English 28A

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dillydelgado13
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English 28A
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2014-03-17 12:58:00
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A compilation of literary term and poem identification
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  1. A variable literary genre characterized by rhythmical patterns of language. May contain: meter, syllabification, rhyme, alliteration, figurative language, and may bend normal conventions of speech.
    Poetry
  2. An arrangement of lines of verse in a pattern usually repeated throughout the poem. Each stanza has a fixed number of verses or lines, a prevailing meter, and a consistent rhyme scheme.
    Stanza
  3. A recognizable though varying pattern of stressed syllables alternating with syllables of less stress.Each unit of stress and unstressed syllables is called a "foot."
    Meter
  4. A lightly stressed syllable followed by a heavily stressed syllable.
    Iambic Meter
  5. Two light syllables followed by a stressed syllable
    Anapestic Meter
  6. A stressed followed by a light syllable
    Trochaic Meter
  7. A stressed syllable followed by two light syllables
    Dactylic Meter
  8. A lyric poem of fourteen lines, usually in iambic pentameter, with rhymes arranged according to certain definite patterns. It usually expresses a single, complete idea or thought with a reversal, twist, or change of direction in the concluding lines.
    Sonnet
  9. Has an eight line stanza (called an octave) followed by a six line stanza (called a sestet). The octave has two quatrains rhymingabba, abba, the first of which presents the theme, the second further develops it. In the sestet, the first three lines reflect on or exemplify the theme, while the last three bring the poem to a unified end. The sestet may be arranged cdecde, cdcdcd, or cdedce.
    Petrarchan/ Italian Sonnet
  10. Uses three quatrains; each rhymed differently, with a final, independently rhymed couplet that makes an effective, unifying climax to the whole. Its rhyme scheme is abab, cdcd, efef, gg. Typically, the final two lines follow a "turn" or a "volta," (sometimes spelled volte, likevolte-face) because they reverse, undercut, or turn from the original line of thought to take the idea in a new direction.
    Shakespearean Sonnet
  11. Is similar to the Petrarchan sonnet, but it does not divide its thought between the octave and the sestet--the sense or line of thinking runs straight from the eighth to ninth line. Also, Milton expands the sonnet's repertoire to deal not only with love as the earlier sonnets did, but also to include politics, religion, and personal matters.
    Miltonic Sonnet
  12. "Turn"; Sudden change in thought, direction, or emotion, near the conclusion of a sonnet, Followed by a couplet (English) or sestet (Italian)
    Volta
  13. Pattern of a rhyme
    Rhyme Scheme
  14. A figure of speech in which a term or phrase is applied to something to which it is not literally applicable in order to suggest a resemblence
    Metaphor
  15. Also called a metaphysical ____. An elaborate pr unusual comparison, especially using unlikely metaphors, simile, hyperbole, and contradiction.
    conceit
  16. The trope of exaggeration or overstatement
    hyperbole
  17. Using a contradiction in a manner that oddly makes sense on a deeper level. It reveals deeper truths to their contradiction
    Paradox
  18. Also called paradoxes
    Oxymoron
  19. A unit of foot of poetry that consists of lightly stressed syllable followed by a heavily stressed syllable
    Iamb
  20. If a line ends with a lightly stressed syllable. Or with 2 syllables
    Feminine Ending
  21. A period of cultural, technological, and artistic vitality during the economic expansion in Britain in the late 1500's-early 1600's
    Renaissance
  22. A Renaissance intellectual and artistic movement triggered by "rediscovery" of classical Greek and Roman language, culture, and literature.
    Humanism
