P1: Poetry Terminology
Key terms for analysing poetry - the essential vocabulary for discussing poems.
Key terms for analysing poetry - the essential vocabulary for discussing poems.
A group of lines forming a section of a poem (also called a "verse").
| Name | Lines | Common Use |
|---|---|---|
| Couplet | 2 lines | Emphasis, completion |
| Tercet | 3 lines | Movement, progression |
| Quatrain | 4 lines | Most common, stable |
| Quintain | 5 lines | Extended thought |
| Sestet | 6 lines | Elaboration |
| Octave | 8 lines | First part of sonnet |
When a sentence or phrase runs over the end of a line without punctuation.
"I cannot rest from travel: I will drink
Life to the lees"
A pause within a line of poetry, usually marked by punctuation.
"To be, or not to be: that is the question."
| Length | Effect |
|---|---|
| Long lines | Slows pace, allows development, more formal |
| Short lines | Fast pace, emphatic, punchy, intense |
| Varied line length | Creates rhythm variation, reflects emotional shifts |
| Type | Definition | Example |
|---|---|---|
| End rhyme | Rhyme at line endings | cat/hat |
| Internal rhyme | Rhyme within lines | "Once upon a midnight dreary" |
| Eye rhyme | Looks like it should rhyme, doesn't | love/move |
| Half/slant rhyme | Partial rhyme, similar sounds | soul/all |
Pattern of rhymes in a poem (labelled ABAB, AABB, etc.)
Repetition of consonant sounds at the start of words.
Repetition of 's' sounds - creates hissing effect.
Repetition of vowel sounds within words.
"The rain in Spain falls mainly on the plain"
Long 'a' sound creates musical quality.
Words that sound like what they describe.
The rhythmic structure of a line - pattern of stressed and unstressed syllables.
| Meter | Pattern | Effect |
|---|---|---|
| Iambic | da-DUM (unstressed-stressed) | Natural speech rhythm |
| Trochaic | DA-dum (stressed-unstressed) | Marching, insistent, supernatural |
| Anapestic | da-da-DUM | Gallop, forward momentum |
| Dactylic | DA-da-dum | Falling rhythm, melancholic |
| Name | Feet per Line |
|---|---|
| Monometer | 1 |
| Dimeter | 2 |
| Trimeter | 3 |
| Tetrameter | 4 |
| Pentameter | 5 (most common) |
| Hexameter | 6 |
Five iambs per line (da-DUM da-DUM da-DUM da-DUM da-DUM)
"Shall I compare thee to a summer's day?"
shall I com-PARE thee TO a SUM-mer's DAY
Most common meter in English poetry - Shakespeare, Milton, Wordsworth.
No regular meter or rhyme - more like natural speech.
14-line poem, usually in iambic pentameter.
| Type | Structure | Features |
|---|---|---|
| Shakespearean | 3 quatrains + 1 couplet (ABAB CDCD EFEF GG) | Problem in quatrains, resolution in couplet |
| Petrarchan | Octave + sestet (ABBAABBA CDECDE) | Turn (volta) between octave and sestet |
Narrative poem that tells a story, often tragic.
Poem spoken by a character, revealing their personality.
Long poem celebrating or meditating on a subject.
Poem of mourning, usually for someone who has died.
Language that creates pictures in the reader's mind.
| Type | Definition | Example |
|---|---|---|
| Visual | Sight images | "Golden daffodils" |
| Auditory | Sound images | "The clash of swords" |
| Olfactory | Smell images | "The scent of roses" |
| Tactile | Touch images | "Rough bark" |
| Gustatory | Taste images | "Sweet as honey" |
A metaphor developed throughout a poem, not just one line.
"I'm a riddle in nine syllables" - entire poem explores pregnancy through extended metaphor of being "fat", "fine", "melon", "red fruit".
Giving human qualities to non-human things.
An object that represents a larger idea.
Poor: "The poet uses enjambment."
Good: "The enjambment between lines 3 and 4 creates a sense of ongoing movement, reflecting the river's continuous flow."
Q1: What is enjambment and what effect can it create?
Q2: What's the difference between a caesura and an end-stopped line?
Q3: What are the features of a Shakespearean sonnet?
Q4: What is the effect of sibilance?
Time management: Spend 5 minutes annotating the poem for techniques before writing. For a 30-mark question, allow 30-35 minutes: 5 mins planning, 25 mins writing, 2-3 mins checking.
Mark allocation: AO2 questions reward depth over breadth. Three techniques analysed in detail with effect explored will outscore six techniques merely named.
What examiners look for: Precise terminology (not "the poet uses a thing"), short embedded quotations, effect on the reader, and connections between techniques — e.g., how enjambment combined with caesura creates a specific rhythmic tension.
Students often name a technique without explaining its effect. Wrong: "The poet uses enjambment on line 5." Correct: "The enjambment on line 5 creates a sense of forward momentum, reflecting the speaker's restless energy."
Students often confuse simile and metaphor. Wrong: "This is a metaphor because it compares two things using 'like'." Correct: "A simile uses 'like' or 'as' to compare; a metaphor states the comparison directly without those words."
Students often describe what a technique is instead of what it does. Wrong: "Iambic pentameter is five iambs per line." Correct: "The iambic pentameter mirrors a heartbeat, reinforcing the poem's theme of intimate, living emotion."
6 marks: How does the poet use language and structure to convey a sense of loss?
The poet conveys loss through a combination of structural fragmentation and semantic decay. The enjambment between stanzas two and three creates a sense of thoughts "spilling" beyond containment, mirroring the speaker's inability to control their grief — the sentence "I reach for / what was once" runs across the stanza break, enacting the futile reaching for something already gone. This is compounded by the caesura in line 7 — "Nothing. Left." — where the full stops carve the line into isolated fragments, reflecting how loss isolates the speaker from the world. The sibilance in "silent, silver, still" creates a hushing, almost suffocating quiet, as though the poem itself is being silenced by absence. The shift from regular quatrains to a final, incomplete couplet structurally enacts the incompleteness the speaker feels — the form itself is "broken" by loss.
Mark scheme: AO2 — terminology used precisely (enjambment, caesura, sibilance, quatrain, couplet); each technique linked to specific quotation; effect explored with subject terminology ("enacting," "compounded"); connections made between structure and meaning.
AO2: Analyse language, form, and structure — This is the core of poetry terminology. At grade 5, students identify techniques and give basic effects ("alliteration makes it stand out"). At grade 7, students link techniques to specific meanings with precise quotations and explore multiple possible effects. At grade 9, students demonstrate synoptic thinking — they show how multiple techniques work together to create a cumulative effect, and how structural choices (form, stanza pattern, meter) interact with language choices to shape meaning. A grade 9 response doesn't just say "the poet uses enjambment" — it explains how enjambment combined with a shift from iambic to trochaic meter enacts a disruption in the speaker's emotional state.
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