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San Francisco Renaissance
Not a single movement, but a constellation of writers and artists active in the San Francisco Bay Area at the end of World War II. Poets associated with the San Francisco Renaissance include Kenneth Rexroth, Robert Duncan, Robin Blaser, Jack Spicer, and Michael McClure. Though the poets wrote in different styles and often espoused different aesthetic and political views, all favored the Modernist tradition of innovation, and many were influenced by Charles Olson and the Black Mountain School. Donald Allen’s influential anthology The New American Poets included a section devoted to the “San Francisco Renaissance,” and many claim that by labeling the group, Allen in some way invented it. However, the poets writing in San Francisco at that time were active and influential across many genres, and often read and collaborated with one another.
The analysis of the metrical patterns of a poem by organizing its lines into feet of stressed and unstressed syllables and showing the major pauses, if any. Scansion also involves the classification of a poem’s stanza, structure, and rhyme scheme.
A complex French verse form, usually unrhymed, consisting of six stanzas of six lines each and a three-line envoy. The end words of the first stanza are repeated in a different order as end words in each of the subsequent five stanzas; the closing envoy contains all six words, two per line, placed in the middle and at the end of the three lines. The patterns of word repetition are as follows, with each number representing the final word of a line, and each row of numbers representing a stanza:
1 2 3 4 5 6
6 1 5 2 4 3
3 6 4 1 2 5
5 3 2 6 1 4
4 5 1 3 6 2
2 4 6 5 3 1
(6 2) (1 4) (5 3)
See Algernon Charles Swinburne’s “The Complaint of Lisa," John Ashbery’s “Farm Implements and Rutabagas in a Landscape," and David Ferry’s “The Guest Ellen at the Supper for Street People." Browse more sestinas.
A comparison (see Metaphor) made with “as,” “like,” or “than.” In “A Red, Red Rose,” Robert Burns declares:
O my Luve is like a red, red rose
That’s newly sprung in June;
O my Luve is like the melody
That’s sweetly played in tune.
“What happens to a dream deferred?” asks Langston Hughes in “Harlem”:
Does it dry up
like a raisin in the sun?
Or fester like a sore—
And then run?
Does it stink like rotten meat?
Or crust and sugar over—
like a syrupy sweet?
Browse poems with developed similes.
A competitive poetry performance in which selected audience members score performers, and winners are determined by total points. Slam is a composite genre that combines elements of poetry, theater, performance, and storytelling. The genre’s origins can be traced to Chicago in the early 1980s. Since then, groups of volunteers have organized slams in venues across the world. The first National Poetry Slam was held in 1990, and has become an annual event in which teams from cities across the United States compete at events in a host city. For more on poetry slams, see Jeremy Richards’s series “Performing the Academy”. See also poets Tyehimba Jess, Bob Holman, and Patricia Smith.
A 14-line poem with a variable rhyme scheme originating in Italy and brought to England by Sir Thomas Wyatt and Henry Howard, earl of Surrey in the 16th century. Literally a “little song,” the sonnet traditionally reflects upon a single sentiment, with a clarification or “turn” of thought in its concluding lines.
The Petrarchan sonnet, perfected by the Italian poet Petrarch, divides the 14 lines into two sections: an eight-line stanza (octave) rhyming ABBAABBA, and a six-line stanza (sestet) rhyming CDCDCD or CDEEDE. John Milton’s “When I Consider How my Light Is Spent” and Elizabeth Barrett Browning’s “How Do I Love Thee” employ this form.
The Italian sonnet is an English variation on the traditional Petrarchan version. The octave’s rhyme scheme is preserved, but the sestet rhymes CDDCEE. See Thomas Wyatt’s “Whoso List to Hunt, I Know Where Is an Hind” and John Donne’s “If Poisonous Minerals, and If That Tree.”
Wyatt and Surrey developed the English (or Shakespearean) sonnet, which condenses the 14 lines into one stanza of three quatrains and a concluding couplet, with a rhyme scheme of ABABCDCDEFEFGG (though poets have frequently varied this scheme; see Wilfred Owen’s “Anthem for Doomed Youth”). George Herbert’s “Love (II),” Claude McKay’s “America,” and Molly Peacock’s “Altruism” are English sonnets.
These three types have given rise to many variations, including:
-The caudate sonnet, which adds codas or tails to the 14-line poem. See Gerard Manley Hopkins’s “That Nature Is a Heraclitean Fire.”
