poetry exam 1

Leda BY H. D.

Where the slow river meets the tide, a red swan lifts red wings and darker beak, and underneath the purple down of his soft breast uncurls his coral feet. Through the deep purple of the dying heat of sun and mist, the level ray of sun-beam has caressed the lily with dark breast, and flecked with richer gold its golden crest. Where the slow lifting of the tide, floats into the river and slowly drifts among the reeds, and lifts the yellow flags, he floats where tide and river meet.

Wild Geese by Mary Oliver

You do not have to be good. You do not have to walk on your knees for a hundred miles through the desert, repenting. You only have to let the soft animal of your body love what it loves. Tell me about despair, yours, and I will tell you mine. Meanwhile the world goes on. Meanwhile the sun and the clear pebbles of the rain are moving across the landscapes, over the prairies and the deep trees, the mountains and the rivers. Meanwhile the wild geese, high in the clean blue air, are heading home again.

common themes

adversity, betrayal, class, friendship, etc

imagery

any sensory experience

The avant-garde

are people or works that are experimental, radical, or unorthodox. (from French, "advance guard" or "vanguard", literally "fore-guard"

persona poems

character or voice created by the speaker

alliteration

consonance is happening in the beginning of the word ex: goodness gracious

consonance

consonance sounds are similar or identical. ex: shadow and meadow

mood/atmosphere

emotional tone created by diction rhythm and setting

syntax

grammatical structure and punctuation

enjambment

idea carries from one line to the next with no punctuation

end stopped/end blocked

line ends with punctuation..."line is end-stopped"

lines

poet's choice for the right hand margin. Row of words used to place importance on poem. Amplifies syntax, sense, and sound.

The Mercy of Lazarus Stephen Dobyns

probably don't need to know but if there is time go for it!

caesura

punctuation in middle of line that emphasizes importance in text.

assonance

repetition of identical VOWEL sounds closely grouped together. ex: deep green sea

verse

...arranging words in rhythmic pattern

oral tradition

...poetry is meant to be spoken aloud. It is a rhythm. Originated in song.

Sylvia Plath

1. *Confessional poet*: inward expressions of conflict and emotion through the use of extremely personal details from the poet's life. 2. attempt to catalogue despair, violent emotion, and obsession with death 3.Intensely autobiographical, poems explore own mental anguish 4.one of the most celebrated and controversial of postwar poets writing in English

Elizabeth Bishop

1. *Formalist*: spent long periods of time perfecting work 2. Important american poet of the 20th century

H.D. (Hilda doolittle)

1. *Literary modernism* 2.Immersed for decades in the intellectual crosscurrents of modernism, psychoanalysis, syncretist mythologies, and feminism *H.D. created a unique voice and vision that sought to bring meaning to the fragmented shards of a war-torn culture. 3.Love and war, birth and death are the central concerns of her work 4.American poet, novelist, and memoirist known for her association with the early 20th century avant-garde Imagist group of poets

Anne Sexton

1. *confessional poet* 2. 20th century feminist 3. Feminist work retelling Grimm's fairy tales

villanelle

1. 6 stanzas, 19 lines (tercets and quatrains: 3,3,3,3,3,4,) 2. repeating lines (2 diff lines repeated throughout) 3. Rhymes (aba aba aba aba aba abaa)

Lucille Clifton

1. A prolific and widely respected poet, Lucille Clifton's work emphasizes endurance and strength through adversity, focusing particularly on African-American experience and family life

James Wright

1. America's finest *contemporary poets* 2. admired for willingness and ability to experiment with language and style, as well as for his thematic concerns 3. Pastoral Surrealist Pastoral= rural and nature; pure language Surreal: two objects next to each other in a way that is bizarre

William Wordsworth

1. British *romantic poet* w love of nature 2. known for his influence on the Romantic movement in poetry 3. Helped launch romantic movement in english literature

Robert Browning

1. English poet and playwright whose mastery of the dramatic monologue made him one of the foremost *Victorian poets*.

William Shakespeare

1. English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. 2. Sonnets 3. goes against blazon 4. Stealer...people pleaser like netflix lol

