مجموعة تعاريف للشعر .. اتمنى الفائدهـ

[~ A7lA DoNiA ~]

السلام عليكم ورحمة الله وبركاته ..

حابهـ أقدم لكم مجموعة تعاريف ومصطلحات شعريه ..
مع بعض الأمثله..

جهد شخصي..فقد قمت بتجميع هذه التعاريف من عدة مواقع وكتب ..
اتمنى لكم الفائدهـ ..
وارجوا منكم الدعآآء ..



اعتذر إذا وجد اي خطأ فهو غير مقصود ..

دمتم بخير

[~ A7lA DoNiA ~]

Allegory is a form of extended metaphor, in which objects, persons, and actions in a narrative, are equated with the meanings that lie outside the narrative itself. The underlying meaning has moral, social, religious, or political significance, and characters are often personifications of abstract ideas as charity, greed, or envy.
Thus an allegory is a story with two meanings, a literal meaning and a symbolic meaning.
Example: Fairie Queen Spenser; Pilgrim's Progress by John Bunyan; Young Goodman Brown by Nathaniel Hawthorne .An expression by means of symbolic figures, actions or symbolic representation.

Metaphor: comparison of two unlike things using the verb "to be" and not using like or as in a simile.
The simplest and also the most effective poetic device is the use of comparison. It might almost be said that poetry is founded on two main means of comparing things: simile and metaphor. We heighten our ordinary speech by the continual use of such comparisons as "it fits like the Paper on the wall," "happy as the day is long, pretty as a picture." These are all recognizable similes; they use the words "as" or "like." It is language that directly compares seemingly unrelated subjects. It is a figure of speech that compares two or more things without using the words "like" or "as." More generally, a metaphor describes a first subject as being or equal to a second object in some way. This device is known for usage in literature, especially in poetry, where with few words, emotions and associations from one context are associated with objects and entities in a different context. A simpler definition is the comparison of two unrelated things without using the words "like" or "as", the use of these words would create a simile. For example, she is a button. (As cute as a button)
Common types of metaphors

A dead metaphor is one in which the sense of a transferred image is not present. Example: "to grasp a concept" or "to gather what you've understood" Both of these phrases use a physical action as a metaphor for understanding (itself a metaphor), do most visualize the physical action. Dead metaphors, by definition, normally go unnoticed. Some people make a distinction between a "dead metaphors" whose origin most speakers are entirely unaware about (such as "to break the ice"). Others, however, use dead metaphor for both of these concepts, and use it more generally as a way of describing metaphorical cliché.

An extended metaphor, or conceit, sets up a principal subject with several subsidiary subjects or comparisons.

A mixed metaphor is one that leaps from one identification to a second identification that is inconsistent with the first one. Example: "He stepped up to the plate and grabbed the bull by the horns," where two commonly used metaphoric grounds for highlighting the concept of "taking action" are confused to create a nonsensical image
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Assonance is repetition of vowel sounds to create internal rhyming within phrases or sentences, and together with alliteration and consonance serves as one of the building blocks of verse. For example, in the phrase "Do you like blue?" the "oo" (ou/ue) sound is repeated within the sentence and is assonant. Assonance is more a feature of verse than prose. It is used in (mainly modern) English-language poetry, and is particularly important in Old French, Spanish and Celtic languages.

Consonance is a stylistic device, often used in poetry characterized by the repetition of two or more consonants using different vowels, for example, the "i" and "a" followed by the "tter" sound in "pitter patter." It repeats the consonant sounds but not vowel sounds. This is not to be confused with assonance, which is the repetition of only vowel sounds. Alliteration differs from consonance insofar as alliteration requires the repeated consonant sound to be at the beginning of each word, while in consonance the repeated sounds can occur anywhere within the word, although often at the end. In half rhyme, the terminal consonant sound is repeated.

Allusion is a brief reference to a person, event, or place, real or fictitious, or to a work of art. Casual reference to a famous historical or literary figure or event.
An allusion may be drawn from history, geography, literature, or religion.

