POETRY TERMINOLOGY

Traditional Poetry Forms

BALLAD A story told in song, usually having a refrain or incremental repetition and often with four-line stanzas. A traditional or popular ballad is one that has been passed along in oral tradition for many years, even centuries. Literary or art ballads are ballads composed by serious poets, in imitation of the traditional form. Ballads are usually written in four-line stanzas called quatrains. Often the first and the third lines have four accented syllables; while the second and fourth have three. A refrain is common in ballads as is the repetition of words, phrases, and lines. Many stock phrases, such as "lily-white hands," are used, especially in traditional or folk ballads, and the events of the story are often suggested through dialogue (mostly without "he said/she said" tags) rather than told explicitly. Some characteristics of a ballad are: A ballad tells a story, typically in third person narrative. A ballad focuses on actions and dialogue rather than characteristics and narration. A ballad has a simple metrical structure and sentence structure. A ballad is of oral tradition, passed down by word of mouth. Therefore, it undergoes changes and is of anonymous authorship. A ballad usually has a theme that is not directly spoken. A ballad is often based on true stories. Repetition and refrains are also used in many ballads. This is a strong resemblance to many forms of traditional music. Many traditional ballads have themes related to the supernatural, and occasionally ballads contain a moral dimension to them, usually expressed in a final verse. In music a ballad refers to a simple, often sentimental, song, not usually a folk song. Examples: John Keats's La Belle Dame sans Merci Samuel Taylor Coleridge's The Rime of the Ancient Mariner Oscar Wilde's The Ballad of Reading Gaol.

The traditional ballad "Thomas Rymer" begins: "True Thomas lay oer yond grassy bank, And he beheld a ladie gay, A ladie that was brisk and bold, Come riding oer the fernie brae."

The literary ballad "The Rime of the Ancient Mariner" by Samuel Taylor Coleridge begins: "It is an ancient Mariner,

And he stoppeth one of three. 'By thy long gray beard and glittering eye, Now wherefore stopp'st thou me?'"

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BLANK VERSE unrhymed poetry with meter, it`s is any verse comprised of unrhymed lines all in the same meter, usually iambic pentameter. It was developed in Italy and became widely used during the Renaissance because it resembled classical, unrhymed poetry. Blank verse was embraced by Yeats, Pound, Frost, and Stevens. Blank verse can be composed in any meter and with any amount of feet per line (any line length), though the iamb is generally the predominant foot. Along with the iamb are 3 other standard feet and a number of variations that can be employed in a blank verse poem. It is difficult--almost impossible--to write a blank verse poem consisting of all iambs, and other types of feet get used more often than one may think. These are: Iamb- two syllables, unstressed-stressed, as in "today". Trochee- two syllables, stressed-unstressed, as in "standard". Anapest- three syllables, unstressed-unstressed-stressed, as in "disengage" Dactyl- three syllables, stressed-unstressed-unstressed, as in "probably". Variations include: Headless Iamb or Tailless Trochee- one stressed syllable. Labeling the foot depends on where it is located in the line. Spondee- two stressed syllables, as in "hot dog" Amphibrach- three syllables, unstressed-stressed-unstressed, as in "forgetful" Double Iamb- four syllables, unstressed-unstressed-stressed-stressed, as in "will you eat it?" A double iamb is counted as two feet. The lines n blank verse are 10 syllables in length. Every other syllable, beginning with the second syllable, is accented. (NOTE: Not every line will have exactly 10 syllables.) Smething there s that desn't lve a wll. EX: When I see birches bend to left and right Across the lines of straighter, darker trees, I like to think some boys been swinging them.

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CINQUAIN Cinquain, despite its French name, is an American poetry form that can be traced back to Adelaide Crapsey. Influenced by Japanese haiku, he developed this poetic system and used it to express brief thoughts and statements. Other poets who popularized the form were Carl Sandburg and Louis Utermeyer. These poems are five lines in length. There are 2 types: syllable and word cinquains.