Gwendolyn Brooks

1. Gwendolyn Brooks was a highly regarded, much-honored poet, with the distinction of being the first black author to win the Pulitzer Prize 2.Many of Brooks's works display a political consciousness, especially those from the 1960s and later, with several of her poems reflecting the civil rights activism of that period

William Butler Yeats

1. Irish poet and one of the foremost figures of 20th-century literature. 2.was a driving force behind the Irish Literary Revival 3. Modernist 4. Basically created Irish national identity through poetry as a modernist

Edna St. Vincent Millay

1. Millay was one of the most skillful writers of sonnets in the twentieth century, and also like Frost, she was able to combine modernist attitudes with traditional forms creating a unique American poetry. 2. Feminist 3. Writes in Italian style but this is ironic 4. one of first feminists 5. New woman= independent and strong, not housewives

My Last Duchess BY ROBERT BROWNING

FERRARA That's my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now; Fra Pandolf's hands Worked busily a day, and there she stands. Will't please you sit and look at her? I said "Fra Pandolf" by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, 'twas not Her husband's presence only, called that spot Of joy into the Duchess' cheek; perhaps Fra Pandolf chanced to say, "Her mantle laps Over my lady's wrist too much," or "Paint Must never hope to reproduce the faint Half-flush that dies along her throat." Such stuff Was courtesy, she thought, and cause enough

Northern Pike James Wright, 1927 - 1980

All right. Try this, Then. Every body I know and care for, And every body Else is going To die in a loneliness I can't imagine and a pain I don't know. We had To go on living. We Untangled the net, we slit The body of this fish Open from the hinge of the tail To a place beneath the chin I wish I could sing of. I would just as soon we let The living go on living. An old poet whom we believe in Said the same thing, and so We paused among the dark cattails and prayed

Villanelle for the Children's Ward July 19, 2010 Maria Hummel

How can I get used to this half-lit room, the tubes, the saw-like cry of another mother's child? The kiss of silence, later, when nurses listen, then drop their eyes, sleep upright. How can I get used to this? I don't miss my innocencebut wish I could remember when I was my mother's child, kissed

Peanut Butter BY EILEEN MYLES

I am always hungry & wanting to have sex. This is a fact. If you get right down to it the new unprocessed peanut butter is no damn good & you should buy it in a jar as always in the largest supermarket you know. And I am an enemy of change, as you know. All the things I embrace as new are in fact old things, re-released: swimming, the sensation of being dirty in body and mind summer as a time to do nothing and make no money. Prayer as a last re- sort. Pleasure as a means, and then a

The Fish Elizabeth Bishop, 1911 - 1979

I caught a tremendous fish and held him beside the boat half out of water, with my hook fast in a corner of his mouth. He didn't fight. He hadn't fought at all. He hung a grunting weight, battered and venerable and homely. Here and there his brown skin hung in strips like ancient wallpaper, and its pattern of darker brown was like wallpaper:

Mother Warns The Tornado

Catherine Pierce

Are All the Break-Ups in Your Poems Real? Related Poem Content Details BY AIMEE NEZHUKUMATATHIL

If by real you mean as real as a shark tooth stuck in your heel, the wetness of a finished lollipop stick, the surprise of a thumbtack in your purse— then Yes, every last page is true, every nuance, bit, and bite. Wait. I have made them up—all of them— and when I say I am married, it means I married all of them, a whole neighborhood of past loves. Can you imagine the number of bouquets, how many slices of cake? Even now, my husbands plan a great meal for us—one chops up some parsley, one stirs a bubbling pot on the stove. One changes the baby, and one sleeps

Cherry Blossoms Blowing In Wet, Blowing Snow by James Galvin

In all the farewells in all the airports in all the profane dawns. In the Fiat with no documents on the road to Madrid. At the Corrida. In the Lope de Vega, the Annalena, the Jerome. In time past, time lost, time yet to pass. In poetry. In watery deserts, on arid seas, between desserts and seas. In sickness and in health. In pain and in the celebration of pain. In the delivery room. In the garden. In the hammock under the aspen. In all the emergencies. In the waterfall. In toleration. In retaliation. In rhyme. Among cherry blossoms blowing in wet, blowing snow, weren't we something?