  23. Also called Paranomasia- A play on two words similar in sound but different in meaning
    Pun
  24. A single phrase or word with different meaning
    Equivoque Pun
  25. Speaker uses a word one way, but a second speaker uses/responds using the word in a different way
    Asteismus Pun
  26. A rhetorical device or figure of speech involving shifts in the meaning of words. Also a short dialogue inserted into the Church mass during the early Middle Ages as a sort of mini-drama
    Trope
  27. Using vaguely suggestive physical objects to embody a more general idea: Crown for royalty
    Metonymy
  28. Using a part of a physical object to represent the whole object
    Synechdoche
  29. Giving human qualities to inanimate objects
    Personification
  30. Form of personification in which an inanimate object gains the ability to speak
    Prosopopoeia
  31. A form of compounding in Olrd Norse, and Germanic Poetry. The poet creates a new compound word or phrase to describe an object or activity. This compound uses mixed imagery (catachresis) to describe properties of the object in indirect, imaginative, or enigmatic ways; ie: Tramp-stamp, rug-rats, bible-thumpers.
    Kenning
  32. The Long Love, That in My Thought Doth Harbor
    Whoso List to Hunt
    Thomas Wyatt
  33. Love, that doth reign and live within my thought
    Henry Howard
  34. When I was Fair and Young
    Queen Elizabeth I
  35. Sonnet 1
    Sonnet 23 
    Sonnet 67
    Edmund Spenser
  36. Sonnet 1
    Sonnet 47
    Sonnet 63 
    (From Astrophil and Stella)
    Sir Philip Sidney
  37. Sonnet 29
    Sonnet 65
    Sonnet 135
    (From Sonnets)
    William Shakespeare
  38. A Valediction: Forbidding Mourning
    The Flea
    Sonnet 14
    (From Holy Sonnets)
    John Donne
  39. To the Lord General Cromwell
    John Milton
  40. An Horatian Ode
    Andrew Marvell
  41. The Prologue
    Anne Bradstreet
  42. The Spleen
    Anne Finch, Countess of Winchislea
  43. The Rights of Woman 
    To the Poor
    Anna Laetitia Barbauld
  44. To the Shade of Burns
    Charlotte Smith
  45. On Being Brought from Africa to America 
    Liberty and Peace
    Phillis Wheatly
  46. The Slave Trade
    Hannah More
  47. Songs of Innocence, "Holy Thursday (1)"
    The Little Black Boy 
    Songs of Experience "Holy Thursday (2)"
    London
    William Blake
  48. Repeating a consonant sound in close proximity to others, or beginning several words with the same vowel sound. For instance, the phrase "buckets of big blue berries" alliterates with the consonant b.
    Alliteration
  49. A special type of alliteration in which the repeated pattern of consonants is marked by changes in the intervening vowels--i.e., the final consonants of the stressed syllables match each other but the vowels differ.
    Consonance
  50. Repeating identical or similar vowels (especially in stressed syllables) in nearby words. Assonance in final vowels of lines can often lead to half-rhyme.
    Assonance
  51. Also spelled rime, rhyme is a matching similarity of sounds in two or more words, especially when their accented vowels and all succeeding consonants are identical.
    Rhyme
  52. Rhyme in which the last word at the end of each verse is the word that rhymes
    End Rhyme
  53. A poetic device in which a word in the middle of a line rhymes with a word at the end of the same metrical line.
    Internal Rhyme
  54. Rhymes that end with a heavy stress on the last syllable in each rhyming word. (1 syllable)
    Masculine Rhyme/ Masculine Ending
  55. A rhyme that involves two syllables rather than one.
    Double Rhyme/ Feminine Ending
  56. Exact rhyme or perfect rhyme is rhyming two words in which both the consonant sounds and vowel sounds match to create a rhyme.
    Full/ Perfect Rhyme
  57. Rhyming words that seem to rhyme when written down as text because parts of them are spelled identically, but which are pronounced differently from each other in modern English. Examples include forth/worth, come/home, bury/fury, stove/shove, or ear/bear
    Eye Rhyme