Paradox reveals a kind of truth which at first seems contradictory. Two opposing ideas.
Example:
Stone walls do not a prison make, Nor iron bars a cage.

A paradox is a statement or group of statements that leads to a contradiction or a situation which defies intuition; or, it can be an apparent contradiction that actually expresses a non-dual truth (cf. Koan, Catuskoti). Typically, the statements in question do not really imply the contradiction, the puzzling result is not really a contradiction, or the premises themselves are not all really true or cannot all be true together. The word paradox is often used interchangeably with contradiction. Often, mistakenly, it is used to describe situations that are ironic.The recognition of ambiguities, equivocations, and unstated assumptions underlying known paradoxes has led to significant advances in science, philosophy and mathematics. But many paradoxes, such as Curry's paradox, do not yet have universally accepted resolutions. Sometimes the term paradox is used for situations that are merely surprising. The birthday paradox, for instance, is unexpected but perfectly logical. The logician Willard V. O. Quine distinguishes falsidical paradoxes, which are seemingly valid, logical demonstrations of absurdities, from veridical paradoxes, such as the birthday paradox, which are seeming absurdities that are nevertheless true.[1] Paradoxes in economics tend to be the veridical type, typically counterintuitive outcomes of economic theory. In literature a paradox can be any contradictory or obviously untrue statement, which resolves itself upon later inspection

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Accentual-syllabic verse is an extension of accentual verse which fixes both the number of stresses and syllables within a line or stanza. Accentual-syllabic verse is highly regular and therefore easily scannable. Usually, either one metrical foot, or a specific pattern of metrical feet, is used throughout the entire poem; thus we can talk about a poem being in, for example, iambic pentameter. Poets naturally vary the rhythm of their lines, using devices such as inversion, elision, feminine endings, the caesura, using secondary stress, the addition of extra-metrical syllables, or the omission of syllables, the substitution of one foot for another.

Iambic pentameter is a type of meter that is used in poetry and drama. It describes a particular rhythm that the words establish in each line. That rhythm is measured in small groups of syllables; these small groups of syllables are called "feet". The word "iambic" describes the type of foot that is used. The word "pentameter" indicates that a line has five of these "feet". These terms originally applied to the quantitative meter of classical Greek poetry.

Blank verse is a type of poetry, distinguished by having a regular meter, but no rhyme. In English, the meter most commonly used with blank verse has been iambic pentameter (like that which is used in Shakespearean plays).The first known use of blank verse in the English language was by Henry Howard, Earl of Surrey..

A heroic couplet is a traditional form for English poetry, commonly used for epic and narrative poetry; it refers to poems constructed from a sequence of rhyming pairs of iambic pentameter lines. The rhyme is always masculine. Use of the heroic couplet was first pioneered by Geoffrey Chaucer in the Legend of Good Women and the Canterbury Tales

In poetics, closed couplets are two line units of verse that do not extend their sense beyond the line's end.

An epic is a lengthy narrative poem, ordinarily concerning a serious subject containing details of heroic deeds and events significant to a culture or nation. Nonetheless, epics have been written down at least since Homer, One such epic is the Anglo-Saxon story Beowulf

Epithalamium “sometimes also spelled "epithalamion" specifically refers to a form of poem that is written for the bride. Or, specifically, written for the bride on the way to her marital chamber. The word derives from the Greek epithalamios which means "of a wedding",
Wit is a form of intellectual humour. A wit (person) is someone skilled in making witty remarks. .Wit in poetry is characteristic of metaphysical poetry as a style, and was prevalent in the time of English playwright Shakespeare, who admonished pretension with the phrase "Better a witty fool than a foolish wit". In fact wit can be a thin disguise for more poignant feelings that are being versified. English poet John Donne is the representative of this style of poetry.