You fit into me

Margarat Atwood

Some keep the Sabbath going to Church - (236) BY EMILY DICKINSON

Some keep the Sabbath going to Church - I keep it, staying at Home - With a Bobolink for a Chorister - And an Orchard, for a Dome - Some keep the Sabbath in Surplice - I, just wear my Wings - And instead of tolling the Bell, for Church, Our little Sexton - sings. God preaches, a noted Clergyman - And the sermon is never long, So instead of getting to Heaven, at last - I'm going, all along.

Dear Suburb David Roderick

When I say my porch is low and wide I mean it's barely a porch, hacking outroses growing around it, say there'senough flush here for a vase, but you say wait until they're the shade of redGauguin dreamed when he painted children before smearing their faces, and I say what about the two men in the rusted van trolling this neighborhood for kids, and you say we need shocks of goldenrod, shocks of crow, and besides it does no good to pray for a gleaming day when a bird will land on you like a catkin, and then you remind me of the glory of a city on a hill, which I've triedin eight different ways to refute, and you say we both want a hornet at the center of a screen, and then I confess, as if you give a damn, that I love in fact your highways and lawns, these raw lots developers bought for a song.

One Art BY ELIZABETH BISHOP

The art of losing isn't hard to master; so many things seem filled with the intent to be lost that their loss is no disaster. Lose something every day. Accept the fluster of lost door keys, the hour badly spent. The art of losing isn't hard to master. Then practice losing farther, losing faster: places, and names, and where it was you meant to travel. None of these will bring disaster.

God's Grandeur by GERARD MANLEY HOPKINS

The world is charged with the grandeur of God. It will flame out, like shining from shook foil; It gathers to a greatness, like the ooze of oil Crushed. Why do men then now not reck his rod? Generations have trod, have trod, have trod; And all is seared with trade; bleared, smeared with toil; And wears man's smudge and shares man's smell: the soil Is bare now, nor can foot feel, being shod.

"We were so poor" Charles Simic

We were so poor I had to take the place of the bait in the mousetrap. All alone in the cellar, I could hear them pacing upstairs, tossing and turning in their beds. "These are dark and evil days," the mouse told me as he nibbled my ear. Years passed. My mother wore a cat-fur collar which she stroked until its sparks lit up the cellar.

Autobiography of Eve Ansel Elkins

Wearing nothing but snakeskin boots, I blazed a footpath, the first radical road out of that old kingdom toward a new unknown. When I came to those great flaming gates of burning gold, I stood alone in terror at the threshold between Paradise and Earth. There I heard a mysterious echo: my own voice singing to me from across the forbidden side. I shook awake— at once alive in a blaze of green fire. Let it be known: I did not fall from grace. I leapt to freedom.

"What lips my lips have kissed, and where, and why" BY EDNA ST. VINCENT MILLAY

What lips my lips have kissed, and where, and why, I have forgotten, and what arms have lain Under my head till morning; but the rain Is full of ghosts tonight, that tap and sigh Upon the glass and listen for reply, And in my heart there stirs a quiet pain For unremembered lads that not again Will turn to me at midnight with a cry.

If See No End In Is BY FRANK BIDART

What none knows is when, not if. Now that your life nears its end when you turn back what you see is ruin. You think, It is a prison. No, it is a vast resonating chamber in which each thing you say or do is new, but the same. What none knows is how to change. Each plateau you reach, if single, limited, only itself, in- cludes traces of all the others, so that in the end limitation frees you, there is no end, if you once see what is there to see.

"Billy Joel Gets Philosophical on Bravo"

Adrain Blevins

Even the Rain Agha Shahid Ali, 1949 - 2001

After we died--That was it!--God left us in the dark. And as we forgot the dark, we forgot even the rain. Drought was over. Where was I? Drinks were on the house. For mixers, my love, you'd poured--what?--even the rain. Of this pear-shaped orange's perfumed twist, I will say: Extract Vermouth from the bergamot, even the rain. How did the Enemy love you--with earth? air? and fire? He held just one thing back till he got even: the rain.