Syllable Cinquain
Line 1: Title Line 2: Description of Title Line 3: Action about the title Line 4: Feeling about the title Line 5: Synonym for title 2 syllables 4 syllables 6 syllables 8 syllables 2 syllables

Word Cinquain
Line 1: Title Line 2: Description of Title Line 3: Action about the title Line 4: Feeling about the title Line 5: Synonym for title 1 word 2 words 3 words 4 words 1 word

WORD Cinquain EX:

(by Chantaclair)

Joy Elusive, Desired Breathless, Encompassing, Anti-Climatic Searching forever in vain. Happiness SYLLABLE Cinquain EX: Tucson Rain (by John Hewitt)

The smell Everyone moves To the window to look Work stops and people start talking Rain came

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CLERIHEW A Clerihew (or clerihew), invented by and named after Edmund Clerihew Bentley, is a very specific kind of humorous verse, typically with the following properties: The first line consists solely (or almost solely) of a well-known person's name The verse is humorous and usually whimsical, showing the subject from an unusual point of view. It has four lines. The first and second lines rhyme with each other, and the third and fourth lines rhyme with each other. The first line names a person, and the second line ends with something that rhymes with the name of the person. You don't have to worry about counting syllables or words, and you don't even have to worry about the rhythm of the poem. EX What I like about Clive Is that he is no longer alive. There is much to be said For being dead. By Edmund Bentley Sir Humphrey Davy Abominated gravy. He lived in the odium Of having discovered sodium. By Edmund Bentley Alfred, Lord Tennyson Lived upon venison; Not cheap, I fear, Because venison's dear. By Louis Untermeyer

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COUPLET 2 lines of verse that usually rhyme and state one complete idea; most couplets rhyme (aa), but this is not a requirement EX (from Trees by J. Kilmer): I THINK that I shall never see a A poem lovely as a tree. a Poetry in rhyming couplets is one of the simplest rhyme schemes: aa bb cc dd ee ff... etc. A tree whose hungry mouth is prest Against the sweet earth's flowing breast; b b

Instead of writing regular two lined rhyming couplets, have students try their hand at writing some according to the following formats: Geographical Couplet example: To Indianapolis I was driving my car, Reached Minneapolis, OOPS! Too far! Antonym Couplet example: You used to be a small shrimp, Now look at you, you're as big as a blimp! Synonym Couplet example: The sparkling stars are such a sight, They gleam with beauty all through the night. Compound Word Couplet example: The lighthouse's beam is shiny and bright, It guides the sailboats safely through the night.

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DIAMENT unrhymed poetry with meter; historically, it consisted of an arrangement of carefully chosen words featuring either contrasting historic cultures, figures or events or two conflicting sides of one historic figure, culture, or event. Each line has an exact number and kind of words. It can be thought of as two cinquains, one flipped over and written under the other. Because you must describe your culture or event in a limited number of words, you should choose words that convey the meaning in a powerful, poetic way. More modern versions follow the second pattern shown below.

HISTORIC Diament EX: French Corporation War-driven, Unsubmissive Rebelling, Struggling, Winning Union, Warriors ~ Leaders, Traders Ruling, Ravaging, Losing Aggressive, Supported Land Dominators English Modern Pattern:

MODERN Diament EX: Autumn Brisk, Cool, Raking, planting, hibernating, Football weather, Flower power Blooming, watering, growing, Bright, warm, Spring

Line 1. Line 2. Line 3. Line 4. Line 5. Line 6. Line 7.

Noun (beginning topic) Adjective, Adjective (about beginning topic) Gerund, Gerund, Gerund (ing words about beginning topic) Four nouns -OR- a short phrase (about both beginning and ending topics) Gerund, Gerund, Gerund (ing words about ending topic) Adjective, Adjective (about ending topic) Noun (ending topic)

