Poems that consist of expressions in more than one language and verses in which foreign words are ludicrously distorted and jumbled together, as in Porson's lines on the threatened invasion of England by Napoleon. (Lingo drawn for the Militia.)

A short love poem which can easily be set to music.

William. Shakespeare :

XXXVI. Madrigal

Take, O take those lips away
That so sweetly were forsworn,
And those eyes, the break of day,
Lights that do mislead the morn:
But my kisses bring again,
Bring again—
Seals of love, but seal'd in vain,
Seal'd in vain!

A term to describe the kind of poem which induces 'emotional correlations by the sound and rhythm of the speech'. The maximum amount of melopoeia is to be found in poems that are written to be sung, chanted or read aloud.

A comparison that is made literally, either by a verb
(for example, John Keats' "Beauty is truth, truth beauty" from his "Ode on a Grecian Urn") or by a combination of adjective and noun, noun and verb, etc.

For example, Shakespeare's sonnet on the "the marriage of true minds" without pointing out a similarity by using words such as "as," "like," or "than."

Metaphysical poetry was originally a style of poetry to describe the poet John Donne's work, but then later extended to a school of 17th century poets. The verse deals with the use of philosophy to explain the human drama in the universe. Their poetic style and method is what linked the poets together.

Poets such as Andrew Marvell, who wrote 'To His Coy Mistress', George Herbert who wrote 'Love' and John Donne who wrote 'The Sun Rising' all fit into the metaphysical grouping.

A figure of speech in which the poet substitutes a word normally associated with something for the term usually naming that thing (for example, "big-sky country" for western Canada). The association can be cause-and-effect, attribute-of, instrument-for, etc.

(Greek, "measure")
The rhythm of verse, reduceable to one of four kinds, accentual, syllabic, accentual-syllabic, and quantitative. It is also sometimes called `number(s).'
Falling metre: trochees and dactyls, i.e., a stressed syllable followed by one or two unstressed syllables.
Rising metre: iambs and anapests, i.e., one or two unstressed syllables followed by a stressed one.

A satirical verse treating something trivial with a sober tone, as in John Philip's "The Splendid Shilling."

Modernist work is often seen with poets, such as Yeats, Frost, Pound, Eliot, Stevens, Williams, etc.
Eliot's poetry is modern in this sense:

"The winter evening settles down
With smell of steaks in passageways,
Six o'clock.
The burnt out ends of smoky days.
And now a gusty shower wraps
The grimy scraps
Of whithered leaves about your feet
And newspapers from vacant lots;
The showers beat
On broken blinds and chimney-pots.
And at the corner of the street
A lonely cab-horse steams and stamps.
And then the lighting of the lamps."

Any elegy or dirge represented as the utterance of a single speaker.

A metrical line containing one foot.

A poem or section of a poem in which all the lines have the same end rhyme.
Example: From a well-known anonymous poem about fleas —

"Adam
Had 'em"

'The Movement' poets addresses everyday life in
plain, straightforward language and often in traditional forms.

Nine Muses known as the the nine Greek daughters of Zeus. They are referred to as goddesses of inspiration, learning, the arts, and culture. Specific attributes of each goddess are:

Kalliope, epic poetry (she holds the highest rank of the Muses)
Erato, love poems
Kleio, history
Euterpe, flute playing
Thaleia, comedy
Melpomene, tragedy
Terpsichore, dance
Polymnia, sacred music
Ourania, astrology