poetry exam

Can someone make my simple wish come true? Male biker seeks female for touring fun. Do you live in North London? Is it you? Gay vegetarian whose friends are few, I'm into music, Shakespeare and the sun. Can someone make my simple wish come true? Executive in search of something new— Perhaps bisexual woman, arty, young. Do you live in North London? Is it you? Successful, straight and solvent? I am too— Attractive Jewish lady with a son. Can someone make my simple wish come true? I'm Libran, inexperienced and blue— Need slim, non-smoker, under twenty-one. Do you live in North London? Is it you? Please write (with photo) to Box 152. Who knows where it may lead once we've begun? Can someone make my simple wish come true? Do you live in North London? Is it you?

"Lonely Hearts," Wendy Cope

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. Thus in the winter stands the lonely tree, Nor knows what birds have vanished one by one, Yet knows its boughs more silent than before: I cannot say what loves have come and gone, I only know that summer sang in me A little while, that in me sings no more.

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

I have been one acquainted with the night. I have walked out in rain—and back in rain. I have outwalked the furthest city light. I have looked down the saddest city lane. I have passed by the watchman on his beat And dropped my eyes, unwilling to explain. I have stood still and stopped the sound of feet When far away an interrupted cry Came over houses from another street, But not to call me back or say good-bye; And further still at an unearthly height, One luminary clock against the sky Proclaimed the time was neither wrong nor right. I have been one acquainted with the night.

Acquainted with the Night BY ROBERT FROST

I placed a jar in Tennessee, And round it was, upon a hill. It made the slovenly wilderness Surround that hill. The wilderness rose up to it, And sprawled around, no longer wild. The jar was round upon the ground And tall and of a port in air. It took dominion everywhere. The jar was gray and bare. It did not give of bird or bush, Like nothing else in Tennessee.

Anecdote of the Jar BY WALLACE STEVENS

You always read about it: the plumber with the twelve children who wins the Irish Sweepstakes. From toilets to riches. That story. Or the nursemaid, some luscious sweet from Denmark who captures the oldest son's heart. from diapers to Dior. That story. Or a milkman who serves the wealthy, eggs, cream, butter, yogurt, milk, the white truck like an ambulance who goes into real estate and makes a pile. From homogenized to martinis at lunch. Or the charwoman who is on the bus when it cracks up and collects enough from the insurance. From mops to Bonwit Teller. That story. Once the wife of a rich man was on her deathbed and she said to her daughter Cinderella: Be devout. Be good. Then I will smile down from heaven in the seam of a cloud. The man took another wife who had two daughters, pretty enough but with hearts like blackjacks. Cinderella was their maid. She slept on the sooty hearth each night and walked around looking like Al Jolson. Her father brought presents home from town, jewels and gowns for the other women but the twig of a tree for Cinderella. She planted that twig on her mother's grave and it grew to a tree where a white dove sat. Whenever she wished for anything the dove would drop it like an egg upon the ground. The bird is important, my dears, so heed him. Next came the ball, as you all know. It was a marriage market. The prince was looking for a wife. All but Cinderella were preparing and gussying up for the event. Cinderella begged to go too. Her stepmother threw a dish of lentils into the cinders and said: Pick them up in an hour and you shall go. The white dove brought all his friends; all the warm wings of the fatherland came, and picked up the lentils in a jiffy. No, Cinderella, said the stepmother, you have no clothes and cannot dance. That's the way with stepmothers. Cinderella went to the tree at the grave and cried forth like a gospel singer: Mama! Mama! My turtledove, send me to the prince's ball! The bird dropped down a golden dress and delicate little slippers. Rather a large package for a simple bird. So she went. Which is no surprise. Her stepmother and sisters didn't recognize her without her cinder face and the prince took her hand on the spot and danced with no other the whole day. As nightfall came she thought she'd better get home. The prince walked her home and she disappeared into the pigeon house and although the prince took an axe and broke it open she was gone. Back to her cinders. These events repeated themselves for three days. However on the third day the prince covered the palace steps with cobbler's wax and Cinderella's gold shoe stuck upon it. Now he would find whom the shoe fit and find his strange dancing girl for keeps. He went to their house and the two sisters were delighted because they had lovely feet. The eldest went into a room to try the slipper on but her big toe got in the way so she simply sliced it off and put on the slipper. The prince rode away with her until the white dove told him to look at the blood pouring forth. That is the way with amputations. They just don't heal up like a wish. The other sister cut off her heel but the blood told as blood will. The prince was getting tired. He began to feel like a shoe salesman. But he gave it one last try. This time Cinderella fit into the shoe like a love letter into its envelope. At the wedding ceremony the two sisters came to curry favor and the white dove pecked their eyes out. Two hollow spots were left like soup spoons. Cinderella and the prince lived, they say, happily ever after, like two dolls in a museum case never bothered by diapers or dust, never arguing over the timing of an egg, never telling the same story twice, never getting a middle-aged spread, their darling smiles pasted on for eternity. Regular Bobbsey Twins. That story. BACK

