1. acrostic |əˈkrôstik; əˈkräs-|

nouna poem, word puzzle, or other composition in which certain letters in each line form a word or words.ORIGIN late 16th cent.: from French
acrostiche , from Greek akrostikhis, from akron ‘end’ + stikhos ‘row, line of verse.’ The spelling change was due to association with -ic

2. quatrain |ˈkwäˌtrān|

nouna stanza of four lines, esp. one having alternate rhymes.

3. cherub ch erəb|

ORIGIN late 16th cent.: from French, from quatre ‘four.’cherub ch erəb|noun ( pl. cherubim) ch er(y)əbim|a winged angelic being described in biblical tradition as attending on God. It is represented in ancient Middle Eastern art as a lion or bull with eagles' wings and a human face, and regarded in traditional Christian angelology as an angel of the second highest order of the ninefold celestial hierarchy.( pl. cherubim ch er(y)əˌbim|or cherubs ) a representation of a cherub in art, depicted as a chubby, healthy-looking child with wings.(pl. cherubs) a beautiful or innocent-looking child.ORIGIN Old Englishcherubin , ultimately (via Latin and Greek) from Hebrew kĕrū b

4. FOOT:

repeating pattern of slack and stressed syllables that forms the fundamental unit of meter. The number of feet in a line gives their names to monometer (1), dimeter (2), trimeter (3), tetrameter (4), pentameter (5), hexameter (6, also called alexandrine), heptameter (7, also called “fourteeners”), octometer (8), nonometer (9), the very first and the last two being quite rare.

5. IAMB:
metrical foot consisting of a slack and a stress: υ

6. METER:
the recurring, invariant pattern of slack and stressed syllables that a line of accentual-syllabic verse implies, and that the reader infers as an abstract, steady ground against which the actual verse rhythm plays its patterns of coincidence or counterpoint.

(i.e., the rhythm of a piece of poetry, determined by the number and length of feet in a line.)

7. SCANSION:
an analytic process of mapping the convergence and divergence (reinforcement and counterpoint) between the meter of verse and its rhythm. A poem is scanned by marking its stressed and slack syllables and dividing them into feet.

8. SLACK:
unstressed syllable in metered verse; scansion mark

9. STANZA:
group of lines whose meter and rhyme scheme follow a pattern that is exactly repeated, constituting the structural unit of a stanzaic poem.

10. STRESS:
emphasis that a syllable receives in metered verse; scansion mark Stress may be due to accent (as given in dictionaries for polysyllabic words), to grammar (monosyllabic nouns and adjectives, e.g., routinely taking stress), to context (where a word acquires dramatic or rhetorical force), or, infrequently, to the exigency ofmeter itself.
11. portmanteau word

noun
a word blending the sounds and combining the meanings of two others, for example
motel (from ‘motor’ and hotel’) or brunch
(from ‘breakfast’ and ‘lunch’).

ORIGIN
portmanteau coined, in this sense, by Lewis Carroll in Through the Looking Glass (1871).

12. nonce |näns|
adjective(of a word or expression) coined for or used on one occasion :a nonce usage.PHRASESfor the nonce for the present; temporarily : the room had been converted for the nonce into a nursery.ORIGIN Middle English : from then anes [the one (purpose)](from then, obsolete oblique form of the + ane [one] + -s 3 ), altered by misdivision; compare with newtand nickname .
13. prosody |ˈpräsədē|
nounthe patterns of rhythm and sound used in poetry : the translator is not obliged to reproduce the prosody of the original.the theory or study of these patterns, or the rules governing them. the patterns of stress and intonation in a language : the salience of prosody in child language acquisition | early English prosodies.DERIVATIVESprosodic |prəˈsädik; -zädik| or prosodical |prəˈsädikəl; -ˈzäd-| adjective prosodist |ˈpräsədist; ˈpräz-| nounORIGIN late 15th cent. : from Latin prosodia ‘accent of a syllable,’ from Greek prosōidia ‘song sung to music, tone of a syllable,’ from pros ‘toward’+ōidē‘song.’
14. ALLITERATION:
repetition of the same initial sound in nearby words.

15. ASSONANCE:
harmonious repetition of the same vowel sound in nearby words.

16. CONSONANCE:
repetition of the same consonant sound in nearby words; also called “euphony".


17. DISSONANCE:
jam of inharmonious word sounds; also called “cacophony".

18. ANAPEST:
metrical foot consisting of two slacks and a stress: υ υ /

19. DACTYL:
metrical foot consisting of a stress and two slacks: / υ υ

20. PYRRHIC:
metrical foot consisting of two consecutive slacks: υ υ . Occurs only in conjunction with its complementary foot the spondee, which assumes or borrows its pyrrhic partner’s missing beat.

21. SPONDEE:
metrical foot consisting of two consecutive stresses: / / . Often appears in conjunction with its complementary foot the pyrrhic, whose missing beat it borrows; but often arises independently, as well, to freight a line or retard it.

22. TROCHEE:
metrical foot consisting of a stress and a slack: / υ

23. amphibrach |ˈamfəˌbrak|

noun Prosodya metrical foot consisting of a stressed syllable between two unstressed syllables or (in Greek and Latin) a long syllable between two short syllables.ORIGIN late 16th cent. (originally in the Latin forms amphibrachus, amphibrachys): via Latin from Greek amphibrakhus‘short at both ends.’

24. ENJAMBED LINE:
a line of verse whose sense runs on, without terminal punctuation, into the next. (cf. enjambment).

25. CAESURA:
mid-line pause, often marked by punctuation but not always.

26. enjambment |enˈjam(b)mənt| (also enjambement )
noun(in verse) the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza.ORIGIN mid 19th cent. : from French enjambement , from enjamber ‘stride over, go beyond,’ from en- ‘in’ + jambe ‘leg.’
27. end stop , in prosody, a grammatical pause at the end of a line of verse, as in these lines from Alexander Pope ’s An Essay on Criticism :
  • A little learning is a dangerous thing;
  • Drink deep, or taste not the Pierian spring.
  • There shallow draughts intoxicate the brain,
  • And drinking largely sobers us again.

28. Pierian Spring

In Greek mythology, the Pierian Spring of Macedonia was sacred to the Muses. As the metaphorical source of knowledge of art and science, it was popularized by a line in Alexander Pope's poem "An Essay on Criticism" (1709).
Pieria, where the sacred spring was situated, was a region of ancient Macedonia, also the location of Mount Olympus, and believed to be the home and the seat of worship of Orpheus and the Muses, the deities of the arts and sciences. The spring is believed to be a fountain of knowledge that inspires whoever drinks from it.
Generally used to indicate a source of inspiration.

29. PITCH:
high or low quality of sounds in a syllable: a property of both consonants and vowels, it is one contributing factor in the determination of stress.

30. RHYTHM:
the pattern of slack and stress that emerges from a poem as actually voiced, or imaginatively heard. Rhythm implies the poem’s metrical norm, which it both generally observes and (as a rule) tactically disobeys here and there.

31. ONOMATOPOEIA:
the imitation of a sound by the word that denotes it.

32. seraph |ˈserəf|

noun ( pl. seraphim |ˈserəˌfim| or seraphs )an angelic being, regarded in traditional Christian angelology as belonging to the highest order of the ninefold celestial hierarchy,associated with light, ardor, and purity.ORIGIN Old English , back-formation from seraphim (plural), via late Latin and Greek from Hebrew śĕrā p īm. Compare with cherub .