  58. Rhymes created out of words with similar but not identical sounds. In most of these instances, either the vowel segments are different while the consonants are identical, or vice versa.
    Slant/Partial/ Imperfect Rhyme
  59. A poem in which a poetic speaker addresses either the reader or an internal listener at length. It is similar to the soliloquy in theater, in that both a dramatic monologue and a soliloquy often involve the revelation of the innermost thoughts and feelings of the speaker. Two famous examples are Browning's "My Last Duchess" and "Soliloquy of the Spanish Cloister." Cf. interior monologue and monologue.
    Dramatic Monologue
  60. Plural, personae or personas; Latin,("mask"): An external representation of oneself which might or might not accurately reflect one's inner self, or an external representation of oneself that might be largely accurate, but involves exaggerating certain characteristics and minimizing others.
    Persona
  61. The implied author is distinguishable from the narrator in that the implied author does not recount events or dialogue, but instead is present through ideology
    Implied Author
  62. Poetry based on the natural rhythms of phrases and normal pauses rather than the artificial constraints of metrical feet. Commonly called vers libre in French (the English term first appears in print in 1908), this poetry often involves the counterpoint of stressed and unstressed syllables in unpredictable but clever ways. Do note that, within individual sections of a free verse poem, a specific line or lines may fall into metrical regularity. The distinction is that this meter is not sustained through the bulk of the poem.
    Free Verse
  63. (also called unrhymed iambic pentameter): Unrhymed lines of ten syllables each with the even-numbered syllables bearing the accents.
    Blank Verse
  64. A casual reference in literature to a person, place, event, or another passage of literature, often without explicit identification. Allusions can originate in mythology, biblical references, historical events, legends, geography, or earlier literary works. Authors often use allusion to establish a tone, create an implied association, contrast two objects or people, make an unusual juxtaposition of references, or bring the reader into a world of experience outside the limitations of the story itself
    Allusion
  65. A common term of variable meaning, imagery includes the "mental pictures" that readers experience with a passage of literature. It signifies all the sensory perceptions referred to in a poem, whether by literal description, allusion, simile, or metaphor. Imagery is not limited to visual imagery; it also includes auditory (sound), tactile (touch), thermal (heat and cold), olfactory (smell), gustatory (taste), and kinesthetic sensation (movement)
    Imagery
  66. A word, place, character, or object that means something beyond what it is on a literal level
    Symbol
  67. The intentional repetition of beginning clauses in order to create an artistic effect. For instance, Churchill declared, "We shall not flag or fail. We shall go on the end. We shall fight in France. We shall fight on the seas and oceans. We shall fight with growing confidence and growing strength in the air. We shall defend our island, whatever the cost shall be.
    Anaphora
  68. A literary scheme in which the author introduces words or concepts in a particular order, then later repeats those terms or similar ones in reversed or backwards order. It involves taking parallelism and deliberately turning it inside out, creating a "crisscross" pattern. For example, consider the chiasmus that follows: "By day the frolic, and the dance by night."
    Chiasmus
  69. Distinctive language used by poets, i.e., language that would not be common in their everyday speech. The most common signs of poetic diction include involve archaisms, neologisms, rhyme, and unusual figures of speech.
    Poetic Diction