Anne Sexton, "Cinderella"

Snow falling and night falling fast, oh, fast In a field I looked into going past, And the ground almost covered smooth in snow, But a few weeds and stubble showing last. The woods around it have it - it is theirs. All animals are smothered in their lairs. I am too absent-spirited to count; The loneliness includes me unawares. And lonely as it is, that loneliness Will be more lonely ere it will be less - A blanker whiteness of benighted snow WIth no expression, nothing to express. They cannot scare me with their empty spaces Between stars - on stars where no human race is. I have it in me so much nearer home To scare myself with my own desert places.

Desert Places by Robert Frost

Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light. Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night. Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay, Rage, rage against the dying of the light. Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way, Do not go gentle into that good night. Grave men, near death, who see with blinding sight Blind eyes could blaze like meteors and be gay, Rage, rage against the dying of the light. And you, my father, there on the sad height, Curse, bless, me now with your fierce tears, I pray. Do not go gentle into that good night. Rage, rage against the dying of the light.

Do not go gentle into that good night Dylan Thomas,

A cup of wine, under the flowering trees; I drink alone, for no friend is near. Raising my cup I beckon the bright moon, For he, with my shadow, will make three men. The moon, alas, is no drinker of wine; Listless, my shadow creeps about at my side. Yet with the moon as friend and the shadow as slave I must make merry before the Spring is spent. To the songs I sing the moon flickers her beams; In the dance I weave my shadow tangles and breaks. While we were sober, three shared the fun; Now we are drunk, each goes his way. May we long share our odd, inanimate feast, And meet at last on the Cloudy River of the sky

Drinking alone at midnight by li bai

Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs, And towards our distant rest began to trudge. Men marched asleep. Many had lost their boots, But limped on, blood-shod. All went lame; all blind; Drunk with fatigue; deaf even to the hoots Of gas-shells dropping softly behind. Gas! GAS! Quick, boys!—An ecstasy of fumbling Fitting the clumsy helmets just in time, But someone still was yelling out and stumbling And flound'ring like a man in fire or lime.— Dim through the misty panes and thick green light, As under a green sea, I saw him drowning. In all my dreams before my helpless sight, He plunges at me, guttering, choking, drowning. If in some smothering dreams, you too could pace Behind the wagon that we flung him in, And watch the white eyes writhing in his face, His hanging face, like a devil's sick of sin; If you could hear, at every jolt, the blood Come gargling from the froth-corrupted lungs, Obscene as cancer, bitter as the cud Of vile, incurable sores on innocent tongues,— My friend, you would not tell with such high zest To children ardent for some desperate glory, The old Lie: Dulce et decorum est Pro patria mori.

Dulce et Decorum Est BY WILFRED OWEN

My black face fades, hiding inside the black granite. I said I wouldn't dammit: No tears. I'm stone. I'm flesh. My clouded reflection eyes me like a bird of prey, the profile of night slanted against morning. I turn this way—the stone lets me go. I turn that way—I'm inside the Vietnam Veterans Memorial again, depending on the light to make a difference. I go down the 58,022 names, half-expecting to find my own in letters like smoke. I touch the name Andrew Johnson; I see the booby trap's white flash. Names shimmer on a woman's blouse but when she walks away the names stay on the wall. Brushstrokes flash, a red bird's wings cutting across my stare. The sky. A plane in the sky. A white vet's image floats closer to me, then his pale eyes look through mine. I'm a window. He's lost his right arm inside the stone. In the black mirror a woman's trying to erase names: No, she's brushing a boy's hair.

