8/10/2019 Alexandrine

1/6

alexandrine a line of twelve syllables; the standard metre of French poetry. The equivalent inEnglish verse is the iambic hexameter . That like / a wound / ed snake / drags its / slow length / along /

anapaest a metrical foot consisting of two unstressed syllables and one stressed, indicatedthus ~ ~ / ~ ~ / ~ ~ / I am mon / arch of all / I sur vey /

ballad fundamentally a song that tells a story. The folk ballad is traditionally ananonymous poem that has been passed on through oral tradition (spoken aloudor sung) from generation to generation or by travelling entertainers like bards orminstrels. A literary ballad is one that is not anonymous, but is written down by apoet as it is composed, and is not necessarily meant to be sung.Most ballads tend to follow these elements: the beginning is often abrupt; thelanguage is usually simple; the story is told through dialogue and action; thetheme is often tragic; and there is often a refrain, or chorus.

ballad stanza a quatrain in alternately four- and three-stress iambic lines, with the rhymescheme abcb or, less frequently, abab. When the same stanza occurs in hymns,it is called common measure or English hymnal.

blank verse Lines of iambic pentameter which are unrhymed (hence "blank"). Not to beconfused with free verse. See also heroic couplet

caesura a break or pause within a line of poetry, dictated by the natural rhythm of thelanguage and usually (but not always) indicated by a punctuation mark. If nearthe beginning of the line, the break is called an initial caesura; if near the middle,medial ; if near the end, terminal.

catalexis omission of the last syllable or syllables in a regular metrical line; most oftendone in trochaic or dactylic verse to avoid monotony (see this example).

clerihew a four line stanza of two couplets, witty, deft and epigrammatic. Thus:Cecil B. de MilleRather against his willWas persuaded to leave MosesOut of the Wars of the Roses

closed couplet two metrical lines whose sense and grammatical structure conclude at the end ofthe second line. See also open couplet.

dactyla metrical foot consisting of one stressed syllable followed by two unstressed:

/ ~ ~ / ~ ~ / ~ ~ Mourn fully, / lift her up / ten derly /

dramatic monologue

http://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#metrehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#metrehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#metrehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#hexameterhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#hexameterhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#hexameterhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#foothttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#foothttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#foothttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#stanzahttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#stanzahttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#stanzahttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#rhyme%20schemehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#rhyme%20schemehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#rhyme%20schemehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#rhyme%20schemehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambic%20pentameterhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambic%20pentameterhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambic%20pentameterhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#free%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#free%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#free%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#heroic%20couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#heroic%20couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#heroic%20couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#trocheehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#trocheehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#trocheehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#open_couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#open_couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#open_couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#foothttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#foothttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#foothttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#foothttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#open_couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#trocheehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#heroic%20couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#free%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambic%20pentameterhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#rhyme%20schemehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#rhyme%20schemehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#stanzahttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#foothttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#hexameterhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#metre

8/10/2019 Alexandrine

2/6

a kind of lyric poem in which a single fictional or historical character other thanthe poet speaks to a silent audience of one or more persons. Such poemsreveal not the poets own thoughts but the mind of the impersonated character,whose personality is revealed unwittingly: this distinguishes a dramaticmonologue from a lyric, while the implied presence of an auditor distinguishes it

from a soliloquy.There are many major examples of this form in English, including Brownings MyLast Duchess, T. S. Eliots The Love Song of J. Alfred Prufrock, and Carol AnnDuffys The Captain of the 1964 Top of the Form team and Havisham.

end-stopped lines

those where the sense and the metre come together in a slight pause at the endof the line, allowing a moment for assimilation

enjambement occurs when the sense of a line of verse runs on into the next line without a

grammatical break. Such a line is known as a run-on lineepic poem usually very long (of several thousand lines). It relates the story of a hero and hisstruggle against impossible odds.This is one of the oldest forms of poetry, and was usually recited orally byprofessional storytellers or singers over several nights, often at a court orfeasting table.Common features of the epic poem include: a central figure of heroic calibre;perilous journeys; various misadventures; a strong element of the supernatural;fairly long passages of narrative or dialogue; elaborate greetings; epic similesand a lofty tone

feminine ending an extra unstressed syllable at the end of a line of verse. Common in blankverse.

feminine rhyme rhyme consisting of words of two syllablesa stressed syllable followed by anunstressed syllable. For example,

foll ow / holl ow; mend ing / send ing; ri ver / sli ver

foot The unit of metre in verse. A foot is the combination of a strong stress and theassociated weak stress or stresses which make up the recurrent metric unit of aline.The commonest feet in English prosody are: iamb, trochee, dactyl and anapaest,in that order.There are four feet in Journeys/ end in/ lovers/ meeting s

free verse or vers libre has no regular metre, line length or rhyme, and often depends on natural speechrhythms.Not to be confused with blank verse , which has a definite structure.

