounds.
A land laid waste with all its young men slain repeats the same “a” sound in “laid,” “waste,” and “slain.”

A

assonance

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6
Q

a four-line stanza rhymed abcd with four accented syllables in lines one and three and three accented syllables in lines two and four.
O mother, mother make my bed.
O make it soft and narrow.
Since my love died for me today,
I’ll die for him tomorrow.

A

ballad meter

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7
Q

unrhymed iambic pentameter. The meter of most of Shakespeare’s plays, as well as that of Milton’s Paradise Lost.

A

blank verse

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8
Q

a harsh, unpleasant combination of sounds or tones. It may be an unconscious flaw in the poet’s music, resulting in harshness of sound or difficulty of articulation, or it may be used consciously for effect, as Browning and Eliot often use it. See, for example, the following line from Browning’s “Rabbi Ben Ezra”:

A

cacophony

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9
Q

a pause, usually near the middle of a line of verse, usually indicated by the sense of the line, and often greater than the normal pause. For example, one would naturally pause after “human” in the following line from Alexander Pope:
To err is human, to forgive divine.

A

caesura

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10
Q

an ingenious and fanciful notion or conception, usually expressed through an elaborate analogy, and pointing to a striking parallel between two seemingly dissimilar things. May be a brief metaphor, but it also may form the framework of an entire poem.

A

conceit

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11
Q

the repetition of similar consonant sounds in a group of words. The term usually refers to words in which the ending consonants are the same but the vowels that precede them are different. Found in the following pairs of words: “add” and “read,” “bill and ball,” and “born” and “burn.”

A

consonance

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12
Q

a two-line stanza, usually with end-rhymes the same.

A

couplet

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13
Q

the techniques of deploying the sound of words, especially in poetry. Among devices of sound are rhyme, alliteration, assonance, consonance, and onomatopoeia. The
devices are used for many reasons, including to create a general effect of pleasant or of discordant sound, to imitate another sound, or to reflect a meaning.

A

devices of sound

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14
Q

the use of words in a literary work. may be described as formal, informal, colloquial, or slang.

A

diction

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15
Q

a poem which is intended primarily to teach a lesson.

A

didactic poem

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16
Q

a poem which employs a dramatic form or some element or elements of dramatic techniques as a means of achieving poetic ends. The dramatic monologue is an example.

A

dramatic poem

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17
Q

a sustained and formal poem setting forth the poet’s meditations upon death or another solemn theme.

A

elegy

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18
Q

a line with a pause at the end. Lines that end with a period, a comma, a colon, a semicolon, an exclamation point, or a question mark are end-stopped lines.
EX: True ease in writing comes from Art, not Chance,
As those move easiest who have learn’d to dance.

A

end-stopped

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19
Q

the continuation of the sense and grammatical construction from one line of poetry to the next.

A

enjambment

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20
Q

an implied analogy, or comparison, which is carried throughout a stanza or an entire poem.

A

extended metaphor

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21
Q

a style in which combinations of words pleasant to the ear predominate. Its opposite is cacophony.
Ex:
Its loveliness increases; it will never
Pass into nothingness; but still will keep
A bower quiet for us, and a sleep
Full of sweet dreams, and health, and quiet breathing.

A

euphony

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22
Q

rhyme that appears correct from spelling, but is half-rhyme or slant rhyme from the pronunciation. Examples include “watch” and “match,” and “love” and “move.”

A

eye rhyme

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23
Q

a rhyme of two syllables, one stressed and one unstressed, as “waken” and “forsaken” and “audition” and “rendition.” Sometimes called double rhyme.

A

feminine rhyme

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24
Q

writing that uses figures of speech (as opposed to literal language or that which is actual or specifically denoted) such as metaphor, irony, and simile.

