Assonance – The repetition of the same vowel sound.
Consonance – The repetition of the same consonant sound.
Alliteration – A type of consonance involving the repetition of the same consonant sound at the beginning of each word or stressed syllable.
Sibilance – A type of consonance involving the repetition of sibilant sounds such as /s/ and /sh/. An example of sibilance and of assonance around the ‘ur’ sound is, ‘And the silken sad uncertain rustling of each purple curtain.’
Phonetic symbolism – Using words with the same sounds and associated meaning, e.g. gleam, glare, glitter.
Resonance – Richness or variety of sounds in poetic texture.
Cacophony – The opposite of euphony and similar to dissonance. ‘We want no parlay with you and your grisly gang who work your wicked will.’
Anadiplosis – The repetition of the last word of one clause at the beginning of the next. ‘We also rejoice in our sufferings, because we know that suffering produces perseverance; perseverance, character; and character, hope. And hope does not disappoint us.’
Anaphora – The repetition of a group of words at the beginning of successive clauses or lines. ‘I fled Him, down the nights and down the days; I fled Him, down the arches of the years; I fled Him, down the labyrinthine ways Of my own mind…’
Epiphora – The repetition of a word or group of words at the end of successive clauses or lines (the reverse of anaphora). ‘There is no Negro problem. There is no Southern problem. There is no Northern problem. There is only an American problem.’
Cataphora – An expression that refers to or qualifies a later expression. ‘I should have known it. You did not keep your promise.’
Symploce – The combination of anaphora and epiphora. ‘When there is talk of hatred, let us stand up and talk against it. When there is talk of violence, let us stand up and talk against it.’
Serpentine verse – A line which ends with the same words with which it began.
Epizeuxis – The repetition of the same words or words in immediate succession. ‘O dark, dark, dark, amid the blaze of noon…’
Epanalepsis – The repetition of the same word or words within the same clause or line, but after some intervening material. ‘The king is dead, long live the king.’
Ploce – The repetition of the same word or words in close proximity within the same clause or line for emphasis. ‘Brother to brother, blood to blood, self against self.’
Polyptoton – The repetition of the same word with a change in its grammatical form. ‘Diamond me no diamonds, prize me no prizes.’
Polysyndeton – The repetition of a number of conjunctions in close succession.
Asyndeton – The omission of conjunctions. ‘I have done. You have heard me. The facts are before you. I ask for your judgement.’
Pun or paronomasia – The use of words with similar sounds or the same word in different senses.
Antanaclasis – A type of pun involving the repetition of the same word in the same clause or line, but with a different sense. ‘She is nice from far, but far from nice.’
Equivoke – The intentional, ambiguous use of a word or phrase such that it has more than one meaning.
Homonyms – Words with the same spelling (homographs) and pronunciation (homophones) but with different meanings. If they are pronounced differently, they are heteronyms. If they are spelt differently, they are heterographs. Polysemes are words with the same spelling and distinct but related meanings e.g. mouth of a cave and mouth of a river.
Paronym – A word with the same root as another.
Aposiopesis – The omission of the ending of a sentence. ‘Get out, or else –‘
Ellipsis – The omission of one or more terms that complete a grammatical sentence. ‘The people (whom) I spoke to…’
Ellision – The omission of a letter or syllable, marked with an apostrophe.
Syncope – A type of elision in which a word is contracted by removing one or more letters or syllables from the middle, e.g. ne’er.
Synaloepha – A type of elision in which a vowel at the end of a word is merged with the one at the beginning of the next word, e.g. th’ embattled plain.
Grave – A mark indicating that the ‘e’ in ‘–ed’ is to be pronounced for the sake of metre.
Solecism – An apparently unintentional impropriety of speech or violation of the established rules of syntax.
Malaproprism – A type of solecism involving the substitution of one word for another than sounds similar e.g. ‘He is a vast suppository of information.’
Catachresis – The intentional misuse of a word, especially but not exclusively in the context of a mixed metaphor. ‘To take arms against a sea of troubles…’ ‘Tis deepest winter in Lord Timon’s purse.’
Antitimeria – The intentional misuse of a word as if it were a member of a different word class, typically a noun for a verb. ‘I’ll unhair thy head.’
Prolepsis – The application of an adjective to a noun in anticipation of the verb having acted on that noun. ‘She is about the bake the hot bread.’
Anacoluthon – A mid-sentence change in the grammatical structure.
Enallage – The intentional and effective use of incorrect grammar. ‘Let him kiss me with the kisses of his mouth, for thy love is better than wine.’
Pathetic fallacy – The ascription of human traits to inanimate nature. Similar to personification, which is however more direct and explicit.
Synaesthesia – The attribution to a thing of a quality which it cannot have, e.g. a loud poem, a purple grin.
Tautology – The sometimes unnecessary and excessive repetition of the same idea in a line. ‘With malice toward none, with charity for all.’
Pleonasm – A type of tautology involving the use of more words than is necessary for clear expression, which may or may not add to richness of expression, e.g. ‘At this moment in time…’
Hyperbaton – The separation of words that normally belong together.
Anastrophe – A type of hyperbaton involving the inversion of the ordinary word order. ‘Above the seas to stand…’
Hypallage – A type of hyperbaton involving the reversal of the syntactic relation of two words. ‘Angry crowns of kings…’
Hysteron proteron – A type of hyperbaton involving the inversion of the chronology of events. ‘Let us die, and charge into the thick of the fight.’
Tmesis – The separation of a compound word and the insertion of additional words inbetween e.g. any-old-how.
Neologism – A new word.
Nonce word – A type of neologism coined or used for a special circumstance or occasion only, e.g. supercalifragilisticexpialidocious.
