[~ A7lA DoNiA ~]

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.