  70. The extra tinge or taint of meaning each word carries beyond the minimal, strict definition found in a dictionary. For instance, the termscivil war, revolution and rebellion have the same denotation; they all refer to an attempt at social or political change. However, civil war carries historical connotations for Americans beyond that of revolution or rebellion. Likewise, revolution is often applied more generally to scientific or theoretical changes, and it does not necessarily connote violence.
    Connotation
  71. (from Greek "good sound"): Attempting to group words together harmoniously, so that the consonants permit an easy and pleasing flow of sound when spoken, as opposed to cacophony
    Euphony
  72. (Greek, "bad sound"): The term in poetry refers to the use of words that combine sharp, harsh, hissing, or unmelodious sounds. It is the opposite of euphony.
    Cacophony
  73. The use of sounds that are similar to the noise they represent for a rhetorical or artistic effect. For instance, buzz, click, rattle, and grunt make sounds akin to the noise they represent.
    Onomatopoeia
  74. (Latin trans + ascendere, "to climb beyond"): Transcendentalism is an American philosophical, religious, and literary movement roughly equivalent to the Romantic movement in England (see Romanticism).
    Transcendentalism
  75. (plural: caesurae): A pause separating phrases within lines of poetry--an important part of poetic rhythm. The term caesura comes from the Latin "a cutting" or "a slicing."
    Caesura
  76. A vague, amorphous term referring to the art, poetry, literature, architecture, and philosophy of Europe and America in the early twentieth-century. Scholars do not agree exactly when Modernism began--most suggest after World War I, but some suggest it started as early as the late nineteenth century in France. Likewise, some assert Modernism ended with World War II or the bombing of Nagasaki, to be replaced with Postmodernism, or that modernism lasted until the 1960s, when post-structural linguistics dethroned it. Others suggest that the division between modernism and postmodernism is false, and that postmodernism is merely the continuing process of Modernism.
    Modernism
  77. Also called "accentual rhythm," sprung rhythm is a term invented by the poet-priest Gerard Manley Hopkins to describe his personal metrical system in which the major stresses are "sprung" from each line of poetry. The accent falls on the first syllable of every foot and a varying number of unaccented syllables following the accented one, but all feet last an equal amount of time when being pronounced.
    Sprung Rhythm
  78. It's a rhyming stanza form of Italian origin. Originally used for long poems on heroic themes, it later came to be popular in the writing of mock-heroic works. Its earliest known use is in the writings of Giovanni Boccaccio.The stanzas in English consists of eight iambic lines, usually iambic pentameters. Each stanza consists of three alternate rhymes and one double rhyme, following the a-b-a-b-a-b-c-c pattern. The form is similar to the older Sicilian octave, but evolved separately and is unrelated. The Sicilian octave is derived from the medieval strambottoand was a crucial step in the development of the sonnet, whereas the OR is related to the canzone, a stanza form.
    Ottava Rima
  79. An early twentieth-century artistic movement in the United States and Britain. Imagists believed poets should use common, everyday vocabulary, experiment with new rhythm, and use clear, precise, concentrated imagery
    Imagism
  80. In other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.
    Objective Correlative
  81. Using clauses with a precise degree of subordination and clear indication of the logical relationship between them--i.e., having clear subordinating and coordinating conjunctions, as opposed to parataxis. This style involves long complex sentences. The writings of John Milton would be an example.
    Hypotactic Style
  82. Rhetorically juxtaposing two or more clauses or prepositions together in strings or with few or no connecting conjunctions or without indicating their relationship to each other in terms of co-ordination or subordination; i.e. a loose association of clauses as opposed to hypotaxis. A common form of this is asyndeton, in which expected conjunctions fail to appear for artistic reasons.
