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Assonance is the repetition of identical or similar phonemes in words or syllables that occur close together, either in terms of their vowel phonemes (e.g., lean green meat) or their consonant phonemes (e.g., Kip keeps capes ). [1]
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.
The poem incorporates a complex reliance on assonance—the repetition of vowel sounds—in a conscious pattern, as found in many of his poems. Such a reliance on assonance is found in very few English poems. Within "Ode to a Nightingale", an example of this pattern can be found in line 35 ("Already with thee! tender is the night"), where the ...
An example is the verse from Edgar Allan Poe's "The Raven": "And the silken sad uncertain rustling of each purple curtain." (This example also contains assonance around the "ur" sound.) Another example of consonance is the word "sibilance" itself. Consonance is an element of half-rhyme poetic format, sometimes called "slant rhyme".
The poem is written in the villanelle or villanesque form of poetry, which contains nineteen lines. These lines consist of five tercets and a quatrain at the end. Two lines of the opening tercet, the first and the third, are known as refrains and are repeated alternately throughout the poem as the final lines of the following tercets. In this ...
The title of Patrick Kavanagh's poem "On Looking into E. V. Rieu's Homer", about E. V. Rieu's Homer translations, is an allusion on the title of Keats's poem. In Saki 's story "The Talking-out of Tarrington", a character is greeted with a " 'silent-upon-a-peak-in-Darien' stare which denoted an absence of all previous acquaintance with the ...
The poem begins with a moment of quiet introspection, which is reflected in the soft sounds of w's and th's, as well as double ll's. In the second stanza, harder sounds — like k and qu — begin to break the whisper. As the narrator's thought is disrupted by the horse in the third stanza, a hard g is used. [5]
The poem incorporates a complex reliance on assonance, which is found in very few English poems. Within "Ode on a Grecian Urn", an example of this pattern can be found in line 13 ("Not to the sensual ear, but, more endear'd") where the "e" of "sensual" connects with the "e" of "endear'd" and the "ea" of "ear" connects with the "ea" of "endear'd".