One or more lines repeated before or after the stanzas of a poem.

The term Renaissance (French for rebirth) traditionally designates the centuries following the Middle Ages in Europe. In England, the Renaissance is often considered to run from 1500 to 1650's.
The traditional canon of important literary figures includes Shakespeare, Donne, Herbert, Ben Jonson, and Milton.

Rhymed words conventionally share all sounds following the word's last stressed syllable. Thus "tenacity" and "mendacity" rhyme, but not "jaundice" and "John does," or "tomboy" and "calm bay." The rhyme scheme is usually the pattern of end-rhymes in a stanza, each rhyme being encoded by a letter of the alphabet from a onwards.
Apocopated: an imperfect rhyme between the final syllable of a word and the penultimate syllable of another word. For example, 'Cardinals, red and dun, Chatter when it's sunny.'

Amphisbaenic rhyme: a reversed rhyme, such as "trot" and "tort."

Antisthecon or wrenched rhyme: a rhyme created by distorting a word, such as "Samoa" for "some more of" in the limerick "An old maid in the land of Aloha."

Broken rhyme: rhyming with an initial or medial syllable of a word that is split between two lines with a hyphen.

Eye rhyme: words rhyming only as spelled, not as pronounced, and hence not a perfect or true rhyme. An example is "through" and "slough."

Feminine rhyme: gendered expression for rhymes ending in one or more unstressed syllables, such as "fruity" and "booty." The expressions light, weak or multi-syllable rhyme avoid the sexist bias.

Half-rhyme: rhyming only with the consonants in the terminal syllable(s) of a multi-syllable word. An example is "concrete" and "litcrit". Also termed `off-rhyme,' `slant rhyme,' or apophany, in which two single-syllable words (such as `tell' and `toll') share the opening and closing consonants but not the intervening vowel. See consonance.

Identical rhymes: using the same word, identically in sound and in sense, twice in rhyming position.

Initial rhyme: see Alliteration.

Internal rhyme: see Internal Rhyme

Masculine rhyme: gendered expression for rhymes ending in a stressed syllable, such as "hells" and "bells." The expressions strong or one-syllable rhyme avoid the sexist bias.

Monorhyme: the use of only one rhyme in a stanza. An example is William Blake's "Silent, Silent Night."

Pararhyme: Edmund Blunden's term for double consonance, where different vowels appear within identical consonant pairs (a feature of Wilfrid Owens' verse).

Tail rhyme: a stanza with a tail, tag, or extra short line that may rhyme with another such line later on. Chaucer's tale of Sir Thopas is one example.

Rich rhyme: rhymes identical in sound (or spelling) but semantically different, e.g., "Felicity was present | To pick up her present."

Rhyme Royal: A form of verse which consists of stanzas of seven ten-syllable lines, rhyming ababbcc. It was first used by Chaucer, and was also the form chosen by Shakespeare for the tragic gravity of his narrative poem "Lucrece."

Synthetic rhyme: a forced rhyme in which the spelling and sound of a word are distorted.

Vowel rhyme: see Assonance.
See also Alliteration, Assonance, Consonance, Onomatopoeia, and Rime couée.

Slant Rhyme is a term used for words in a rhyming pattern that have some kind of sound correspondence but are not perfect rhymes. Approximate rhymes occur occasionally in patterns where most of the rhymes are perfect, and sometimes are used systematically in place of perfect rhyme.

Spelling Rhyme occurs where the end words of a line are spelled similarly e.g. 'love' and 'move' but that they don't chime together as rhymes.

For Vowel Rhyme see Assonance.

One of many patterns into which rhyme is organized. By tradition, lower case letters are used to indicate the rhyme scheme, beginning with “a.” There are many different rhyme schemes. Perhaps one of the most recognized is the rhyme scheme of a Shakespearian sonnet which is abba cdcd efef gg. For example, here is Shakespeare’s Sonnet 116:

Let me not to the marriage of true minds a
Admit impediments. Love is not love b
Which alters when it alteration finds, a
Or bends with the remover to remove. b
(a sight rhyme; rhymed in Shakespeare’s day
O, no, it is an ever-fixed mark c
That looks on tempests and is never shaken; d
It is the star to every wandering bark, c
Whose worth’s unknown, although his height be taken. d
Love’s not Time’s fool, though rosy lips and cheeks e
Within his bending sickle’s compass come; f
Love alters not with his brief hours and weeks, e
But bears it out even to the edge of doom f
If this be error and upon me proved, g
I never writ, nor no man ever loved. g

Sprung Rhythm is a term used by Gerard Manley Hopkins to describe the rhythm of most language and music which he observed to be patterned by a regular beat of stressed syllables, interspersed with a variable number of unstressed syllables.

Tail rhyme, a stanza in which a usually closing short line rhymes with a previous short line and is separated from it by longer lines.

Meter in which an unstressed syllable is followed by a stressed syllable (as in the iamb and the anapaest) such that there is a rising movement in each foot.

English Romanticism is sometimes held to have begun in the mid-to-late eighteenth century, although some use the date of the publication of Wordsworth and Coleridge's Lyrical Ballads in 1798 as a convenient starting point. A popular ending point is 1832, the date of the passage of the Reform Bill, although some extend it through the beginning of Victoria's reign in 1837.
The traditional canon of the six major Romantic poets consists of William Blake, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, John Keats, and Percy Bysshe Shelley.

A mainly octosyllabic poem consisting of between ten and fifteen lines, having only two rhymes and with the opening words used twice as an unrhyming refrain at the end of the second and third stanzas.

A poem of French origin usually of 13-14 lines that repeats the first two lines in the middle and the first three lines at the end, but with only two rhymes. Swinburne's The Roundel consists of 11 lines, two stanzas, where the first two lines are repeated, the second time at the poem's end.

It's a smaller version of the rondel. The rondelet is a seven line poem with a refrain in the first, third and seventh line and a rhyme scheme: A-b-A-a-b-b-A.

A poem usually of 13-14 lines that repeats the first two lines in the middle and the first three lines at the end, but with only two rhymes. Swinburne's The Roundel consists of 11 lines, two stanzas, where the first two lines are repeated, the second time at the poem's end.

A line which ends before grammatical and semantic unity has been achieved and where the sense therefore carries on to the next line without a pause.