-The curtal sonnet, a shortened version devised by Gerard Manley Hopkins that maintains the proportions of the Italian form, substituting two six-stress tercets for two quatrains in the octave (rhyming ABC ABC), and four and a half lines for the sestet (rhyming DEBDE), also six-stress except for the final three-stress line. See his poem “Pied Beauty.”
-The sonnet redoublé, also known as a crown of sonnets, is composed of 15 sonnets that are linked by the repetition of the final line of one sonnet as the initial line of the next, and the final line of that sonnet as the initial line of the previous; the last sonnet consists of all the repeated lines of the previous 14 sonnets, in the same order in which they appeared. Marilyn Nelson’s A Wreath for Emmett Till is a contemporary example.
-A sonnet sequence is a group of sonnets sharing the same subject matter and sometimes a dramatic situation and persona. See George Meredith’s Modern Love sequence, Sir Philip Sidney’s Astrophel and Stella, Rupert Brooke’s 1914 sequence, and Elizabeth Barrett Browning’s Sonnets from the Portuguese.
-The Spenserian sonnet is a 14-line poem developed by Edmund Spenser in his Amoretti, that varies the English form by interlocking the three quatrains (ABAB BCBC CDCD EE).
-The stretched sonnet is extended to 16 or more lines, such as those in George Meredith’s sequence Modern Love.
-A submerged sonnet is tucked into a longer poetic work; see lines 235-48 of T.S. Eliot’s “The Waste Land.”
Browse more sonnets.
The unit of Edmund Spenser’s long poem The Faerie Queene, consisting of eight iambic-pentameter lines and a final alexandrine, with a rhyme scheme of ABABBCBCC. Later uses of this stanza form include John Keats’s “The Eve of St. Agnes,” Percy Bysshe Shelley’s “Adonais,” and Alfred Lord Tennyson’s “The Lotos-Eaters.”
A metrical foot consisting of two accented syllables. An example of a spondaic word is “hog-wild.” Gerard Manley Hopkins’s “Pied Beauty” is heavily spondaic:
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change:
A metrical system devised by Gerard Manley Hopkins composed of one- to four-syllable feet that start with a stressed syllable. The spondee replaces the iamb as a dominant measure, and the number of unstressed syllables varies considerably from line to line (see also accentual verse). According to Hopkins, its intended effect was to reflect the dynamic quality and variations of common speech, in contrast to the monotony of iambic pentameter. His own poetry illustrates its use; though there have been few imitators, the spirit and principles of sprung rhythm influenced the rise of free verse in the early 20th century.
A syllable uttered in a higher pitch—or with greater emphasis—than others. The English language itself determines how English words are stressed, but sentence structure, semantics, and meter influence the placement and perception of stress. See alsoaccentual verse, accentual-syllabic verse, foot, meter, rhythm, and scansion.
In Greek drama, the strophe (turning) signified the first section of a choral ode, and was recited by the Chorus as it moved across the stage. The Chorus’s movement back to its original side was accompanied by the antistrophe. Finally, the Chorus stood still to chant the epode, the final section of the ode, which used a new metrical structure. This classic structure is explicitly foregrounded in Ben Jonson’s “A Pindaric Ode.” Strophe came to be synonymous with the stanzas in an ode; see Coleridge’s “France: An Ode.” It has also been used to describe units or verse paragraphs in free verse. See Robert Duncan’s, “A Poem Beginning with a Line by Pindar” and Geoffrey Hill’s “On Reading Crowds and Power” for examples of this contemporary usage.
A movement of thought in the humanities, widespread in anthropology, linguistics, and literary theory, and influential in the 1950s and ’60s. Based primarily on the linguistic theories of Ferdinand de Saussure, structuralism considered language as a system of signs and signification, the elements of which are understandable only in relation to each other and to the system. In literary theory, structuralism challenged the belief that a work of literature reflected a given reality; instead, a text was constituted of linguistic conventions and situated among other texts. Structuralist critics analyzed material by examining underlying structures, such as characterization or plot, and attempted to show how these patterns were universal and could thus be used to develop general conclusions about both individual works and the systems from which they emerged. The anthropologist Claude Levi-Strauss was an important champion of structuralism, as was Roman Jakobsen. Northrop Frye’s attempts to categorize Western literature by archetype had some basis in structuralist thought. Structuralism regarded language as a closed, stable system, and by the late 1960s it had given way to poststructuralism.
