Literary Terms for English IV AP
... often viewed as the flaw that leads to the downfall of the tragic hero. 15. imperative –a command or order 16. interrogative – a question, query 17. inversion – a change in the normal word order ex. Instead of “ I have never seen such a mess,” one might write “Never have I seen such a mess.” 18. jux ...
... often viewed as the flaw that leads to the downfall of the tragic hero. 15. imperative –a command or order 16. interrogative – a question, query 17. inversion – a change in the normal word order ex. Instead of “ I have never seen such a mess,” one might write “Never have I seen such a mess.” 18. jux ...
IBEnglishPromptsForPoetryTermsCrossword
... 16) The perspective from which a story or poem is told 17) Also called run-on lines. When the grammar or sense of a line does not end with the line but carries on to the next line. 18) That which represents itself and something else 19) A metrical foot that includes an accented syllable followed by ...
... 16) The perspective from which a story or poem is told 17) Also called run-on lines. When the grammar or sense of a line does not end with the line but carries on to the next line. 18) That which represents itself and something else 19) A metrical foot that includes an accented syllable followed by ...
Glossary of Poetry Terms
... A natural pause or break in a line of poetry, usually near the middle of the line. There is a caesura right after the question mark in the first line of this sonnet by Elizabeth Barrett Browning: “How do I love thee? Let me count the ways.” carpe diem A Latin expression that means “seize the day.” C ...
... A natural pause or break in a line of poetry, usually near the middle of the line. There is a caesura right after the question mark in the first line of this sonnet by Elizabeth Barrett Browning: “How do I love thee? Let me count the ways.” carpe diem A Latin expression that means “seize the day.” C ...
Concrete Poem
... A three lined, Japanese verse form. The first and third lines of a haiku have five syllables; the second line has seven syllables. A haiku usually represents a single, vivid image drawn from nature. ...
... A three lined, Japanese verse form. The first and third lines of a haiku have five syllables; the second line has seven syllables. A haiku usually represents a single, vivid image drawn from nature. ...
Figurative Language - Mrs. Williams` Class
... When I say figuratively and not literally! “I think I just dodged a bullet!” Figurative Language is usually used in poetry. ...
... When I say figuratively and not literally! “I think I just dodged a bullet!” Figurative Language is usually used in poetry. ...
A Narrative Poem By Sir Walter Scott
... of battle and conflict 2. Those who are passive and ineffective In your notes, make a character list based on these groups. ...
... of battle and conflict 2. Those who are passive and ineffective In your notes, make a character list based on these groups. ...
Worksheet on Acrostic poem
... II) You are going to create the cover of your portfolio using the figure and the poem. Remember to include your name, class and class number. ...
... II) You are going to create the cover of your portfolio using the figure and the poem. Remember to include your name, class and class number. ...
The Morall Fabillis of Esope the Phrygian
The Morall Fabillis of Esope the Phrygian is a cycle of connected poems by the Scottish makar Robert Henryson. In the accepted text it consists of thirteen versions of fables, seven modelled on stories from ""Aesop"" expanded from the Latin elegiac Romulus manuscripts, one of the standard fable texts in medieval Europe. The remaining six follow the more general beast epic tradition. Five of this second group feature Henryson's version of the Reynardian trickster figure, the fox, who he calls Lowrence. The core of the poems in the beast epic group explore a relationship between Lowrence and the figure of the wolf, who similarly appears in five of the six. The wolf then ""overlaps"" the beast epic poems of the cycle to make a sixth and most brutal appearance in the final verse Romulus section. The subtle and ambiguous way in which Henryson adapted and juxtaposed material from a diversity of sources in the tradition and exploited anthropomorphic conventions to blend human characteristics with animal observation both worked within, and pushed the bounds of, standard practice in the common medieval art of fable re-telling. Henryson fully exploited the fluid aspects of the tradition to produce an unusually sophisticated moral narrative, unique of its kind, making high art of an otherwise conventional genre.Internal evidence suggests that the work was composed in or around the 1480s.