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In poetry, a hendecasyllable is a line of eleven syllables. The term may refer to several different poetic meters, the older of which are quantitative and used chiefly in classical poetry, and the newer of which are syllabic or accentual-syllabic and used in medieval and modern poetry.
In poetry, metre or meter is the basic rhythmic structure of a verse or lines in verse. Many traditional verse forms prescribe a specific verse metre, or a certain set of metres alternating in a particular order. The study and the actual use of metres and forms of versification are both known as prosody.
Poetry, also called verse, is a form of literary art that uses aesthetic and often rhythmic qualities of language to evoke meanings in addition to, or in place of, literal or surface-level meaning. Such a literary composition is a poem and is written by a poet. Poetic devices such as assonance, alliteration, euphony and cacophony, onomatopoeia, rhythm, and sound symbolism commonly convey musical or incantatory effects.
A rhyme is a repetition of similar sounds in the final stressed syllables and any following syllables of two or more words. Most often, this kind of perfect rhyming is consciously used for a musical or aesthetic effect in the final position of lines within poems or songs. More broadly, a rhyme may also variously refer to other types of similar sounds near the ends of two or more words. Furthermore, the word rhyme has come to be sometimes used as a shorthand term for any brief poem, such as a nursery rhyme or Balliol rhyme.
Dari, also known as Dari Persian, is the variety of the Persian language spoken in Afghanistan. Dari is the Afghan government's official term for the Persian language; it is known as Afghan Persian or Eastern Persian in many Western sources. The decision to rename the local variety of Persian in 1964 was more political than linguistic to support an Afghan state narrative. Apart from a few basics of vocabulary, there is little difference between formal written Persian of Afghanistan and Iran; the languages are mutually intelligible. Dari is the official language for 35 million Afghans in Afghanistan and it serves as the lingua franca for interethnic communications in Afghanistan.
Alliteration is the repetition of syllable-initial consonant sounds between nearby words, or of syllable-initial vowels, if the syllables in question do not start with a consonant. It is often used as a literary device. A common example is "Peter Piper picked a peck of pickled peppers," in which the "p" sound is repeated.
The Spenserian stanza is a fixed verse form invented by Edmund Spenser for his epic poem The Faerie Queene (1590–96). Each stanza contains nine lines in total: eight lines in iambic pentameter followed by a single 'alexandrine' line in iambic hexameter. The rhyme scheme of these lines is ABABBCBCC.
In poetic metre, a trochee is a metrical foot consisting of a stressed syllable followed by an unstressed one, in qualitative meter, as found in English, and in modern linguistics; or in quantitative meter, as found in Latin and Ancient Greek, a heavy syllable followed by a light one. In this respect, a trochee is the reverse of an iamb. Thus the Latin word íbī "there", because of its short-long rhythm, in Latin metrical studies is considered to be an iamb, but since it is stressed on the first syllable, in modern linguistics it is considered to be a trochee.
Consonance is a stylistic literary device identified by the repetition of identical or similar consonants in neighboring words whose vowel sounds are different. Consonance may be regarded as the counterpart to the vowel-sound repetition known as assonance.
Ottava rima is 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.
Syllabic verse is a poetic form having a fixed or constrained number of syllables per line, while stress, quantity, or tone play a distinctly secondary role — or no role at all — in the verse structure. It is common in languages that are syllable-timed, such as French or Finnish — as opposed to stress-timed languages such as English, in which accentual verse and accentual-syllabic verse are more common.
This glossary of literary terms is a list of definitions of terms and concepts used in the discussion, classification, analysis, and criticism of all types of literature, such as poetry, novels, and picture books, as well as of grammar, syntax, and language techniques. For a more complete glossary of terms relating to poetry in particular, see Glossary of poetry terms.
This is a glossary of poetry terms.
The following outline is provided as an overview of and introduction to poetry:
Eastern Lombard is a group of closely related variants of Lombard, a Gallo-Italic language spoken in Lombardy, mainly in the provinces of Bergamo, Brescia and Mantua, in the area around Cremona and in parts of Trentino. Its main variants are Bergamasque and Brescian.
Greek and Latin metre is an overall term used for the various rhythms in which Greek and Latin poems were composed. The individual rhythmical patterns used in Greek and Latin poetry are also known as "metres".
Caramuru is an epic poem written by colonial Brazilian Augustinian friar Santa Rita Durão. It was published in 1781 and is one of the most famous Indianist works of Brazilian Neoclassicism – the other being Basílio da Gama's O Uraguai.
Dán Díreach is a style of poetry developed in Ireland from the 12th century until the destruction of the Irish clan system, Gaelic Ireland and the Bardic schools during the mid 17th-century. It was a complex form of recitative designed to be chanted to the accompaniment of a harp. This poetry was often delivered by a professional reciter called a reacaire (reciter) or marcach duaine. It was the specialised production of the professional poets known as Filidh (Seer). The complexities of the structure become more understandable when we consider that Irish poetry evolved primarily as an orally transmitted art. They were not intended to be read, but recited in public. Form, structure, rhythm and rhyme, intonation, and expression all play an essential part of the performance of poets. The aim was to amaze an audience with vocal virtuosity, knowledge, and spiritual depth. In this they must have succeeded as the Filidh came to be viewed with a sense of awe, respect and fear.
The Sapphic stanza is the only stanzaic form adapted from Greek and Latin poetry to be used widely in Polish literature. It was introduced during the Renaissance, and since has been used frequently by many prominent poets. The importance of the Sapphic stanza for Polish literature lies not only in its frequent use, but also in the fact that it formed the basis of many new strophes, built up of hendecasyllables and pentasyllables.
Poetic devices are a form of literary device used in poetry. Poems are created out of poetic devices via a composite of: structural, grammatical, rhythmic, metrical, verbal, and visual elements. They are essential tools that a poet uses to create rhythm, enhance a poem's meaning, or intensify a mood or feeling.
References
- ↑ Chambers 21st Century Dictionary (1996).
- ↑ Merriam-Webster consonance.
- ↑ Assonance at Enciclopaedia Britannica
- ↑ "Khurana, Ajeet "Assonance and Consonance" Outstanding Writing". Archived from the original on 2011-03-16. Retrieved 2011-03-18.
- ↑ p. 16, Zellem, Edward. 2014. Mataluna: 151 Pashto Proverbs. Cultures Direct.
- ↑ p. 66, Zellem, Edward. 2014. Mataluna: 151 Pashto Proverbs. Cultures Direct.
- ↑ Hart Crane, from "The Bridge: To Brooklyn Bridge" at Poetry Foundation.
- ↑ Giambattista Marino, Adone, Canto II, stanza 1 (in Italian).
- ↑ Ottava rima at Encyclopædia Britannica.
- ↑ Ottava rima at Poetry Foundation.
- ↑ Luís Vaz de Camões, Os Lusíadas, Canto Primeiro, stanza 1 (in Portuguese).
- ↑ Roy Lewis, On Reading French Verse. A Study of Poetic Form, Oxford 1982, pp. 70–99, 149–190.
- ↑ Wiktor J. Darasz, Harmonia wokaliczna w poezji Vladimíra Holana, Almanach Czeski, 2006 (in Polish).
- ↑ Wiktor Jarosław Darasz, Mały przewodnik po wierszu polskim, Kraków 2003, pp. 179–185 (in Polish).