A lofty, ennobling seriousness as the main characteristic of certain poetry, as identified in the treatise On the Sublime, attributed to the 3rd-century Greek rhetorician Cassius Longinus. The concept took hold in the 18th century among English philosophers, critics, and poets who associated it with overwhelming sensation. In A Philosophical Inquiry into the Origin of our Ideas of the Sublime and the Beautiful (1757), Edmund Burke identified the sublime as the experience of the infinite, which is terrifying and thrilling because it threatens to overpower the perceived importance of human enterprise in the universe. Aesthetes and writers of the era saw the natural world and its wild, mysterious expanses as a gateway to the experience of the sublime. Romantic poets such as Percy Bysshe Shelley and William Wordsworth were influenced by this notion.
An artistic philosophy that took hold in 1920s Paris and spread throughout the world in the decades that followed. André Breton outlined its aims in his Surrealist Manifesto (1924), affirming the supremacy of the “disinterested play of thought” and the “omnipotence of dreams” rather than reason and logic. Breton and his colleagues were inspired by Freudian psychoanalysis and its emphasis on the power of unconscious thought. Through “automatic writing” and hypnosis, artists could free their imaginations to reveal deeper truths. The French poets Charles Baudelaire, Arthur Rimbaud, Guillaume Apollinaire, and Pierre Reverdy embodied early surrealist principles, as did Peruvian poet César Vallejo. Surrealist practices were also used in the visual arts, particularly in the paintings of Max Ernst, Salvador Dali, Joan Miró, and René Magritte, and in the films of Jean Cocteau. A second generation of surrealist writers emerged in other parts of the world, especially in Latin America; see the poems of Pablo Neruda and Octavio Paz. The surrealist aesthetic has influenced modern and contemporary poets writing in English as well; James Tate, John Ashbery, and Michael Palmer are notable examples.
Poetry whose meter is determined by the total number of syllables per line, rather than the number of stresses. Marianne Moore’s poetry is mostly syllabic. Other examples include Thomas Nashe’s “Adieu, farewell earth’s bliss” and Dylan Thomas’s “Poem in October.” Browse more poems in syllabic verse.
A single unit of speech sound as written or spoken; specifically, a vowel preceded by zero to three consonants (“awl,” “bring,” “strand”), and followed by zero to four consonants (“too,” “brag,” “gloss,” “stings,” “sixths”).
Something in the world of the senses, including an action, that reveals or is a sign for something else, often abstract or otherworldly. A rose, for example, has long been considered a symbol of love and affection.
Every word denotes, refers to, or labels something in the world, but a symbol (to which a word, of course, may point) has a concreteness not shared by language, and can point to something that transcends ordinary experience. Poets such as William Blake and W.B. Yeats often use symbols when they believe in—or seek—a transcendental (religious or spiritual) reality.
A metaphor compares two or more things that are no more and no less real than anything else in the world. For a metaphor to be symbolic, one of its pair of elements must reveal something else transcendental. In “To the Rose upon the Rood of Time,” for instance, Yeats’s image of the rose on the cross symbolizes the joining of flesh and spirit. As Cleanth Brooks and Robert Penn Warren write in their book Understanding Poetry (3rd ed., 1960),“The symbol may be regarded as a metaphor from which the first term has been omitted.”
See also allegory and imagism.
A group of late 19th-century French writers, including Arthur Rimbaud and Stéphane Mallarmé, who favored dreams, visions, and the associative powers of the imagination in their poetry. They rejected their predecessors’ tendency toward naturalism and realism, believing that the purpose of art was not to represent reality but to access greater truths by the “systematic derangement of the senses,” as Rimbaud described it. The translated works of Edgar Allan Poe influenced the French Symbolists.
A figure of speech in which a part of something stands for the whole (for example, “I’ve got wheels” for “I have a car,” or a description of a worker as a “hired hand”). It is related to metonymy.
A blending or intermingling of different senses in description. “Light laughs the breeze in her castle of sunshine,” writes Emily Dickinson. In her heavily synesthetic poem “Aubade,” Dame Edith Sitwell describes the “dull blunt wooden stalactite / Of rain creaks, hardened by the light.” In George Meredith’s “Modern Love: I,” a woman’s heart is made to “drink the pale drug of silence.”