A

figurative language

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25
poetry which is not written in a traditional meter but is still rhythmical.
free verse
26
two end-stopped iambic pentameter lines rhymed aa, bb, cc with the thought usually completed in the two-line unit. Example from Alexander Pope’s “Rape of the Lock”: But when to mischief mortals bend their will, How soon they find fit instruments of ill!
heroic couplet
27
a deliberate, extravagant, and often outrageous exaggeration. It may be used for either serious or comic effect.
hyperbole
28
the images of a literary work; the sensory details of a work; the figurative language of a work. You should look especially carefully at the sensory details and the metaphors and similes of a passage.
imagery
29
the contrast between actual meaning and the suggestion of another meaning. Likely to be confused with sarcasm, but it differs in that it is usually lighter, less harsh in its wording though in effect probably more cutting because of its indirectness.
irony
30
rhyme that occurs within a line, rather than at the end.
internal rhyme
31
any short poem that presents a single speaker who expresses thoughts and feelings. Love topics are common. Sonnets and odes fall in this category.
lyric poem
32
rhyme that falls on the stressed and concluding syllables of the rhyme words. Examples include “keep” and “sleep,” “glow” and “no,” and “spell” and “impel.”
masculine rhyme
33
a figurative use of language in which a comparison is expressed without the use of a comparative term like “as,” “like,” or “than.”
metaphor
34
the repetition of a regular rhythmic unit in a line of poetry. Each unit is known as a foot.
meter
35
a figure of speech which is characterized by the substitution of a term naming an object closely associated with the word in mind for the word itself. In this way we commonly speak of the king as the “crown,” an object closely associated with kingship.
metonymy
36
the mingling of one metaphor with another immediately following with which the first is incongruous. Lloyd George is reported to have said, “I smell a rat. I see it floating in the air. I shall nip it in the bud.”
mixed metaphors
37
a non-dramatic poem which tells a story or presents a narrative, whether simple or complex, long or short. Ex: epics and ballads
narrative poem
38
an eight-line stanza. Refers to the first division of an Italian sonnet.
octave
39
the use of words whose sound suggests their meaning. Examples are “buzz,” “hiss,” or “honk.”
onomatopoeia
40
a form of paradox that combines a pair of contrary terms into a single expression. This combination usually serves the purpose of shocking the reader into awareness. Examples include “wise fool,” “sad joy,” and “eloquent silence.”
oxymoron
41
a situation or action or feeling that appears to be contradictory but on inspection turns out to be true or at least to make sense. Ex: Take me to you, imprison me, for I Except you enthrall me, never shall be free, Nor ever chaste, except you ravish me.
paradox
42
a similar grammatical structure within a line or lines of poetry. Ex: Asian poetry, Walt Whitman
parallelism
43
a restatement of an ideas in such a way as to retain the meaning while changing the diction and form. Often an amplification of the original for the purpose of clarity.
paraphrase
44
a kind of metaphor that gives inanimate objects or abstract ideas human characteristics.
personification
45
a group of syllables in verse usually consisting of one accented syllable and one or two unaccented syllables associated with it.
poetic foot
46
a play on words that are identical or similar in sound but have sharply diverse meanings.
pun
47
a four-line stanza with any combination of rhymes.
quatrain
48
a group of words forming a phrase or sentence and consisting of one or more lines repeated at intervals in a poem, usually at the end of a stanza.
refrain
49
close similarity or identity of sound between accented syllables occupying corresponding positions in two or more lines of verse. The vowels in the accented syllables must be preceded by different consonants, such as “fan” and “ran.”
rhyme
50
a seven-line stanza of iambic pentameter rhymed ababbcc, used by Chaucer and other medieval poets.
rhyme royal
51
the recurrence of stressed and unstressed syllables. Ends both pleasure and heightened emotional response to the listener or reader.
rhythm
52
a type of irony in which a person appears to be praising something but is actually insulting it. Its purpose is to injure or to hurt.
sarcasm
53
writing that seeks to arouse a reader’s disapproval of an object by ridicule. Usually comedy that exposes errors with an eye to correct vice and folly.
satire
54
a system for describing the meter of a poem by identifying the number and the type(s) of feet per line. monometer one foot per line dimeter two feet per line trimeter three feet per line tetrameter four feet per line pentameter five feet per line hexameter six feet per line heptameter seven feet per line octameter eight feet per line
scansion
55
a six-line stanza. Refers to the second division of an Italian sonnet.
sestet
56
a directly expressed comparison; a figure of speech comparing two objects, usually with “like,” “as,” or “than.”
simile
57
normally a fourteen-line iambic pentameter poem. Conventional Italian rhymed abba, abba, cde, cde; English or Shakespearean rhymed abab, cdcd, efef, gg; Spenserian rhymed abab bcbc cdcd,ee.
sonnet
58
usually a repeated grouping of three or more lines with the same meter and rhyme scheme.
stanza
59
the management of language for a specific effect.
strategy (or rhetorical strategy)
60
the arrangement of materials within a work; the relationship of the parts of a work to the whole; the logical divisions of a work.
structure
61
the mode of expression in language; the characteristic manner of expression of an author. Techniques: diction, syntax, figurative language, imagery, selection of detail, sound effects, and tone
style
62
something that is simultaneously itself and a sign of something else. For example, winter, darkness, and cold are real things, but in literature they are also likely to be used as symbols of death.
symbol
63
a form of metaphor which in mentioning a part signifies the whole. For example, we refer to “foot soldiers” for infantry and “field hands” for manual laborers who work in agriculture.
synecdoche
64
the ordering of words into patterns or sentences.
syntax
65
a stanza of three lines in which each line ends with the same rhyme.
tercet
66
a three-line stanza rhymed aba, bcb, cdc,etc.
terza rima
67
the main thought expressed by a work. In poetry, it is the abstract concept which is made concrete through its representation in person, action, and image in the work.
theme
68
the manner in which an author expresses his or her attitude; the intonation of the voice that expresses meaning.
tone
69
the opposite of hyperbole. It is a kind of irony that deliberately represents something as being much less than it really is. For example, Macbeth, having been nearly hysterical after killing Duncan, tells Lenox,:”Twas a rough night.”
understatement
70
a nineteen-line poem divided into five tercets and a final quatrain. The villanelle uses only two rhymes which are repeated as follows: aba, aba, aba, aba, aba, abaa. Line 1 is repeated entirely to form lines 6, 12, and 18, and line 3 is repeated entirely to form lines 9, 15, and 19; thus, eight of the nineteen lines are refrain. Dylan Thomas’s poem “Do Not Go Gentle Into That Good Night” is an example of a villanelle.
villanelle