Maybe Dats Your Pwoblem Too by James Hall

All my pwoblems who knows, maybe evwybody's pwoblems is due to da fact, due to da awful twuth dat I am SPIDERMAN. I know. I know. All da dumb jokes: No flies on you, ha ha, and da ones about what do I do wit all doze extwa legs in bed. Well, dat's funny yeah. But you twy being SPIDERMAN for a month or two. Go ahead.

Shakespearean sonnet

1. three quatrains and a couplet follow this rhyme scheme: abab, cdcd, efef, gg 2. The couplet plays a pivotal role, usually arriving in the form of a conclusion

sonnet

14 lines; erotic love; volta=turn; various rhyme schemes; end answers question

Leda and the Swan W. B. Yeats, 1865 - 1939

A sudden blow: the great wings beating still Above the staggering girl, her thighs caressed By the dark webs, her nape caught in his bill, He holds her helpless breast upon his breast. How can those terrified vague fingers push The feathered glory from her loosening thighs? And how can body, laid in that white rush, But feel the strange heart beating where it lies? A shudder in the loins engenders there The broken wall, the burning roof and tower And Agamemnon dead.

Sestina: Bob by Jonah Winter

According to her housemate, she is out with Bob tonight, and when she's out with Bobyou never know when she'll get in. Bobis an English professor. Bob used to be in a motorcycle gang, or something, or maybe Bob rides a motorcycle now. How radical of you, Bob—

gazhal

1. The poet may use the final couplet as a signature couplet, using his or her name 2. The lines should be of approximately the same length and meter. 3. A traditional Ghazal consists of five to fifteen couplets, typically seven 4. A refrain (a repeated word or phrase) appears

Emily Dickenson

1. considered one of leading poets of 19th century america 2. Grandmother of american poetry 3. Fallen Poetics: "the idea that poetry must fully demonstrate who we are as human beings by calling attention to out distance from wholeness or perfection." 4. Influenced transcendentalism and was leading force of movement in america

Italian sonnet (Petrarchan)

1. divided into two stanzas, the octave (the first eight lines) followed by the answering sestet (the final six lines). 2. rhyme scheme, abba, abba, cdecde or cdcdcd 3.argument, observation, question, or some other answerable charge in the octave 4. a turn, or volta, occurs between the eighth and ninth lines 5. turning the sestet into the vehicle for the counterargument, clarification, or whatever answer the octave demands 6. Blazon: take woman and turn her into object

Modernism

1. early 20th century 2. grew out of the philosophical, scientific, political, and ideological shifts that followed the Industrial Revolution 3. Modernist fiction spoke of the inner self and consciousness. Instead of progress, the Modernist writer saw a decline of civilization. Instead of new technology, the Modernist writer saw cold machinery and increased capitalism, which alienated the individual and led to loneliness.

Romanticism

1. late 1700's-1850 2. Response to the enlightenment and age of reason. Emotion over reason. 3. Focus on experiencing the world through feeling 4. often portrayed through love of nature

Victorian literature

1. literature written during the reign of Queen Victoria in Great Britain 2. 1837-1901 3. changing world views. In addition to the major developments in technology, there were emerging scientific beliefs, like Charles Darwin's theory of evolution, and those things were changing how people in England thought about themselves and how they interacted with the world around them. Most notably, a lot of people were distancing themselves from the church. 4. poor conditions for the working class

Transcendentalism

1. mid 1800's 2. Focus on nature 3.People, men and women equally, have knowledge about themselves and the world around them that "transcends" or goes beyond what they can see, hear, taste, touch or feel. 4. The answers are in nature 5. Focus on individual and independent quest of answers in the moment

Realism

1. mid 19th century 2. portraying real life: real people and common every day events 3. even ordinary lives are meaningful 4. reacting against the Romantic movement, which often stressed nature over culture, the solitary individual against society. Realist writers, unlike the Romantics, like to focus on groups of people.

Existentialism

1. mid 20th century 2. individual; he is unique and independent. His destiny is his own, his choices are his own to make, and he should make the choices that are right for him 3. holds that man has complete freedom to determine his own fate

Agha Shahid

1. noted as a poet uniquely able to blend multiple ethnic influences and ideas in both traditional forms and elegant free-verse

Larry Levis

1. often employed an imagist or surrealist approach in his work.

