1.The Heroic Couplet: consists of. two iambic pentameters ( lines of ten. 2. The Terza Rima: is a tercet (a. 3.The Chaucerian Stanza or Rhyme
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1 Stanza Forms 1.The Heroic Couplet: consists of two iambic pentameters ( lines of ten syllables) 2. The Terza Rima: is a tercet (a stanza of three lines) 3.The Chaucerian Stanza or Rhyme Royal: is a stanza of seven lines in iambic pentameter rhyming ababbcc
2 4. The Ottava Rima: is a stanza of eight lines in iambic pentameters. 5. The Spenserian stanza: is a stanza of nine lines. 6. The Quatrain Stanza :is a stanza of four lines. It is the most common stanza in English versification, and is employed with various meters and rhyme schmes. 7. A Sestet Stanza: is a stanza of six lines 8. Aquintette : five-lines stanza.
3 9.Septette: sevenlines stanza. 3.Tone: the author's attitude towards the subject matter. Tone can revealed through literary elements such as setting, dialogue, conflict, and plot. 4.Mood: the feeling created in the reader by a literary work or passage. The mood maybe suggested by the writer's choice of words, by events in the work, or by physical setting.
4 5.Poetic Voice: the speaker of the poem. In many cases the poetic voice may be the speaker poet's, but it may be that the words of the poem are 'spoken' through a character that the poet has created or a narrator figure other than the poet. 6. Rhyme: repetition of an identical or similarly accented sound or sounds in a work. Or exact repetition of sounds in at least the final
5 accented syllables of two or more words. 7. Rhythm: the arrangement of stressed and unstressed syllables in speech or writing. Rhythm or Meter may be regular, ta Dum, ta Dum, ta Dum, or it may vary within a line or work. The four most common meters are (IAMB) or iambus (-/), Trochee (/ -),Anapaest (-- /), and Dactyl(/ -)
6 1. Imagery: Words and phrases that describe something in a way that creates pictures, or images, that appeal to the reader's senses. Most images tend to be visual, though many writers will also use words that suggest the way things sound, smell, taste, or feel to the touch.
7 Meeting at Night As I gain the cove with pushing prow, And quench its speed i' the slushy sand The Gray sea and the long black land; And the yellow half-moon large and low; And the startled little waves that leap In fiery ringlets from their sleep Then a mile of warm sea-scented beach; Three fields to cross till a farm appears; A tap at the pane, the quick sharp And blue spurt of a lighted match And a voice less loud, through its joys and fears,
8 Than the two hearts beating each to each The poem: Meeting at Night is a poem about love. It makes, one say, a number of statements about love: being in love is a sweet and exciting experience; when one is in love everything seems beautiful, and the most trivial
9 things become significant; when one is in love one s beloved seems the most important thing in the world. But the poet actually tells us none of these things directly. He does not even use the word love in his poem. His business is to communicate experience, not information. He does this largely in two ways. First, he presents us with specific situation, in which a lover s journey so vividly in terms of sense impressions that the
10 reader virtually sees and hears what the lover saw and heard and seems to share his anticipation and excitement. Every line in the poem contains some image, some appeal to the senses: the Gray sea, the long black land, the yellow half-moon, the startled little waves with their fiery ringlets, the blue spurt of the lighted match- all appeal to our sense of sight and convey not only shape but
11 also colour and motion. The warm sea- scented beach appeals to the senses of both smell and touch. The pushing prow of the boat on the slushy sand, the tap at the pane, the quick scratch of the match, the low speech of the lovers, and the sound of their hearts beating- all appeal to sense of hearing. In general, the poet will seek concrete or image-bearing words in preference to abstract or non image- bearing words
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