| The repetition of identical consonant sounds, most often the sounds beginning words, in close proximity. Example: pensive poets |
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| Unacknowledged reference and quotations that authors assume their readers will recognize. |
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| unstressed unstressed stressed. |
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| Repetition of the same word or phrase at the beginning of a line throughout a work or the section of a work. |
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| A narrative poem composed of quatrains (iambic tetrameter alternating with iambic trimeter) rhyming x-a-x-a. Ballads may use refrains. Examples: "Jackaroe," "The Long Black Veil" |
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| A type of poem, derived from the theater, in which a speaker addresses an internal listener or the reader. |
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| "seize the day." Poetry concerned with the shortness of life and the need to act in or enjoy the present. Example: Herrick’s "To the Virgins to Make Much of Time" |
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| exaggeration for effect |
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| An elaborate and extended metaphor or simile that links two apparently related fields or subjects in an unusual and surprising conjunction of ideas. |
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| A short but definite pause used for effect within a line of poetry. |
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| The first eight lines of an Italian or Petrarchan sonnet, unified by rhythm, rhyme, and topic. |
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| A fourteen-line poem written in iambic pentameter, composed of three quatrains and a couplet rhyming abab cdcd efef gg |
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| A four-line stanza or poetic unit. |
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| A sonnet (14 lines of rhyming iambic pentameter) that divides into an octave (8) and sestet (6) |
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| stressed unstressed unstressed |
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| two unstressed feet (an "empty" foot) |
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| stressed unstressed |
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| unstressed stressed |
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| unrhymed iambic pentameter. |
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| Words that seem to rhyme because they are spelled identically but pronounced differently. Example: bear/fear, dough/cough/through/bough |
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