Gerald Manley Hopkins*

1. one of the three or four greatest poets of the *Victorian* era 2.his style was so radically different from that of his contemporaries

Percy Shelley

1. peculiar stamp on *Romanticism* :the creation of powerful symbols in his visionary pursuit of the ideal, at the same time tempered by a deep skepticism 2. characterized by an insistence on taking the controversial side of issues, even at the risk of being unpopular and ridiculed 3. exemplify Romanticism in both its extremes of joyous ecstasy and brooding despair

sestina (form of devil)

1. relies on repeating end word instead of rhyme 2. 6 stanzas of 6 lines using 6 repeated end words 3. the poem concludes in an envoi (conclusion) that uses all of the end words 4. makes poem total of 39 lines

LEDA RECONSIDERED, by MONA VAN DUYN

First Line: She had a little time to think Last Line: Almost with tenderness

"For I will consider my cat Jeoffry" Christopher Smart, 1722 - 1771

For he is the servant of the Living God, duly and daily serving him. For at the first glance of the glory of God in the East he worships in his way. For is this done by wreathing his body seven times round with elegant quickness. For then he leaps up to catch the musk, which is the blessing of God upon his prayer.

"Feet" Ross Gay

Friends, mine are ugly feet: the body's common wreckagestuffed into boots. The second toe on the left foot's crookedenough that when a child asks, "what's that?" of it,(the left more haywire than the right) I can without flinch or fear of doubt lie that a cow stepped on it which maybe makes them fear cows for which I repent in love as I am with those philosophical beasts

Hip-Hop Ghazal BY PATRICIA SMITH

Gotta love us brown girls, munching on fat, swinging blue hips, decked out in shells and splashes, Lawdie, bringing them woo hips. As the jukebox teases, watch my sistas throat the heartbreak, inhaling bassline, cracking backbone and singing thru hips. Like something boneless, we glide silent, seeping 'tween floorboards, wrapping around the hims, and ooh wee, clinging like glue hips. Engines grinding, rotating, smokin', gotta pull back some. Natural minds are lost at the mere sight of ringing true hips. Gotta love us girls, just struttin' down Manhattan streets killing the menfolk with a dose of that stinging view. Hips.

First Poem for You BY KIM ADDONIZIO

I like to touch your tattoos in complete darkness, when I can't see them. I'm sure of where they are, know by heart the neat lines of lightning pulsing just above your nipple, can find, as if by instinct, the blue swirls of water on your shoulder where a serpent twists, facing a dragon. When I pull you

"Ozymandias" Percy Shelley

I met a traveller from an antique land, Who said—"Two vast and trunkless legs of stone Stand in the desert. . . . Near them, on the sand, Half sunk a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read

Mad Girl's Love Song by Sylvia Plath

I shut my eyes and all the world drops dead, I lift my lids and all is born again. (I think I made you up inside my head.) The stars go waltzing out in blue and red, And arbitrary darkness gallops in. I shut my eyes and all the world drops dead. I dreamed that you bewitched me into bed And sung me moon-struck, kissed me quite insane. (I think I made you up inside my head.)

I Wandered Lonely as a Cloud BY WILLIAM WORDSWORTH

I wandered lonely as a cloud That floats on high o'er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze.

Myth Related BY NATASHA TRETHEWEY

I was asleep while you were dying. It's as if you slipped through some rift, a hollow I make between my slumber and my waking, the Erebus I keep you in, still trying not to let go. You'll be dead again tomorrow, but in dreams you live. So I try taking you back into morning. Sleep-heavy, turning, my eyes open, I find you do not follow. Again and again, this constant forsaking. * Again and again, this constant forsaking: my eyes open, I find you do not follow. You back into morning, sleep-heavy, turning. But in dreams you live. So I try taking, not to let go. You'll be dead again tomorrow. The Erebus I keep you in—still, trying— I make between my slumber and my waking. It's as if you slipped through some rift, a hollow. I was asleep while you were dying.