haiku

http://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#lyrichttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#lyrichttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#lyrichttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#blank%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#blank%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#blank%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#blank%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#metrehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#metrehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#metrehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#blank%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#blank%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#blank%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#blank%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#metrehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#blank%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#blank%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#lyric

8/10/2019 Alexandrine

3/6

a Japanese verse form, consisting of seventeen syllables in three lines of five,seven and five syllables respectively. Such a poem expresses a single idea,image or feeling. The Japanese poet BASH (1644-94) was an especially gifteduser of the form.

heroic couplet

rhymed decasyllables, nearly always in iambic pentameters rhymed in pairs: oneof the commonest metrical forms in English poetry but of uncertain origin.Chaucer was the first poet to make extensive and successful use of this verseform. The 15th century poets used the couplet occasionally, but it did not becomefirmly established until the 16th and 17 th century. See open couplet, closedcouplet.

hexameter

a line of six verse feet. (an alexandrine is a line of six iambic feet.)

iamb a metrical foot consisting of one unstressed syllable and one stressed one:

~ / ~ / ~ / ~ /As mar ket days are wear ing late .

iambic pentameter a line of five iambic feet :

~ / ~ / ~ / ~ / ~ /

The cur / few tolls / the knell / of part / ing day /

lyric a particular kind of poem, usually not longer than 50 or 60 lines, and often onlybetween a dozen and thirty lines. It usually expresses the feelings and thoughtsof a single speaker (not necessarily the poet himself) in a personal andsubjective fashion. The range and variety of lyric verse is immense, and lyricpoetry, which is to be found in all literatures, comprises the bulk of all poetry.

masculine rhyme rhyme consisting of single stressed syllables For example,Core / bore / store; Heat / seat / feet

metre the pattern of stressed and unstressed syllables in verse. In English verse, metreis based upon stresses, rather than the number of syllables. The unit of metre isthe foot.

narrative verse a narrative poem tells a story. The three main kinds are ballad , metricalromance and epic , but there are very many narrative poems which cannot beeasily classified.

ode

a lyric poem, usually of some length. The main features are an elaborate stanza -structure, a marked formality and stateliness in tone and style, and lofty

http://www.geocities.com/Tokyo/Island/5022/bashobio.htmlhttp://www.geocities.com/Tokyo/Island/5022/bashobio.htmlhttp://www.geocities.com/Tokyo/Island/5022/bashobio.htmlhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#open_couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#open_couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#open_couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#closed_couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#closed_couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#closed_couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#closed_couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambhttp://www.thorns.info/Theory/metre.htmlhttp://www.thorns.info/Theory/metre.htmlhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#foothttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#foothttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#foothttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#balladhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#balladhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#balladhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#epic%20poemhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#epic%20poemhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#epic%20poemhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#stanzahttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#stanzahttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#stanzahttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#stanzahttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#epic%20poemhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#balladhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#foothttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#versehttp://www.thorns.info/Theory/metre.htmlhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#closed_couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#closed_couplethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#open_couplethttp://www.geocities.com/Tokyo/Island/5022/bashobio.html

8/10/2019 Alexandrine

4/6

sentiments and thoughts. Two basic kinds can be distinguished: the public orPindaric ode , used for ceremonial occasions like funerals, birthdays and stateevents, and the private or Horatian ode , which celebrates intense, personaloccasions and is inclined to be reflective.

open couplet a couplet in which the sense is not completed in the second line, but which iscarried forward into the third or fourth line, or (rarely) several.

pararhyme the repetition of the final consonant sound but without the correspondence of thefinal vowel sound.

pentameter a line of five verse feet:

Great gifts / are guiles / and look / for gifts / a gain persona

the assumed identity or fictional I ... assumed by a writer in a literary work; thusthe speaker in a lyric poem, or the narrator in a fictional narrative. In a dramaticmonologue, the speaker is evidently not the real author but an invented orhistorical character. Many modern critics, though, insist further that the speakerin any poem should be referred to as the persona to avoid the unreliableassumption that we are listening to the true voice of the poet. One reason for thisis that a given poet may write different poems in which the voices are of distinctkinds; another is that the identification of the speaking voice with that of the realpoet would confuse imaginative composition with autobiography.

Petrarchan sonnet

This, the most common type of sonnet , consists of an octave (eight lines)rhymingabbaabba and a sestet (six lines) rhymingcdecde or cdcdcd , or in anycombination except a rhyming couplet. This octave develops a thought, and thesestet is a comment on it, a completion of it, or a volta ('turn') on the idea.This form is also called the Italian sonnet.

poetic diction usually refers to that rather particular kind of language and artificial arrangementemployed by many poets in the 18th C, who were guided by the theory andpractice of neoclassicism.

quatrain a stanza of four lines, rhymed or unrhymed. The commonest of all stanzaic forms

in European poetry. Most rhyming quatrains fall into the following patterns:abab, xbyb , aabb , abba or aaxa rhopalic

Having each succeeding unit in a poetic structure longer than the preceding one. Applied to a line, it means that each successive word is a syllable longer that itspredecessor. Applied to a stanza, each successive line is longer by either asyllable or a metrical foot. Rhopalic verse is also called wedge verse.Hi,

http://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#sonnethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#sonnethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#sonnethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#stanzahttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#stanzahttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#stanzahttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#stanzahttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#sonnet

8/10/2019 Alexandrine

5/6

WelcomeTo our home.

run-on line see enjambment

rhyme

the identity, in rhyming words, of the last stressed vowel and of all the speechsounds following that vowel:l a te / f a te ; f o llow / h o llow See also rhyme scheme .

