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Question marks–In poetry, they are used to reflect a contemplative pause. Exclamation marks–Indicates surprise, joy, and other strong emotions the poet is trying to emphasise or convey. Ellipses–Leaving out part of a sentence or an event by substituting it with ellipses is a stylistic element. It represents an omission of words which ...
Ecphonesis (Greek: ἐκφώνησις) is an emotional, exclamatory phrase (exclamation) used in poetry, drama, or song. It is a rhetorical device that originated in ancient literature. A Latin example is "O tempora! O mores!" ("Oh, the times! Oh, the morals!"). A modern example is "Young man!" from the song YMCA by the Village People.
Is 5 by E. E. Cummings, an example of free verse. Free verse is an open form of poetry which does not use a prescribed or regular meter or rhyme [1] and tends to follow the rhythm of natural or irregular speech. Free verse encompasses a large range of poetic form, and the distinction between free verse and other forms (such as prose) is often ...
Example: Algernon Charles Swinburne’s translation “Ballade des Pendus” by François Villon. [1] Rondeau: a mainly octosyllabic poem consisting of between 10 and 15 lines and 3 stanzas. It has only 2 rhymes, with the opening words used twice as an un-rhyming refrain at the end of the 2nd and 3rd stanzas. Virelai
Parataxis (from Greek: παράταξις, "act of placing side by side"; from παρα, para "beside" + τάξις, táxis "arrangement") is a literary technique, in writing or speaking, that favors short, simple sentences, without conjunctions or with the use of coordinating, but not with subordinating conjunctions.
Where the common unit of verse is based on meter or rhyme, the common unit of prose is purely grammatical, such as a sentence or paragraph. [4] Verse in the second sense is also used pejoratively in contrast to poetry to suggest work that is too pedestrian or too incompetent to be classed as poetry.
Poetic diction is the term used to refer to the linguistic style, the vocabulary, and the metaphors used in the writing of poetry.In the Western tradition, all these elements were thought of as properly different in poetry and prose up to the time of the Romantic revolution, when William Wordsworth challenged the distinction in his Romantic manifesto, the Preface to the second (1800) edition ...
A monostich has been as "a startling fragment that has its own integrity" [2] and "if a monostich has an argument, it is necessarily more subtle." [3]A monostich could be also titled; due to the brevity of the form, the title is invariably as important a part of the poem as the verse itself: [4]