The Sand Speaks by Sandra Beasley

I'm fluid and omnivorous, the casualkiss. I'll knock up your oysters.I'll eat your diamonds. I'm a mutt, noone thing at all, just the size that counts and if you're animal small enough, come;if you're vegetable small enough, come;if you're mineral small enough, come.Mothers, brush me from the hands of your children. Lovers, shake me from the cuffs of your pants. Draw a line, make it my mouth: I'll nameyour country. I'm a Yes man at heart.Let's play Hide and Go Drown. Let's playPearls for His Eyes. When the men fall I like the way their arms touch, their legs touch. There are always more men, men who bring bags big enough to hold each other. A man who kneels down with a smaller bag, cups and pours, cups and pours, as if I could prove anything.

"Wound" Larry Levis

I've loved youas a man loves an old wound picked up in a razor fight on a street nobody remembers. Look at him: even in the dark he touches it gently.

The Motorcyclists BY JAMES TATE

My cuticles are a mess. Oh honey, by the way, did you like my new negligee? It's a replica of one Kim Novak wore in some movie or other. I wish I had a foot-long chili dog right now. Do you like fireworks, I mean not just on the 4th of July, but fireworks any time? There are people like that, you know. They're like people who like orchestra music, listen to it any time of day. Lopsided people, that's what my father calls them. Me, I'm easy to please. I like ping-gong and bobcats, shatterproof drinking glasses, the smell of kerosene, the crunch of carrots. I like caterpillars and whirlpools, too. What I hate most is being the first one at the scene of a bad accident.

Sonnet 130: My mistress' eyes are nothing like the sun BY WILLIAM SHAKESPEARE

My mistress' eyes are nothing like the sun; Coral is far more red than her lips' red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damasked, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know

Snow White and the Seven Dwarfs Anne Sexton, 1928 - 1974

No matter what life you lead the virgin is a lovely number: cheeks as fragile as cigarette paper, arms and legs made of Limoges, lips like Vin Du Rhône, rolling her china-blue doll eyes open and shut. Open to say, Good Day Mama, and shut for the thrust of the unicorn. She is unsoiled. She is as white as a bonefish.

perspective

POV; voice of speaker or persona

Grass Related Poem Content Details BY CARL SANDBURG

Pile the bodies high at Austerlitz and Waterloo. Shovel them under and let me work— I am the grass; I cover all. And pile them high at Gettysburg And pile them high at Ypres and Verdun. Shovel them under and let me work. Two years, ten years, and passengers ask the conductor: What place is this? Where are we now? I am the grass. Let me work.

Reward Related Poem Content Details BY KEVIN YOUNG

RUN AWAY from this sub- scriber for the second time are TWO NEGROES, viz. SMART, an outlandish dark fellow with his country marks on his temples and bearing the remarkable brand of my name on his left breast, last seen wearing an old ragged negro cloth shirt and breeches made of fearnought; also DIDO, a likely young wench of a yellow

Sestina, by Elizabeth Bishop

September rain falls on the house. In the failing light, the old grandmother sits in the kitchen with the child beside the Little Marvel Stove, reading the jokes from the almanac, laughing and talking to hide her tears.

2 types of sonnets

Shakespearean and petrarchan

near rhymes/ slant rhymes

Substitute for exact rhymes. Similar. Ex: faith and breath

Mirror

Sylvia Plath

Portrait Of Etheridge Knight in the Style of a Crime Report

Terrance Hayes

We Real Cool by Gwendolyn Brooks

The Pool Players. Seven at the Golden Shovel. We real cool. We Left school. We Lurk late. We Strike straight. We Sing sin. We Thin gin. We Jazz June. We Die soon.

internal rhyme

rhymes occurring line to line but in the middle not the end

persona

role or mask through which the perspective of the poet is presented.

juxtaposition

the fact of two things being seen or placed close together with contrasting effect.

homage to my hips by Lucille Clifton

these hips are big hips they need space to move around in. they don't fit into little petty places. these hips are free hips. they don't like to be held back. these hips have never been enslaved, they go where they want to go they do what they want to do. these hips are mighty hips. these hips are magic hips. i have known them to put a spell on a man and spin him like a top!

tone and mood

tone is overall mood created by piece of literature

rhyme schem

used as sound imagery. Pattern of end rhymes.

diction

word choice