Portemanteau word – A type of neologism involving the blending of two words into a single one, e.g. ‘Tanzania’ for ‘Tanganyika’ and ‘Zanzibar’.
Kenning – A compound replacement for a single word e.g. ‘morning star’ for Venus.
Hendiadys – The combination of two words to express a single complex idea. ‘Dieu et mon droit.’ ‘Sound and fury’. ‘With friendship and peace.’
Hendiatris – The combination of three words to express a single complex idea. ‘Wine, women, and song.’
Ricochet words – Hyphenated, quasi reduplicated words, e.g. nitter-natter, mumbo-jumbo.
Onomatopoeia – A word that imitates or suggests the sound that it describes.
Oxymoron – The juxtaposition of words which at first sight seem to be contradictory or incongruous. ‘Make haste slowly.’
Paradox – Similar to an oxymoron but less compact. ‘What a pity that youth must be wasted on the young.’
Antiphrasis – The use of a word with its opposite meaning, e.g. a giant of five foot three inches.
Meiosis – An understatement.
Litotes – A type of meiosis in which an affirmative is expressed by the negative of the contrary e.g. I am not dissatisfied.
Metonymy – The naming of a thing or concept by a thing that is closely associated with it e.g. Downing Street, White Hall, Westminster, the pen and the sword as in ‘the pen is mightier than the sword’.
Antonomasia – A type of metonymy involving the use of a word or phrase or epithet in place of a proper name, e.g. ‘The First Teacher’ for Aristotle.
Synedoche – The naming of a thing or concept by the name of one if its parts (very similar to metonymy), e.g. a pair of hands.
Parallelism – Similarity of syntactical structure in a pair or series of related words, clauses, or lines.
Chiasmus – The relating of two or more successive clauses through a structural reversal. ‘By day the frolic, and the dance by night.’ ‘But many that are first shall be last; and the last shall be first.’ ‘Do not give what is holy unto dogs, and do not throw your pearls before swine, lest they (the pigs) trample them under their feet, and (the dogs) turn and tear you to pieces.’
Zeugma – The joining of two or more parts of a sentence with a single verb (or sometimes a noun), making use of both ellipsis and parallelism. Depending on the position of the verb (at the beginning, in the middle of, or at the end), a zeugma is either a prozeugma, mesozeugma, or hypozeugma. An example of a mesozeugma is, ‘What a shame is this, that neither hope of reward, nor feare of reproach could any thing move him, neither the persuasion of his friends, nor the love of his country.’
Syllepsis – A type of zeugma in which a single word agrees grammatically with two or more other words, but semantically with one only. ‘She lowered her standards by raising her glass, her courage, her eyes, and his hopes.’
Hypozeuxis – The reverse of a zeugma, where each subject has its own verb. ‘We shall fight on the beaches. We shall fight on the landing grounds. We shall fight in the fields, and in the streets, we shall fight in the hills. We shall never surrender!’
Iamb – A metrical foot (the most common) of two syllables with an unaccented syllable followed by an accented syllable. Da DUM. ‘To strive, to seek, to find, and not to yield.’
Trochee – A disyllabic metrical foot with an accented syllable followed by an unaccented syllable (the reverse of the iamb). DUM da. ‘Double, double, toil and trouble; Fire burn and cauldron bubble.’ A trochaic line is often catalectic so as to enable a masculine ending.
Catalexis – The omission of one or two of the ending unaccented syllables in the final foot of a line.
Masculine ending – A line ending with an accented syllable.
Feminine ending – A line ending with an unaccented syllable.
Hypermetric – A line with a redundant (extra) syllable.
Hypercatalectic – A type of hypermetric line with the redundant syllable at the end.
Spondee – A disyllabic metrical foot with two accented syllables. Spondees are often used to emphasise an iambic line. DUM DUM.
Pyrrhic/dibrach – A disyllabic metrical foot with two unaccented syllables which sometimes precede or follow a spondee (the reverse of the spondee). Da da.
Anapest – A trisyllabic metrical foot with two unaccented syllables followed by an accented syllable. Da da DUM. I am mon|arch of all| I survey.
Dactyl – A trisyllabic metrical foot with of three syllables with one accented syllable followed by two unaccented syllables. DUM da da.
Molossus – A trisyllabic metrical foot with three accented syllables. DUM DUM DUM.
Tribrach – A trisyllabic metrical foot with three unaccented syllables. Da da da.
Blank verse – Metered but non-riming verse.
Perfect rime (true rime) – (1) The final vowel and consonant sounds are the same, (2) the sounds that precedes the vowel sounds are different, and (3) the accents on the rhyming syllables are the same.
Near or half rime – There is merely consonance on the final consonants involved.
Masculine rime – A rime that matches only one syllable.
Feminine rime – A rime that matches two or more syllables e.g. ‘pleasure’ and ‘treasure’.
Broken or split rime – A rime produced by dividing a word at the line break, leading to enjambement (the breaking of a syntactic unit across more than one line).
Internal rime – A rime that is within the line.
Close rime – A rime of two contiguous or nearby words.
Caesura – A rhythmic break or pause in a line. ‘To err is human; || to forgive, divine.’
Hemistich – The approximate half of a line used to convey a disturbance of thought or action or a quarrelsome disagreement (hemistichomythia).
Envelope – A line which both opens and closes the material.
In media res – The material begins with a chronologically distant event which is however a crucial point in the narrative.
Climax – The arrangement of words, clauses, or phrases in order of ascending power. ‘One equal temper of heroic hearts,/ Made weak by time and fate, but strong in will/ To strive, to seek, to find, and not to yield.’
Envoi – A short final stanza that is a concise summary of the material.