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Poetry analysis is the process of investigating the form of a poem, content, structural semiotics, and history in an informed way, with the aim of heightening one's own and others' understanding and appreciation of the work. [1] The words poem and poetry derive from the Greek poiēma (to make) and poieo (to create).
A diamante poem is a poem that makes the shape of a diamond. The poem can be used in two ways, either comparing and contrasting two different subjects, or naming synonyms at the beginning of the poem and then antonyms for the second half for a subject. In the poems, the subject is named in one word in the first line. The second line consists of ...
Poetic Diction is a style of writing in poetry which encompasses vocabulary, phrasing, and grammatical usage. Along with syntax, poetic diction functions in the setting the tone, mood, and atmosphere of a poem to convey the poet's intention. Poetic devices shape a poem and its meanings.
In Japanese poetry, a tanka where the upper part is composed by one poet and the lower part by another. [56] techne telestich A poem or other form of writing in which the last letter, syllable or word of each line, paragraph or other recurring feature in the text spells out a word or a message. [57] tenor tercet terza rima tetrameter tetrastich ...
Poetry (from the Greek word poiesis, "making") is a form of literary art that uses aesthetic and often rhythmic [1] [2] [3] qualities of language to evoke meanings in addition to, or in place of, literal or surface-level meanings. Any particular instance of poetry is called a poem and is written by a poet.
Cadence: the patterning of rhythm in poetry, or natural speech, without a distinct meter; Catalexis: shortening of a line by one element (adjective: catalectic) Acatalexis: the opposite of catalexis; Acephalous line: a line lacking the first element; Line: a unit into which a poem is divided
The turn in poetry has gone by many names. In "The Poem in Countermotion", the final chapter of How Does a Poem Mean?, John Ciardi speaks thus of the "fulcrum" in relation to the non-sonnet poem "O western wind" (O Western Wind/when wilt thou blow/The small rain down can rain//Christ! my love were in my arms/and I in my bed again): 'The first two lines are a cry of anguish to the western wind ...
Shakespeare's funerary monument. The sonnets of Petrarch and Shakespeare represent, in the history of this major poetic form, the two most significant developments in terms of technical consolidation—by renovating the inherited material—and artistic expressiveness—by covering a wide range of subjects in an equally wide range of tones.