The Sapphic Ode consists of quatrains, three 11-syllable lines, and a final 5-syllable line, unrhyming but with a strict metre.
An example is "Ode on Solitude" by Alexander Pope.

A poem that ridicules human folly or vice with the purpose of bringing about reform or of keeping others from falling into similar folly or vice.
The idea that morality is the basic motivation of the satirist has a good deal to be said for it, and a good deal has been said for it, often by satirists themselves and sometimes after quoting Mark Twain's remark: "Humor must not professedly teach, and it must not professedly preach, but it must do both if it would live forever. By forever, I mean thirty years. . . . I have always preached. That is the reason that I have lasted thirty years." Twain, who spent his life denouncing conventions.

Ask you what Provocation I have had?
The strong Antipathy of Good to Bad.
When Truth or Virtue an Affront endures,
The Affront is mine, my Friend, and should be yours . . .
O sacred Weapon! Left for Truth's defense,
Sole dread of Folly, Vice, and Insolence !

—Alexander Pope

The act of 'scanning' a poem to determine its meter. To perform scansion, one breaks down each line into individual metrical feet and determines which syllables have heavy stress and which have lighter stress.
According to the early conventions of English poetry, each foot should have at least one stressed syllable, though feet with all unstressed syllables are found occasionally in Greek and other poetic traditions.

A stanza consisting of seven lines.

A poem consisting of six six-line stanzas and a three-line envoy, where the words ending the lines of the first stanza are repeated in a different order at the end of lines in each of the subsequent five stanzas and, two to a line, in the middle and at the end of the three lines in the closing envoy.

Examples are Algernon Charles Swinburne's "Complaint of Lisa," W. H. Auden's "Hearing of valleys," and Donald Hall's "Hang it all, Ezra Pound, there is only one sestina." Sir Philip Sidney's "Ye goat-herd gods, that love the grassy mountains" and Algernon Charles Swinburne's "Sestina" are double sestinas.

A stanza or poem or six lines.

For example, Shakespeare's "Venus and Adonis" and William Wordsworth's "I wandered lonely as a cloud."

Mordant, black-humoured or horrific works such as Edgar Allan Poe's "The Raven," Robert Browning's "`Childe Roland to the Dark Tower Came'," and Robert Service's "The Cremation of Sam McGee." This term was popularized by George Macbeth's anthology Penguin Book of Sick Verse (1963).

The explicit comparison of two objects/phenomenon/states, etc by employing either 'as' or 'like' e.g. 'My love is like a red, red rose' by Robert Burns.
Another famous simile is 'Like a patient etherised upon a table;' from the start of The Love Song of J. Alfred Prufrock by T.S. Eliot.

Verse written in the style of John Skelton (1460-1529). Skeltonic verse is composed of short lines of irregular metre and features tumbling rhyming couplets.

A fixed verse form, usually of fourteen lines but occasionally twelve or sixteen, following a sophisticated rhyme scheme. The English form is usually written in of iambic pentameter.
The Petrarchan, or Italian, sonnet is divided into an octave which rhymes a b b a, a b b a, and a sestet which usually rhymes c d e c d e, or c d c d c d.
The Sestet usually replies to the argument of the octet.
The Miltonic sonnet follows the Petrarchan but without significant break in meaning between the octave and sestet - see more below.
The Shakespearean sonnet has three quatrains and a final couplet which usually provides an epigrammatic statement of the theme.
The Rhyme scheme is a b a b, c d c d, e f e f, g g, or else a b b a, c d d c, e f f e, g g.
The Spenserian sonnet rhymes a b a b, b c b c, c d c d, e e, and often has no break in meaning between the octave and sestet.

An eleven line sonnet devised by Gerard Manley Hopkins and featuring an a-b-c-a-b-c, d-b-c-d-c rhyme scheme e.g. Pied Beauty. Hopkins also used the traditional stanza to great effect.

John Milton invented a sonnet form that utilised the original Petrarchan rhyme scheme but did not feature the traditional break between the octave and the sestet - hence giving his sonnet a more unified feel e.g. "On His Blindness."

*After Milton the use of the sonnet declined until the end of the 18th century when it was picked up again by the likes of Thomas Gray (see On the Death of Richard West). The sonnet re-established itself with the romantic poets - see "Ozymandias" by Shelley and "Upon Westminster Bridge" by Wordsworth. Since then the sonnet has continued to be a popular form. W.H.Auden was a regular sonneteer —"The Quest and Sonnets from China."

A writer of sonnets.

A section of lines forming a division in a poem. Stanzas are often of a specific number of lines and may be in a fixed metre or rhyme scheme.

The first stanza of a Pindaric ode.

A syllable is a unit of speech that is made up of one or more phones (single sounds or "phonetic segments") and in turn makes up words. It influences the rhythm of a language, its prosody, its poetic meter, its stress patterns, etc.
* Syllable Counting Technique used in both traditional metrical verse forms (see meter) and in Japanese inspired poems such as haiku and tanka. In traditional metrical forms the counting is based on the regular patterns of stressed and unstressed syllables in a line. In Japanese forms, the syllable count is based solely on the total number of syllables. Some modern poets such as Marianne Moore and Peter Reading have used this second type of syllable counting to give their work intricate structures.

The conflation of the senses, such as when we refer to a color as "loud" (mixing sight and sound) or a scent as "sharp" (mixing smell and touch). A good example can be found in Wilfred Owen's "Dulce et Decorum Est" when he describes the soldiers a "Drunk with fatigue" and refers to "smothering dreams".

The contraction of two syllables into one, for metrical purposes, by changing two adjacent syllables into a diphthong. Example: the first line of Milton's Paradise Lost, "Of man's first disobedience, and the fruit".

(Greek, 'a receiving together')

A figure of speech in which some significant aspect or detail of an experience is used to represent the whole experience. In Shakespeare's Spring, 'married ear' really refers to the ear of a married man.