Facing It BY YUSEF KOMUNYAKAA

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.

Grass BY CARL SANDBURG

I have gone out, a possessed witch, haunting the black air, braver at night; dreaming evil, I have done my hitch over the plain houses, light by light: lonely thing, twelve-fingered, out of mind. A woman like that is not a woman, quite. I have been her kind. I have found the warm caves in the woods, filled them with skillets, carvings, shelves, closets, silks, innumerable goods; fixed the suppers for the worms and the elves: whining, rearranging the disaligned. A woman like that is misunderstood. I have been her kind. I have ridden in your cart, driver, waved my nude arms at villages going by, learning the last bright routes, survivor where your flames still bite my thigh and my ribs crack where your wheels wind. A woman like that is not ashamed to die. I have been her kind.

Her Kind Anne Sexton

I, too, sing America. I am the darker brother. They send me to eat in the kitchen When company comes, But I laugh, And eat well, And grow strong. Tomorrow, I'll be at the table When company comes. Nobody'll dare Say to me, "Eat in the kitchen," Then. Besides, They'll see how beautiful I am And be ashamed— I, too, am America.

I, Too BY LANGSTON HUGHES

I wander thro' each charter'd street, Near where the charter'd Thames does flow. And mark in every face I meet Marks of weakness, marks of woe. In every cry of every Man, In every Infants cry of fear, In every voice: in every ban, The mind-forg'd manacles I hear How the Chimney-sweepers cry Every blackning Church appalls, And the hapless Soldiers sigh Runs in blood down Palace walls But most thro' midnight streets I hear How the youthful Harlots curse Blasts the new-born Infants tear And blights with plagues the Marriage hearse

London BY WILLIAM BLAKE

Go to the western gate, Luke Havergal, There where the vines cling crimson on the wall, And in the twilight wait for what will come. The leaves will whisper there of her, and some, Like flying words, will strike you as they fall; But go, and if you listen she will call. Go to the western gate, Luke Havergal— Luke Havergal. No, there is not a dawn in eastern skies To rift the fiery night that's in your eyes; But there, where western glooms are gathering, The dark will end the dark, if anything: God slays Himself with every leaf that flies, And hell is more than half of paradise. No, there is not a dawn in eastern skies— In eastern skies. Out of a grave I come to tell you this, Out of a grave I come to quench the kiss That flames upon your forehead with a glow That blinds you to the way that you must go. Yes, there is yet one way to where she is, Bitter, but one that faith may never miss. Out of a grave I come to tell you this— To tell you this. There is the western gate, Luke Havergal, There are the crimson leaves upon the wall. Go, for the winds are tearing them away,— Nor think to riddle the dead words they say, Nor any more to feel them as they fall; But go, and if you trust her she will call. There is the western gate, Luke Havergal— Luke Havergal.

Luke Havergal BY EDWIN ARLINGTON ROBINSON

I The winter evening settles down With smell of steaks in passageways. Six o'clock. The burnt-out ends of smoky days. And now a gusty shower wraps The grimy scraps Of withered leaves about your feet And newspapers from vacant lots; The showers beat On broken blinds and chimney-pots, And at the corner of the street A lonely cab-horse steams and stamps. And then the lighting of the lamps. II The morning comes to consciousness Of faint stale smells of beer From the sawdust-trampled street With all its muddy feet that press To early coffee-stands. With the other masquerades That time resumes, One thinks of all the hands That are raising dingy shades In a thousand furnished rooms. III You tossed a blanket from the bed, You lay upon your back, and waited; You dozed, and watched the night revealing The thousand sordid images Of which your soul was constituted; They flickered against the ceiling. And when all the world came back And the light crept up between the shutters And you heard the sparrows in the gutters, You had such a vision of the street As the street hardly understands; Sitting along the bed's edge, where You curled the papers from your hair, Or clasped the yellow soles of feet In the palms of both soiled hands. IV His soul stretched tight across the skies That fade behind a city block, Or trampled by insistent feet At four and five and six o'clock; And short square fingers stuffing pipes, And evening newspapers, and eyes Assured of certain certainties, The conscience of a blackened street Impatient to assume the world. I am moved by fancies that are curled Around these images, and cling: The notion of some infinitely gentle Infinitely suffering thing. Wipe your hand across your mouth, and laugh; The worlds revolve like ancient women Gathering fuel in vacant lots.

