Glossary of Poetic Terms
A disruption of harmonic sounds or rhythms. Like cacophony, it refers to a harsh collection of sounds; dissonance is usually intentional, however, and depends more on the organization of sound for a jarring effect, rather than on the unpleasantness of individual words. Gerard Manley Hopkins’s use of fixed stresses and variable unstressed syllables, combined with frequent assonance, consonance, and monosyllabic words, has a dissonant effect. See these lines from “Carrion Comfort”:
Why? That my chaff might fly; my grain lie, sheer and clear.
Nay in all that toil, that coil, since (seems) I kissed the rod,
Hand rather, my heart lo! lapped strength, stole joy, would laugh, cheer.
Gertrude Stein’s “Susie Asado” does not lack a musical quality, but its rapid repetition of sounds and varied sentence lengths create dissonance through tension and instability:
This is a please this is a please there are the saids to jelly. These are the wets these say the sets to leave a crown to Incy.
Incy is short for incubus.
A pot. A pot is a beginning of a rare bit of trees. Trees tremble, the old vats are in bobbles, bobbles which shade and shove and render clean, render clean must.
Drink pups drink pups lease a sash hold, see it shine and a bobolink has pins. It shows a nail.
Bad verse traditionally characterized by clichés, clumsiness, and irregular meter. It is often unintentionally humorous. The “giftedly bad” William McGonagall was an accomplished doggerelist, as demonstrated in “The Tay Bridge Disaster”:
It must have been an awful sight,
To witness in the dusky moonlight,
While the Storm Fiend did laugh, and angry did bray,
Along the Railway Bridge of the Silv’ry Tay,
Oh! ill-fated Bridge of the Silv’ry Tay,
I must now conclude my lay
By telling the world fearlessly without the least dismay,
That your central girders would not have given way,
At least many sensible men do say,
Had they been supported on each side with buttresses,
At least many sensible men confesses,
For the stronger we our houses do build,
The less chance we have of being killed.
A form of light verse invented and promoted by Paul Pascal, Anthony Hecht, and John Hollander. The double dactyl consists of two quatrains, each with three double-dactyl lines followed by a shorter dactyl-spondee pair. The two spondees rhyme. Additionally, the first line must be a nonsense phrase, the second line a proper or place name, and one other line, usually the sixth, a single double-dactylic word that has never been used before in any other double dactyl. For example:
Bacon, lord Chancellor.
Negligent, fell for the
Bribery toppled him,
Finished him, testing some
Poultry on ice.
(by Ian Lancashire)
Browse more double dactyl poems.
A poem in which an imagined speaker addresses a silent listener, usually not the reader. Examples include Robert Browning’s “My Last Duchess,” T.S. Eliot’s “The Love Song of J. Alfred Prufrock,” and Ai’s “Killing Floor.” A lyric may also be addressed to someone, but it is short and songlike and may appear to address either the reader or the poet. Browse more dramatic monologue poems.
A brief, dramatic pastoral poem, set in an idyllic rural place but discussing urban, legal, political, or social issues. Bucolics and idylls, like eclogues, are pastoral poems, but in nondramatic form. See Edmund Spenser’s “Shepheardes Calendar: April,” Andrew Marvell’s “Nymph Complaining for the Death of Her Fawn,” and John Crowe Ransom’s “Eclogue.”
- Similar to ethnopoetics in its emphasis on drawing connections between human activity—specifically the making of poems—and the environment that produces it, ecopoetics rose out of the late 20th-century awareness of ecology and concerns over environmental disaster. A multidisciplinary approach that includes thinking and writing on poetics, science, and theory as well as emphasizing innovative approaches common to conceptual poetry, ecopoetics is not quite nature poetry. The influential journal Ecopoetics, edited by Jonathan Skinner, publishes writing that explores “creative-critical edges between making and writing” and features poets such as Jack Collom, Juliana Spahr, and Forrest Gander.
In traditional English poetry, it is often a melancholy poem that laments its subject’s death but ends in consolation. Examples include John Milton’s “Lycidas”; Alfred, Lord Tennyson’s “In Memoriam”; and Walt Whitman’s “When Lilacs Last in the Dooryard Bloom'd.” More recently, Peter Sacks has elegized his father in “Natal Command,” and Mary Jo Bang has written “You Were You Are Elegy” and other poems for her son. In the 18th century the “elegiac stanza” emerged, though its use has not been exclusive to elegies. It is a quatrain with the rhyme scheme ABAB written in iambic pentameter. Browse more elegies.
- The omission of unstressed syllables (e.g., “ere” for “ever,” “tother” for “the other”), usually to fit a metrical scheme. “What dire offence from am’rous causes springs,” goes the first line of Alexander Pope’s The Rape of the Lock, in which “amorous” is elided to “am’rous” to establish the pentameter (five-foot) line.
The period coinciding with the reign of England’s Queen Elizabeth I (1558–1603), considered to be the literary height of the English Renaissance. Poets and dramatists drew inspiration from Italian forms and genres such as the love sonnet, the pastoral, and the allegorical epic. Musicality, verbal sophistication, and romantic exuberance dominated the era’s verse. Defining works include Edmund Spenser’s The Shephearde’s Calendar and The Faerie Queene, the sonnets of Sir Philip Sidney and William Shakespeare, and Sir Walter Raleigh’s lyrics. Drama especially flourished during this time; see the comedies and tragedies of William Shakespeare, Ben Jonson, and Christopher Marlowe.