Satire is often strictly defined as a literary genre or form; although, in practice, it is also found in the graphic and performing arts. In satire, human or individual vices, follies, abuses, or shortcomings are held up to censure by means of ridicule, derision, burlesque, irony, or other methods, ideally with the intent to bring about improvement.[1] Although satire is usually meant to be funny, the purpose of satire is not primarily humour in itself so much as an attack on something of which the author strongly disapproves, using the weapon of wit.

Lyric poetry refers to a usually short poem that expresses personal feelings, which may or may not be set to music Aristotle, in Poetics, contrasted lyric poetry with drama and epic poetry. An example would be a poem that expresses feelings and may be a song that could be performed to an audience. The term is generally associated with the 17th century metaphysical poets in contemporary usage. In the metaphysical conceit, metaphors have a much more purely conceptual, and thus tenuous, relationship between the things being compared.

Metaphysical poets were a loose group of British lyric poets of the 17th century, who shared an interest in metaphysical concerns and a common way of investigating them. The label "metaphysical" was given much later by Samuel Johnson in his Life of Cowley. These poets themselves did not form a school or start a movement; most of them did not even know or read each other. Their style was characterized by wit, subtle argumentations, "metaphysical conceits", and/or an unusual simile or metaphor such as in Andrew Marvell’s comparison of the soul with a drop of dew. Several metaphysical poets, especially John Donne, were influenced by Neo-Platonism. One of the primary Platonic concepts found in metaphysical poetry is the idea that the perfection of beauty in the beloved acted as a remembrance of perfect beauty in the eternal realm.

Ode is a form of stately and elaborate lyrical verse. A classic ode is structured in three major parts: the strophe, the antistrophe, and the epode. Different forms such as the homostrophic ode and the irregular ode also exist.

Pastoral, as an adjective, refers to the lifestyle of shepherds and pastoralists, moving livestock around larger areas of land according to seasons and availability of water and food. "Pastoral" also describes literature, art and music which depict the life of shepherds, often in a highly idealised manner. It may also be used as a noun (a pastoral) to describe a single work of pastoral poetry, music or drama.

Refrain is the line or lines that are repeated in music or in verse; the "chorus" of a song. The use of refrains is particularly associated with where the verse-chorus-verse song structure typically places a refrain in almost every song. The refrain or chorus often sharply contrasts the verse melodically, rhythmically, and harmonically, and assumes a higher level of dynamics and activity, often with added instrumentation. Chorus form, or strophic form, is a sectional and/or additive way of structuring a piece of music based on the repetition of one formal section or block played repeatedly. See also verse-chorus form. Refrains usually, but do not always, come at the end of the verse. Some songs, especially ballads, incorporate refrains into each verse.

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Sonnet is one of the poetic forms that can be found in lyric poetry from Europe. The term "sonnet" derives from the Occitan word sonet and the Italian word sonetto, both meaning "little song". By the thirteenth century, it had come to signify a poem of fourteen lines that follows a strict rhyme scheme and specific structure. English sonnet consists of 14 lines, each line contains ten syllables, and each line is written in iambic pentameter in which a pattern of a non-emphasized syllable followed by an emphasized syllable is repeated five times.

Shakespeare's sonnets, or simply The Sonnets, is a collection of poems in sonnet form written by William Shakespeare that deal with such themes as love, beauty, politics, and mortality. They were probably written over a period of several years. All 154 poems appeared in a 1609 collection, entitled SHAKE-SPEARES SONNETS, comprising 152 previously unpublished sonnets and two (numbers 138 and 144) that had previously been published in a 1599 miscellany entitled The Passionate Pilgrim. The Sonnets were published under conditions that have become unclear to history. The rhyme scheme of the Shakespearian sonnet is ABAB CDCD EFEF GG.

Spenserian sonnet
A variant on the English form is the Spenserian sonnet, named after Edmund Spenser (c.1552–1599) in which the rhyme scheme is, abab, bcbc, cdcd, ee. In a Spenserian sonnet there does not appear to be a requirement that the initial octave set up a problem that the closing sestet answers, as is the case with a Petrarchan sonnet.