Preludes BY T. S. ELIOT

Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date; Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd; And every fair from fair sometime declines, By chance or nature's changing course untrimm'd; But thy eternal summer shall not fade, Nor lose possession of that fair thou ow'st; Nor shall death brag thou wander'st in his shade, When in eternal lines to time thou grow'st: So long as men can breathe or eyes can see, So long lives this, and this gives life to thee.

Shall I compare thee to a summer's day? 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 That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground. And yet, by heaven, I think my love as rare As any she belied with false compare.

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

They eat beans mostly, this old yellow pair. Dinner is a casual affair. Plain chipware on a plain and creaking wood, Tin flatware. Two who are Mostly Good. Two who have lived their day, But keep on putting on their clothes And putting things away. And remembering ... Remembering, with twinklings and twinges, As they lean over the beans in their rented back room that is full of beads and receipts and dolls and cloths, tobacco crumbs, vases and fringes.

The Bean Eaters BY GWENDOLYN BROOKS

"O 'Melia, my dear, this does everything crown! Who could have supposed I should meet you in Town? And whence such fair garments, such prosperi-ty?" — "O didn't you know I'd been ruined?" said she. — "You left us in tatters, without shoes or socks, Tired of digging potatoes, and spudding up docks; And now you've gay bracelets and bright feathers three!" — "Yes: that's how we dress when we're ruined," said she. — "At home in the barton you said thee' and thou,' And thik oon,' and theäs oon,' and t'other'; but now Your talking quite fits 'ee for high compa-ny!" — "Some polish is gained with one's ruin," said she. — "Your hands were like paws then, your face blue and bleak But now I'm bewitched by your delicate cheek, And your little gloves fit as on any la-dy!" — "We never do work when we're ruined," said she. — "You used to call home-life a hag-ridden dream, And you'd sigh, and you'd sock; but at present you seem To know not of megrims or melancho-ly!" — "True. One's pretty lively when ruined," said she. — "I wish I had feathers, a fine sweeping gown, And a delicate face, and could strut about Town!" — "My dear — a raw country girl, such as you be, Cannot quite expect that. You ain't ruined," said she.

The Ruined Maid BY THOMAS HARDY

The world is too much with us; late and soon, Getting and spending, we lay waste our powers;— Little we see in Nature that is ours; We have given our hearts away, a sordid boon! This Sea that bares her bosom to the moon; The winds that will be howling at all hours, And are up-gathered now like sleeping flowers; For this, for everything, we are out of tune; It moves us not. Great God! I'd rather be A Pagan suckled in a creed outworn; So might I, standing on this pleasant lea, Have glimpses that would make me less forlorn; Have sight of Proteus rising from the sea; Or hear old Triton blow his wreathèd horn.

The World Is Too Much With Us BY WILLIAM WORDSWORTH

The instructor said, Go home and write a page tonight. And let that page come out of you— Then, it will be true. I wonder if it's that simple? I am twenty-two, colored, born in Winston-Salem. I went to school there, then Durham, then here to this college on the hill above Harlem. I am the only colored student in my class. The steps from the hill lead down into Harlem, through a park, then I cross St. Nicholas, Eighth Avenue, Seventh, and I come to the Y, the Harlem Branch Y, where I take the elevator up to my room, sit down, and write this page: It's not easy to know what is true for you or me at twenty-two, my age. But I guess I'm what I feel and see and hear, Harlem, I hear you. hear you, hear me—we two—you, me, talk on this page. (I hear New York, too.) Me—who? Well, I like to eat, sleep, drink, and be in love. I like to work, read, learn, and understand life. I like a pipe for a Christmas present, or records—Bessie, bop, or Bach. I guess being colored doesn't make me not like the same things other folks like who are other races. So will my page be colored that I write? Being me, it will not be white. But it will be a part of you, instructor. You are white— yet a part of me, as I am a part of you. That's American. Sometimes perhaps you don't want to be a part of me. Nor do I often want to be a part of you. But we are, that's true! As I learn from you, I guess you learn from me— although you're older—and white— and somewhat more free. This is my page for English B.