    Paractatic Style
  83. A dynamic period of writing, poetry, music, and art among black Americans during the 1920s and 1930s including figures such as Claude McKay, Jean Toomer, Countee Cullen, Sterling Brown, Zora Neale Hurston, Jessie Fauset, and Langston Hughes. These decades were marked by the post-World War I return of servicemen and the mass migration of black citizens to the urban North as African-Americans sought to flee the legal segregation in effect in America's South. The period is sometimes called "the Jazz Age" because of the parallel growth of jazz and soul music at the same time among black musical artists.
    Harlem Rennaissance
  84. Poetry written in prose instead of using verse but preserving poetic qualities such as heightened imagery and emotional effects.
    Prose Poem
  85. Excerpt from The Preface to Lyrical Ballads
    “Expostulation and Reply”
    “The Tables Turned”
    “Lines Composed a Few Miles above Tintern Abbey”
    William Wordsworth
  86. “The Eolian Harp”
    “This Lime Tree Bower My Prison”
    Samuel Taylor Coleridge
  87. “Stanzas (When a Man)”
    George Gordon, Lord Byron
  88. “England in 1819”
    Percy Bysshe Shelley
  89. “Ode on a Greek Urn”
    John Keats
  90. From Aurora Leigh Book 5 [Poets and the present age]
    Elizabeth Barrett Browning
  91. “In an Artist’s Studio”
    “In Progress”
    Christina Rossetti
  92. “I’m Nobody! Who are you?”
    “Wild Nights”
    “The Soul selects her own Society—”
    “Publication—is the Auction / Of the Mind of Man—”
    Emily Dickinson
  93. “The Lady of Shalott”
    Alfred, Lord Tennyson
  94. “My Last Duchess”
    Robert Browning
  95. “The Slave’s Dream”
    Henry Wadsworth Longfellow
  96. “Sonnet—To Science”
     “Annabel Lee”
    Edgar Allen Poe
  97. From Song of Myself 1
    From Song of Myself 24
    “Beat! Beat! Drums!”
    Walt Whitman
  98. “God’s Grandeur”
    Gerard Manley Hopkins
  99. “The Lake Isle of Innisfree” 
    “Easter 1916”
    William Butler Yeats
  100. “The Garden”
    “In a Station of the Metro”
    Ezra Pound
  101. “The Love Song of J. Alfred Prufrock”
    T. S. Eliot
  102. “‘next to of course god america i”
    e. e. cummings
  103. “This Is Just to Say”
    “Self-Protection”
    William Carlos Williams
  104. The Negro Speaks of Rivers
    Theme for English B
    Langston Hughes
  105. Heritage
    Incident
    Countee Cullen
  106. Kitchenete Building
    The birth in a narrow room
    we real cool
    Gwendolyn Brooks
  107. A far cry from Africa 
    Midsummer
    Derek Walcott
  108. Digging
    Seamus Heaney
  109. Aunt Jennifer's Tigers
    Adrienne Rich
  110. The Fish
    Elizabeth Bishop
  111. Kills Bugs Dead
    Harryette Mullen
  112. Bath
    Amy Lowell
  113. Metals Metals
    Russel Edson
  114. Information
    David Ignatow
  115. Arrangement of words or phrase to create well-formed sentences in a language.  Normal word order in English sentences is firmly fixed in - subject -verb -object sequence or subject-verb-complement.
    Syntax
  116. In poetry, word order may be shifted around to meet emphasis, to heighten the connection between two words, or to pick up on specific implications. The order of the poems words, or syntax, conveys an emotional, psychological and spiritual impact."
    Poetic Syntax
  117. A Word or group of words functioning as a noun
    Nominal Syntax
  118. occurs whenenjambment happens – when the grammatical sentence flows over the line endings of a poem. However, not all enjambment has double syntax. Double syntax only occurs when there is an uncertainty about how the sentence should be read because the word at the end of the line could grammatically belong to either the phrase before it or the phrase after.
    Double Syntax
  119. metrical foot consisting of two consecutive slacks:  ∪ ∪.
    Pyrrhic
  120. metrical foot consisting of two consecutive stresses:  /  /.
    Spondee (Spondaic)
  121. IMAGINATION