Sonnet sequence is a group of sonnets thematically unified to create a long work, although generally, unlike the stanza, each sonnet so connected can also be read as a meaningful separate unit. The sonnet sequence was a very popular genre during the Renaissance, following the pattern of Petrarch. This article is about sonnet sequences as integrated wholes. For the form of individual sonnets .Sonnet sequences are typically closely based on Petrarch, either closely emulating his example or working against it. The subject is usually the speaker's unhappy love for a distant beloved, following the courtly love tradition of the troubadours, from whom the genre ultimately derived. An exception is Edmund Spenser's Amoretti, where the wooing is successful, and the sequence ends with an Epithalamion, a marriage song.

Spenserian stanza is a fixed verse form invented by Edmund Spenser for his epic poem The Faerie Queene. Each stanza contains nine lines in total: eight lines in iambic pentameter followed by a single 'Alexandrine' line in iambic hexameter. The rhyme scheme of these lines is "ababbcbcc

Mock-heroic or heroi-comic works are typically satires or parodies that mock common Classical stereotypes of heroes and heroic literature. Typically, mock-heroic works invert the heroic work by either putting a fool in the role of the hero or by exaggerating the heroic qualities to such a point that they become absurd.

Archaism The intentional use of a word or expression no longer in general use, for example, thou mayst is an archaism meaning you may. Archaisms can evoke the sense of a bygone era. Sidelight: Spenser's The Faerie Queene contains a number of archaisms. Syntactic inversions such as the hyperbaton can also provide an archaic effect.

Conceit An elaborate metaphor, artificially strained or far-fetched, in which the subject is compared with a simpler analogue usually chosen from nature or a familiar context. Especially associated with intense emotional or spiritual feelings, they sometimes extend through the entire length of a poem. An example of a conceit is Sir Thomas Wyatt's "My Galley," an adaptation of Petrarch's Sonnet 159. Sidelight: The term is derived from concetto, Italian for "concept." Most modern conceits are written in a more condensed form.

Elegy A poem of lament, praise, and consolation, usually formal and sustained, over the death of a particular person; also, a meditative poem in plaintive or sorrowful mood, such as, " Elegy Written in a Country Churchyard," by Thomas Gray. Sidelight: The pastoral elegy became conventional in the Renaissance and continued into the 19th century. Traditionally, pastoral elegies included an invocation, a lament in which all nature joined, praise, sympathy, and a closing consolation, as in John Milton's Lycidas.

Epigram A pithy, sometimes satiric, couplet or quatrain which was popular in classic Latin literature and in European and English literature of the Renaissance and the neo-Classical era. Epigrams comprise a single thought or event and are often aphoristic with a witty or humorous turn of thought.

Horatian ode An ode relating to or resembling the works or style of the Roman poet, Horace, consisting of a series of uniform stanzas, complex in their metrical system and rhyme scheme. The Greek form is called an Aeolic ode. Horatian odes are characteristically less elaborate and more contemplative than Pindaric odes.

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Didactic poetry : Poetry which is clearly intended for the purpose of instruction -- to impart theoretical, moral, or practical knowledge, or to explain the principles of some art or science, as Pope's An Essay on Criticism. Didactic poetry can assume the manner and attributes of imaginative works by incorporating the knowledge in a variety of forms, such as dramatic poetry, satire, and parody, among others. Allegories, aphorisms, apologues, fables, gnomes, and proverbs are so closely related to didactic poetry that they can be considered specific types of that genre.

Petrarchan sonnet An Italian sonnet form perfected by Petrarch (1304-1374), characterized by an octave with a rhyme scheme of abbaabba and a sestet rhyming variously, but usually cdecde or cdccdc. The octave typically introduces the theme or problem, with the sestet providing the resolution.