Shakespearean sonnet a fourteen line poem in iambic pentameters (with subtle variations on the iambicpattern) consisting of three quatrains (four lines each), each quatrain with adifferent idea building upon the one before it, and a couplet (two lines), with theconclusion. The rhyme scheme is normallyabab cdcd efef gg or abab cddceffe gg .This type of sonnet is so named because Shakespeare was its most prolificpractitioner. It is also referred to as the English sonnet.

sonnet a lyric poem of fourteen lines in iambic pentameter . The sonnet, in its Petrarchan form, came into the English language via SirThomas Wyatt and the Earl of Surrey early in the 16th century. Surrey establishedthe English rhyming scheme abab cdcd efef gg that was the most used form ofthe sonnet in England until the later 16thC.

speaker (of a narrative poem) corresponds to the narrator of a prose passage.

Spenserian sonnet A variant of the English sonnet, developed by and named after Edmund Spenser;in which each quatrain is linked to the next by a continuous rhyme:abab bcbccdcd ee

stanza a group of lines of verse. It may be of any number but more than twelve isuncommon; four is the commonest. A stanza pattern is determined by thenumber of lines, the number of feet in each line, and the metrical and rhymingschemes . See also verse paragraph and verset.

stichic poetry (pronounced "stikik) ; a form of poetry where an indefinite number of lines followon continuously without being broken into stanzas; often used for long narrativepoems.

strophe one of two or more metrically corresponding series of lines forming divisions of alyric poem. Hence occasionally used with reference to modern poetry asequivalent to stanza.

strophic poetry poetry where the lines are arranged into stanzas. Don't use this term in youranalysis, because it really isn't helpful!

tetrameter

http://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#enjambementhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#enjambementhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#enjambementhttp://www.thorns.info/Theory/rhyme.htmlhttp://www.thorns.info/Theory/rhyme.htmlhttp://www.thorns.info/Theory/rhyme.htmlhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambic%20pentameterhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambic%20pentameterhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambic%20pentameterhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#rhyme%20schemehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#rhyme%20schemehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#rhyme%20schemehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#sonnethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#sonnethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#sonnethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#lyrichttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#lyrichttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#lyrichttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambic%20pentameterhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambic%20pentameterhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambic%20pentameterhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#sonnethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#sonnethttp://www.thorns.info/Theory/stanza.htmlhttp://www.thorns.info/Theory/stanza.htmlhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#foothttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#foothttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#foothttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#rhyme%20schemehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#rhyme%20schemehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#rhyme%20schemehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#rhyme%20schemehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#verse%20paragraphhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#verse%20paragraphhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#verse%20paragraphhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#versethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#versethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#versethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#versethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#verse%20paragraphhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#rhyme%20schemehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#rhyme%20schemehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#foothttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#versehttp://www.thorns.info/Theory/stanza.htmlhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#sonnethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambic%20pentameterhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#lyrichttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#sonnethttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#rhyme%20schemehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#iambic%20pentameterhttp://www.thorns.info/Theory/rhyme.htmlhttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#enjambement

8/10/2019 Alexandrine

6/6

a line of four verse feet.trochee

a metrical foot consisting of one stressed syllable followed by an unstressed / ~ / ~ / ~ /~

Fare thee / well ! and / if for / ev er

Most trochaic lines lack the final syllable the technical term for this iscatalectic thus:

/ ~ / ~ / ~ /Ti ger! / Ti ger! / burn ing / bright

/ ~ / ~ / ~ /In the / fo rest / of the / night

verse properly, a composition written in metre -in other words, poetry.It is also the name given to a group of lines of a hymn, and is popularly misusedfor stanza .

verse paragraph a group of lines (often in blank verse ) which forms a unit. Milton was good atthese!

verset several long lines forming a group or "paragraph", being characterised by astrong rhythm and many figurative and rhetorical devices. Found in the poetry ofT S Eliot, D H Lawrence and Walt Whitman, among others.

villanelle the standard form is five three-lined stanzas (tercets ) and a final quatrain; the firstand third lines of the first tercet recur alternately in the following stanzas as arefrain and form a final couplet. For example, 'Do Not Go Gentle Into That GoodNight' by Dylan Thomas.

http://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#catalexishttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#catalexishttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#stanzahttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#stanzahttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#stanzahttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#blank%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#blank%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#blank%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#blank%20versehttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#stanzahttp://homepage.ntlworld.com/chris.thorns/theory/poetic_terms.html#catalexis