    NATURE

    INDIVIDUAL

    CRITIQUE OF SOCIAL ORDER

    REJECTION OF NEOCLASSICAL STYLE

    EXPLORATION AND DISCOVERY
    Romantic: Wordsworth Shelley, Barbauld Moore
  122. •Most famous genre: Medieval Romances

    •Some prose, some verse

    •Quest narrative featuring, adventure, courtly love, chivalry, fantastic antagonists and obstacles

    •Written in praise of religious and chivalric ideals such as courtesy, courage, manners, piety, loyalty, etc.

    •Influences: folk traditions/legends (e.g. King Arthur), Persian tales

    •Examples: Sir Gawain and the Green Knight, Morte d’ Arthur (sir Thomas Mallory), Lancelot and Perceval (Chretien de Troyes)

    Other famous works from the period: Dante, The Divine Comedy (1321), Petrarch’s sonnets (c. 1350)
    Medieval
  123. •Early Tudor Age, 1500-58

    •Poets: Thomas Wyatt; Henry Howard, Earl of Surrey

    •Elizabethan Age, 1558-1603 (Elizabeth’s Reign)

    •Poets: Sir Phillip Sidney, Edmund Spenser, William Shakespeare

    •Jacobean Age, 1603-25 (James I’s Reign)

    •Poets: William Shakespeare, John Donne

    •Caroline Age, 1625-49 (Charles I’s Reign)

    •Poets: John Donne, John Milton (Ben Jonson, Robert Herrick)

    •Commonwealth Age, 1649-1660 (Puritan Interregnum)

    •Poets: John Milton, Andrew Marvel, Ann Bradstreet
    Renaissance
  124. •The (re) Rise of Humanism: predominant perspective shifts from Christianity to the secular

    •Revival of classical (Greek and Roman) works and authors

    •Copernican Revolution

    •The sun is the center of the solar system

    •The Reformation and the rise of Protestantism

    •Individuals have relationships with God and scripture that don’t need the mediation of the church

    •Discovery of the new world

    •Rise of nationalism and imperialism

    •Invention of the printing press
    Renaiisance
  125. •Part II. Eighteenth-Century Literature, 1700-45

    •“Elegant simplicity”: restraint, clarity, regularity and good sense. Decorum: choosing the right form (epic, tragedy, comedy, pastoral, satire, ode) and language for the subject

    •Good methods + Wit: quickness of mind, inventiveness, a knack for conceiving images and metaphors

    •Characteristic “poetic diction”: personification, periphrasis (“finny tribes” vs “fish”), stock phrases (“shining swords”), Latinate words and syntax

    •Favorite verse forms: the heroic couplet, blank verse

    •Writers and works: Alexander Pope, The Rape of the Lock, Jonathan Swift, “The Tale of the Tub,” Anne Finch, “The Spleen”
    Neoclassical
  126. •Part III. Eighteenth-Century Literature, 1740-85

    •Great prose dominates: novels, philosophy, criticism, biography, history, aesthetics, politics, economics

    •Poetry on the feelings of simple people: Thomas Gray’s “Elegy Written in a Country Churchyard,” Goldsmith’s “The Deserted Village,” Crabbe’s “The Village”

    •Graveyard Poets: Thomas Gray, William Collins, Mark Akenside, Joseph and Thomas Warton wrote poems in which speakers think dark thoughts (usually about death and decay) in gothic settings (like graveyards)

    •The gothic: the supernatural, fancy, willful excess

    •William Shenstone, 1761: “The public has seen all that art can do, and they want the more striking efforts of wild, original, enthusiastic genius.”

    •Revival of the lyric: William Cowper, Anna Seward, Charlotte Smith.

    •Authors: Phillis Wheatley, Anna Barbauld
    Neoclassical
  127. •The novel: realistic portrayals often in service of reform. More broadly displaying societal relationships. Dickens, Gaskell, Trollope, Eliot, Brontes.

    •Verse Novels: ex. Elizabeth Barrett Browning’s Aurora Leigh

    •What’s the proper subject: the heroic past or the current day?

    •“Tempered” Romanticism:

    •Cannot sustain a belief in the power of imagination

    •Art for art’s sake

    •Dramatizing the individual (Browning’s dramatic monologues)

    Other characteristics:

    Pictorial—detail used to create visual images

    Sound—syntactic elaboration

    Represent psychology—tone, mood , character
    Victorian
  128. —Imagism promoted hard, clear, precise images. Imagists insisted on direct treatment of the “thing” whether subjective or objective and avoids all words that don’t contribute to that presentation. Famous proponent: Ezra Pound.

    —Freer metrical movement

    —Short poems
    Modernism
  129. —Alienation of the individual from society and other individuals

    —Fragmentation of experience—how do you make sense of a senseless world?

    —Intellectual complexity

    —Metaphors and symbols

    —Allusiveness

    —Irony (often created by mixing high and low language)

    —Naturalistic language and freer forms

    —Wit and puns
    Modernism

    —Gerard Manley Hopkins

    —William Butler Yeats

    —Ezra Pound

    —T.S. Eliot

    —ee cummings

    —William Carlos Williams

    —Langston Hughes

    —Countee Cullen







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    —Wit and puns

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