Simile A figure of speech in which an explicit comparison is made between two essentially unlike things, usually using like, as or than, as in Burns' "O, my luve's like A Red, Red Rose" or Shelley's "as still as a brooding dove," in "The Cloud." Similes in which the parallel is developed and extended beyond the initial comparison, often being sustained through several lines, are called epic or Homeric similes, since they occur frequently in epic poetry, both for ornamentation and to heighten the heroic aspect.

Metaphysical Of or relating to a group of 17th century poets whose verse was distinguished by an intellectual and philosophical style, with extended metaphors or conceits comparing very dissimilar things.

Occasional poem: A poem written for a particular occasion, such as a dedication, birthday, or victory. The encomium, elegy, prothalamium, and epithalamium are examples of occasional poems. .

Pindaric verse In Greek literature, a poem designed for song, of various meters and of lofty style, patterned after the odes of the classical Greek poet, Pindar. Though metrically complex, and varying from one ode to another, Pindaric verse, also called Dorian or choric odes, regularly consists of a similarly-structured strophe and an antistrophe, followed by an epode of different length and structure,

Panegyric A speech or poem of elaborate praise for some distinguished person, object, or event -- similar to, but more formal than an encomium.

Rhyme royal A stanza of seven lines of heroic or five-foot iambic verse, rhyming ababbcc. It probably received its name from its use by King James I of Scotland, who was also a poet. It was previously known as Troilus verse because Chaucer used it in Troilus and Criseyde.
Courtly love it defines the relationship between knight & ladies in the feudal court. The ideals of courtly love stressed that
a knight should devote himself to a woman at court. In his lady's name he waged war or joined tournaments, trying to win her favour.
Courtly love flourished in the twelfth century and after. In it
1/ The lover subjects himself to his beloved
2/ He raises the level of his emotions to a sacred position
3/ The hero first talks about his freedom then, on seeing the lady, he falls in love.
4/ He retires to his loneliness complaining against his lack then he declares his love.
5/ If the lover is accepted he joyfully sings and if rejected he complains.
6/ If fortune changes and the lovers are separated, the lover's complaints may
become violent and deep.

Petrarchan conceit, which was especially popular with Renaissance writers of sonnets, is a hyperbolic comparison most often made by a suffering lover of his beautiful mistress to some physical object—e.g., a tomb, the ocean, the sun. Edmund Spenser’s Epithalamion, for instance, characterizes the beloved’s eyes as being “like sapphires shining bright,” with her cheeks “like apples which the sun hath rudded”

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A conceit is a figure of speech which makes an unusual and sometimes elaborately sustained comparison between two dissimilar things. Related to wit, there are two main types:
Petrarchan conceit, used in love poetry, exploits a particular set of images for comparisons with the despairing lover and his unpitying but idolized mistress. For instance, the lover is a ship on a stormy sea, and his mistress "a cloud of dark disdain"; or else the lady is a sun whose beauty and virtue shine on her lover from a distance.
The paradoxical pain and pleasure of lovesickness is often described using oxymoron, for instance uniting peace and war, burning and freezing, and so forth.

Metaphysical conceit is characteristic of seventeenth-century writers influenced by John Donne, and became popular again in this century after the revival of the metaphysical poets. This type of conceit draws upon a wide range of knowledge, from the commonplace to the esoteric, and its comparisons are elaborately rationalized.

Horatian satire tends to focus lightly on laughter and ridicule, but it maintain a playful tone. Generally, the tone is sympathetic and good humored, somewhat tolerant of imperfection and folly even while expressing amusement at it. The name comes from the Roman poet Horace who preferred to ridicule human folly in general rather than condemn specific persons

, Juvenalian satire also uses withering invective, insults, and a slashing attack. The name comes from the Roman poet Juvenal who frequently employed the device, but the label is applied to British writers such as Swift and Pope as well

Decorum: The requirement that individual characters, the characters' actions, and the style of speech should be matched to each other and to the genre in which they appear. This idea was of central importance to writers and literary critics from the time of the Renaissance up through the eighteenth century. Lowly characters, low actions, and low style, for instance, were thought necessary for satire. Epic literature, on the other hand, called for characters of high estate, engaging in great actions, and speaking using elevated, poetic diction.