Theme for English B BY LANGSTON HUGHES

Sundays too my father got up early and put his clothes on in the blueblack cold, then with cracked hands that ached from labor in the weekday weather made banked fires blaze. No one ever thanked him. I'd wake and hear the cold splintering, breaking. When the rooms were warm, he'd call, and slowly I would rise and dress, fearing the chronic angers of that house, Speaking indifferently to him, who had driven out the cold and polished my good shoes as well. What did I know, what did I know of love's austere and lonely offices?

Those Winter Sundays BY ROBERT HAYDEN

Who would be a turtle who could help it? A barely mobile hard roll, a four-oared helmet, she can ill afford the chances she must take in rowing toward the grasses that she eats. Her track is graceless, like dragging a packing-case places, and almost any slope defeats her modest hopes. Even being practical, she's often stuck up to the axle on her way to something edible. With everything optimal, she skirts the ditch which would convert her shell into a serving dish. She lives below luck-level, never imagining some lottery will change her load of pottery to wings. Her only levity is patience, the sport of truly chastened things.

Turtle BY KAY RYAN

It so happens I am sick of being a man. And it happens that I walk into tailorshops and movie houses dried up, waterproof, like a swan made of felt steering my way in a water of wombs and ashes. The smell of barbershops makes me break into hoarse sobs. The only thing I want is to lie still like stones or wool. The only thing I want is to see no more stores, no gardens, no more goods, no spectacles, no elevators. It so happens that I am sick of my feet and my nails and my hair and my shadow. It so happens I am sick of being a man. Still it would be marvelous to terrify a law clerk with a cut lily, or kill a nun with a blow on the ear. It would be great to go through the streets with a green knife letting out yells until I died of the cold. I don't want to go on being a root in the dark, insecure, stretched out, shivering with sleep, going on down, into the moist guts of the earth, taking in and thinking, eating every day. I don't want so much misery. I don't want to go on as a root and a tomb, alone under the ground, a warehouse with corpses, half frozen, dying of grief. That's why Monday, when it sees me coming with my convict face, blazes up like gasoline, and it howls on its way like a wounded wheel, and leaves tracks full of warm blood leading toward the night.

Walking Around" by Pablo Neruda

We wear the mask that grins and lies, It hides our cheeks and shades our eyes,— This debt we pay to human guile; With torn and bleeding hearts we smile, And mouth with myriad subtleties. Why should the world be over-wise, In counting all our tears and sighs? Nay, let them only see us, while We wear the mask. We smile, but, O great Christ, our cries To thee from tortured souls arise. We sing, but oh the clay is vile Beneath our feet, and long the mile; But let the world dream otherwise, We wear the mask!

We Wear the Mask BY PAUL LAURENCE DUNBAR

When you are old and grey and full of sleep, And nodding by the fire, take down this book, And slowly read, and dream of the soft look Your eyes had once, and of their shadows deep; How many loved your moments of glad grace, And loved your beauty with love false or true, But one man loved the pilgrim soul in you, And loved the sorrows of your changing face; And bending down beside the glowing bars, Murmur, a little sadly, how Love fled And paced upon the mountains overhead And hid his face amid a crowd of stars.

When You Are Old BY WILLIAM BUTLER YEATS

The lies I could tell, when I was growing up light-bright, near-white, high-yellow, red-boned in a black place, were just white lies. I could easily tell the white folks that we lived uptown, not in that pink and green shanty-fled shotgun section along the tracks. I could act like my homemade dresses came straight out the window of Maison Blanche. I could even keep quiet, quiet as kept, like the time a white girl said (squeezing my hand), Now we have three of us in this class. But I paid for it every time Mama found out. She laid her hands on me, then washed out my mouth with Ivory soap. This is to purify, she said, and cleanse your lying tongue. Believing her, I swallowed suds thinking they'd work from the inside out.

White Lies BY NATASHA TRETHEWEY

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. Whoever you are, no matter how lonely, the world offers itself to your imagination, calls to you like the wild geese, harsh and exciting - over and over announcing your place in the family of things.