In poetry, the omission of words whose absence does not impede the reader’s ability to understand the expression. For example, Shakespeare makes frequent use of the phrase “I will away” in his plays, with the missing verb understood to be “go.” T.S. Eliot employs ellipsis in the following passage from “Preludes”:
You curled the papers from your hair,
Or clasped the yellow soles of feet
In the palms of both soiled hands.
The possessive “your” is left out in the second and third lines, but it can be assumed that the woman addressed by the speaker is clasping the soles of her own feet with her own hands.
- A term coined in 1998 by poet and critic Stephen Burt in a review of Susan Wheeler’s Smokes. In the piece, which first appeared in the Boston Review, Burt describes elliptical poets as those who “try to manifest a person—who speaks the poem and reflects the poet—while using all the verbal gizmos developed over the last few decades to undermine the coherence of speaking selves.” Burt’s description of elliptical poetry emphasized its quick shifts in diction and referent, and use of occluded or partially obscured back-story. A special issue of American Letters and Commentary was devoted to elliptical poetry, sparking debates over contemporary trends and schools in American poetry. Burt pointed to several poets whose work commonly exhibits these features, including Mark Levine, Lucie Brock-Broido, and Liam Rector.
A metrical line ending at a grammatical boundary or break—such as a dash or closing parenthesis—or with punctuation such as a colon, a semicolon, or a period. A line is considered end-stopped, too, if it contains a complete phrase. Many of Alexander Pope’s couplets are end-stopped, as in this passage from “An Essay on Man: Epistle I”:
Then say not man’s imperfect, Heav’n in fault;
Say rather, man’s as perfect as he ought:
His knowledge measur’d to his state and place,
His time a moment, and a point his space.
If to be perfect in a certain sphere,
What matter, soon or late, or here or there?
The blest today is as completely so,
As who began a thousand years ago.
The opposite of an end-stopped line is an enjambed line.
The running-over of a sentence or phrase from one poetic line to the next, without terminal punctuation; the opposite of end-stopped. William Carlos Williams’s “Between Walls” is one sentence broken into 10 enjambed lines:
the back wings
will grow lie
in which shine
pieces of a green
The brief stanza that ends French poetic forms such as the ballade or sestina. It usually serves as a summation or a dedication to a particular person. See Hilaire Belloc’s satirical “Ballade of Modest Confession.”
A detailed, often complex poetic comparison (see simile) that unfolds over the course of several lines. It is also known as a Homeric simile, because the Greek poet Homer is thought to have originated the device in the epic poems The Iliad and The Odyssey. In the following passage from Book I of Paradise Lost, John Milton compares Lucifer’s massive army to scattered autumn leaves:
His legions—angel forms, who lay entranc’d
Thick as autumnal leaves that strow the brooks
In Vallombrosa, where th’ Etrurian shades
High over-arch’d embow’r; or scatter’d sedge
Afloat, when with fierce winds Orion arm’d
Hath vex’d the Red-Sea coast, whose waves o’erthrew
Busiris and his Memphian chivalry,
While with perfidious hatred they pursu’d
The sojourners of Goshen, who beheld
From the safe shore their floating carkases
And broken chariot-wheels: so thick bestrown,
Abject and lost, lay these, covering the flood,
Under amazement of their hideous change.
A quotation from another literary work that is placed beneath the title at the beginning of a poem or section of a poem. For example, Grace Schulman’s “American Solitude” opens with a quote from an essay by Marianne Moore. Lines from Phillis Wheatley’s “On Being Brought from Africa to America” preface Alfred Corn’s “Sugar Cane.” Browse more poems with epigraphs.
A letter in verse, usually addressed to a person close to the writer. Its themes may be moral and philosophical, or intimate and sentimental. Alexander Pope favored the form; see his “Epistle to Dr. Arbuthnot,” in which the poet addresses a physician in his social circle. The epistle peaked in popularity in the 18th century, though Lord Byron and Robert Browning composed several in the next century; see Byron’s “Epistle to Augusta.” Less formal, more conversational versions of the epistle can be found in contemporary lyric poetry; see Hayden Carruth’s “The Afterlife: Letter to Sam Hamill” or “Dear Mr. Fanelli” by Charles Bernstein. Browse more epistles.
- A short poem intended for (or imagined as) an inscription on a tombstone and often serving as a brief elegy. See Robert Herrick’s “Upon a Child That Died” and “Upon Ben Jonson”; Ben Jonson’s “Epitaph on Elizabeth, L. H.”; and “Epitaph for a Romantic Woman” by Louise Bogan.
A lyric poem in praise of Hymen (the Greek god of marriage), an epithalamion often blesses a wedding and in modern times is often read at the wedding ceremony or reception. See Edmund Spenser’s “Epithalamion.” Browse more epithalamions.
- In linguistics, folkloristics and anthropology, a method of analyzing linguistic structures in oral literature. The term was coined in 1968 by Jerome Rothenberg, whose anthology Technicians of the Sacred is considered a definitive text of the movement. In poetry, ethnopoetics refers to non-Western, non-canonical poetries, often those coming from ancient and autochthonous cultures. In the early 20th century, Modernist and avant-garde poets such as Antonin Artaud and Tristan Tzara used “primitive” or oral traditions in their work; by midcentury, a curiosity regarding world literature had coalesced into a movement led by Rothenberg and Dennis Tedlock, who together edited the journal Alcheringa from 1970 to 1980. Contemporary poets with an interest in ethnopoetics include Gary Snyder, Kathleen Stewart, and William Bright.