Petrarchan conceit: A conceit used by the Italian poet Petrarch or similar to those he used. In the Renaissance, English poets were quite taken with Petrarch's conceits and recycled them in their own poetry. Examples include comparing eyes to the stars or sun, hair to golden wires, women to goddesses, and so on.

Pentameter: When poetry consists of five feet in each line, it is written in pentameter. Each foot has a set number of syllables. Iambs, spondees, and trochees are feet consisting of two syllables. Thus, iambic pentameter, spondaic pentameter, and trochaic pentameter lines would have a total of ten syllables. Anapests and dactyls are feet consisting of three syllables. Thus, anapestic pentameter and dactylic pentameter lines would have a total of fifteen syllables.

Miltonic sonnet is similar to the Petrarchan sonnet, but it does not divide its thought between the octave and the sestet--the sense or line of thinking runs straight from the eighth to ninth line. Also, Milton expands the sonnet's repertoire to deal not only with love as the earlier sonnets did, but also to include politics, religion, and personal matters.

Graveyard School: A group of eighteenth-century English poets who wrote long, picturesque meditations on death. Their works were designed to cause the reader to ponder immortality.
The most famous work of this school is Thomas Gray's Elegy Written in a Country Churchyard.

Neoclassicism: a "new classicism," as in the writings of early 18th-century writers like Addison and Pope who imitated classical Greek and Latin authors. Neoclassical poetry was quite prevalent in the 18th to 19th centuries of colonial America. Some characteristics are as follows:

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Platonic idealism usually refers to Plato's theory of forms or doctrine of ideas, the exact philosophical meaning of which is perhaps one of the most disputed questions in higher academic philosophy. At least one may say, with some degree of certitude, that Plato held the realm of ideas to be absolute reality. As for the exact relationship between the ideal and non-ideal world, the platonic corpus is silent, insofar as interpretation must rely upon literary device, metaphor, and amphibology. Some commentators hold Plato argued that truth is an abstraction. In other words, we are urged to believe that Plato's theory of ideas is an abstraction, divorced from the so-called external world, of modern European philosophy, despite the fact Plato taught that ideas are ultimately real, and different from non-ideal things--indeed, he argued for a distinction between the ideal and non-ideal realm.
Plato gives the divided line as an outline of this theory. At the top of the line, the Form of the Good is found, directing everything underneath.
Platonism is an ancient school of philosophy, founded by Plato; at the beginning, this school had a physical existence at a site just outside the walls of Athens called the Academy, as well as the intellectual unity of a shared approach to philosophizing.
Platonism is usually divided into three periods:
Early Platonism
Middle Platonism
Neo-Platonism
Neoclassical poetry was quite prevalent in the 18th to 19th centuries of colonial America.

Romanticism largely began as a reaction against the prevailing Enlightenment ideals of the day. Inevitably, the characterization of a broad range of contemporaneous poets and poetry under the single unifying name can be viewed more as an exercise in historical compartmentalization than an actual attempt to capture the essence of the actual ‘movement’. Indeed, the term “Romanticism” did not arise until the Victorian period. Nonetheless, poets such as William Wordsworth were actively engaged in trying to create a new kind of poetry that emphasized intuition over reason and the pastoral over the urban, often eschewing classical forms and language in an effort to use ‘real’ language. Romantic poetry referred to the natural aspects of the world, focusing on the feelings of sadness and great loss/grief.
This term is used to describe the work of some late 17th century and 18th century poets such as Alexander Pope and John Dryden who deliberately imitated the classical Greek and Roman poets. Their work was characterized by formality and restraint. Romanticism was a reaction against neo-classicism. The neo-classical poets are sometimes known as the Augustans.