Wild Geese by Mary Oliver

similie

a figure of speech involving a direct, explicit comparison of one thing to another, usually using the words like or as to draw the connection, as in "My love is like a red, red rose." An analogy is an extended simile. See also metaphor.

personififcation

a figure of speech that involves treating something nonhuman, such as an abstraction, as if it were a person by endowing it with humanlike qualities, as in "Death entered the room."

sonnet

a fixed verse form consisting of fourteen lines usually in iambic pentameter. An Italian sonnet consists of eight rhymelinked lines (an octave) plus six rhymelinked lines (a sestet), often with either an abbaabba cdecde or abbacddc defdef rhyme scheme. This type of sonnet is also called the Petrarchan sonnet in honor of the Italian poet Petrarch (1304- 74). An English or Shakespearean sonnet instead consists of three quatrains (four- line units) and a couplet and often rhymes abab cdcd efef gg.

symbol

a person, place, thing, or event that figuratively represents or stands for something else. Often the thing or idea represented is more abstract and general, and the symbol is more concrete and particular. A traditional symbol is one that recurs frequently in (and beyond) literature and is thus immediately recognizable to those who belong to a given culture. In Western literature and culture, for example, the rose and snake traditionally symbolize love and evil, respectively. Other symbols such as the scarlet letter in Nathaniel Hawthorne's The Scarlet Letter instead accrue their complex meanings only within a particular literary work; these are sometimes called invented symbols.

narrative poem/structure

a poem that tells a story.

sestina

an elaborate verse structure written in blank verse that consists of six stanzas of six lines each followed by a three- line stanza. The final words of each line in the first stanza appear in variable order in the next five stanzas and are repeated in the middle and at the end of the three lines in the final stanza. Elizabeth Bishop's "Sestina" is an example.

imagery

broadly defined, imagery is any sensory detail or evocation in a work; more narrowly, the use of figurative language to evoke a feeling, to call to mind an idea, or to describe an object. Imagery may be described as auditory, tactile, visual, or olfactory depending on which sense it primarily appeals to—hearing, touch, vision, or smell. An image is a particular instance of imagery.

diction

choice of words. Diction is often described as either informal or colloquial if it resembles everyday speech, or as formal if it is instead lofty, impersonal, and dignified. Tone is determined largely through diction.

open form

doesnt follow a pattern

lyric

originally, a poem meant to be sung to the accompaniment of a lyre; now, any relatively short poem in which the speaker expresses his or her thoughts and feelings in the first person rather than recounting a narrative or portraying a dramatic situation.

Rhythm

repetition or correspondence of the terminal sounds of words ("How now, brown cow?"). The most common type, end rhyme, occurs when the last words in two or more lines of a poem rhyme with each other. Internal rhyme occurs when a word within a line of poetry rhymes with another word in the same or adjacent lines, as in "The Dew drew quivering and chill" (Dickinson). An eye rhyme or sight rhyme involves words that don't actually rhyme but look like they do because of their similar spelling ("cough" and "bough"). Off, half, near, or slant rhyme is rhyme that is slightly "off" or only approximate, usually because words' final consonant sounds correspond, but not the vowels that proceed them ("phases" and "houses"). When two syllables rhyme and the last is unstressed or unaccented, they create a feminine rhyme ("ocean" and "motion"); masculine rhyme involves only a single stressed or accented syllable ("cat" and "hat"). See also rhyme scheme.

Metaphor

sometimes, a general term for almost any figure of speech involving comparison; more commonly, a particular figure of speech in which two unlike things are compared implicitly—that is, without the use of a signal such as the word like or as—as in "Love is a rose

tone

the attitude a literary work takes toward its subject, especially the way this attitude is revealed through diction.

meter

the more or less regular pattern of stressed and unstressed syllables in a line of poetry. This is determined by the kind of foot (iambic or dactylic, for example) and by the number of feet per line (e.g., five feet = pentameter, six feet = hexameter).

prose poem

the regular form of spoken and written language, measured in sentences rather than lines, as in poetry.

Alliteration

the repetition of usually initial consonant sounds through a sequence of words—for example, "While I nodded, nearly napping" in Edgar Allan Poe's "The Raven."

assonance

the repetition of vowel sounds in a sequence of words with different endings—for example, "The death of the poet was kept from his poems" in W. H. Auden's "In Memory of W. B. Yeats."

persona

the voice or figure of the author who tells and structures the story and who may or may not share the values of the actual author; also called implied author.

Connotation

what is suggested by a word, apart from what it literally means or how it is defined in the dictionary. See also denotation