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Acrostic: a poem in which the first letter of each line spells out a word, name, or phrase when read vertically. Example: “A Boat beneath a Sunny Sky” by Lewis Carroll. Concrete (aka pattern): a written poem or verse whose lines are arranged as a shape/visual image, usually of the topic. Slam; Sound; Spoken-word; Verbless poetry: a poem ...
A long poem that narrates the victories and adventures of a hero. Such a poem is often identifiable by its lofty or elegant diction. [11] epic simile epic theater epigraph 1. An inscription on a statue, stone, or building. 2. The legend on a coin. 3. A quotation on the title page of a book. 4. A motto heading a new section or paragraph. [2]
5th edition: Includes 111,000 words, definitions, phrases, derivative words; illustrations cover 1200 entries. CD-ROM includes Intermediate iWriter, covering 11 types of compositions. Traditional Chinese edition (牛津進階英漢雙解詞典（第五版）): Published by Oxford University Press (China) Ltd.
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The Collins COBUILD Advanced Dictionary [1] (CCAD) from HarperCollins, first published in 1987, [2] is a dictionary that distinguished itself by providing definitions in full sentences, rather than excerpted phrases. Example sentences are given for almost every meaning of every word, drawn from a large corpus of actual usage.
Oxford Dictionary has 273,000 headwords; 171,476 of them being in current use, 47,156 being obsolete words and around 9,500 derivative words included as subentries. The dictionary contains 157,000 combinations and derivatives, and 169,000 phrases and combinations, making a total of over 600,000 word-forms. [41] [42]
The Norton Anthology of Modern and Contemporary Poetry is an anthology of two volumes edited by Jahan Ramazani, Richard Ellmann (1918–1987), and Robert O'Clair. The anthology is large, with 1,100 pages in each of the two volumes. Volume I, about modern poetry, and Volume II, contemporary poetry. Essays on poetics are included in each volume. [1]
Wordsworth's voice slowly disappears from the poems as they progress, and his voice is entirely absent from the fifth poem. His love operates on the subconscious level, and he relates to Lucy more as a spirit of nature than as a human being. [41] The poet's grief is private, and he is unable to fully explain its source. [42]