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ELEGY a poem that states a poets sadness about the death of an important person. In the famous elegy O Captain, My Captain, Walt Whitman writes about the death of Abraham Lincoln. EX.: O Captain! My Captain! (by Walt Whitman) O Captain! my Captain! our fearful trip is done, The ship has weathered every rack, the prize we sought is won, The port is near, the bells I hear, the people all exulting. While follow eyes the steady keel, the vessel grim and daring; But O heart! heart! heart! O the bleeding drops of red, Where on the deck my Captain lies, Fallen cold and dead. O Captain! my Captain! rise up and hear the bells; Rise up for you the flag is flung for you the bugle trills, For you bouquets and ribboned wreaths for you the shores a-crowding, For you they call, the swaying mass, their eager faces turning; Here, Captain! dear father! This arm beneath your head! It is some dream that on the deck, You've fallen cold and dead. My Captain does not answer, his lips are pale and still, My father does not feel my arm, he has no pulse nor will, The ship is anchored safe and sound, its voyage closed and done, From fearful trip the victor ship comes in with object won; Exult, O shores! and ring, O bells! But I, with a mournful tread, Walk the deck my Captain lies, Fallen cold and dead.

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EPIC a long story poem that describes the adventures of a hero and his companions. Epics are frequently set in a past thought to be greater and finer than the present, and they are usually long and of a serious nature. They are poems about great deeds, and they often begin with an invocation--of the Muses, for example. The narrative is often begun in the middle of the action (in medias res). The Odyssey by Homer is a famous epic about the Greek hero Odysseus. EX: ( G r e ek) Homer's Iliad and Odyssey (Roman) Virgil's Aeneid (Anglo-Saxon) Beowulf (the earliest known English poem) John Milton's Paradise Lost

(From the beginning of The Odyssey): Tell me, O muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home; but do what he might he could not save his men, for they perished through their own sheer folly in eating the cattle of the Sun-god Hyperion; so the god prevented them from ever reaching home. Tell me, too, about all these things, O daughter of Jove, from whatsoever source you may know them.

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FREE VERSE poetry with no regular rules about form, rhyme, rhythm, meter, etc. The lines are irregular and may or may not rhyme. Instead of fitting content to form, the poet allows content to shape the form, changing line length and meter to emphasize words and sounds. Free verse develops its own rhythms, most often annotated by the use of the line-break, and is capable of complex effects of rhythmical and syntactical ambiguity. The greatest American writer of free verse is probably Walt Whitman. His great collection of free verse was titled Leaves of Grass and it was published in 1855. Free verse is the most common verse form in modern poetry; this extract of a poem (1861) by Walt Whitman, one of the pioneers of free verse, is an example of the way that verse can be both free in rhythm and at the same time strongly rhythmical: Beat! beat! drums! blow! bugles! blow! Through the windows--through doors--burst like a ruthless force, Into the solemn church, and scatter the congregation, Into the school where the scholar is studying; Leave not the bridegroom quiet--no happiness must he have now with his bride, Nor the peaceful farmer any peace, ploughing his field or gathering his grain, So fierce you whirr and pound you drums--so shrill you bugles blow.

EX:

"Eating Poetry" (by Mark Strand) Ink runs from the corners of my mouth. There is no happiness like mine. I have been eating poetry. The librarian does not believe what she sees. Her eyes are sad and she walks with her hands in her dress. The poems are gone. The light is dim. The dogs are on the basement stairs and coming up. Their eyeballs roll, their blond legs burn like brush. The poor librarian begins to stamp her feet and weep. She does not understand. When I get on my knees and lick her hand, she screams. I am a new man. I snarl at her and bark. I romp with joy in the bookish dark.
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EX:

Winter Poem (by Nikki Giovanni)

once a snowflake fell on my brow and i loved it so much and i kissed it and it was happy and called its cousins and brothers and a web of snow engulfed me then i reached to love them all and i squeezed them and they became a spring rain and i stood perfectly still and was a flower

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HAIKU a type of Japanese poetry that presents a word picture of nature. A haiku is three lines long. The 1st line is 5 syllables; the 2nd line is 7 syllables; and the 3rd line is 5 syllables. Haiku should describe daily situations in a way that gives the reader a brand new experience. The first or the second line may end with a colon, long dash or ellipsis. Each Haiku should contain a kigo, a season word, which indicate in which season the Haiku is set. For example, cherry blossoms indicate spring, snow indicates winter, and mosquitoes indicate summer, but the season word isn't always that obvious. EX: (by Japanese haiku master Basho) In the cicada's cry No sign can foretell How soon it must die. Poverty's child he starts to grind the rice, and gazes at the moon.

An old pond! A frog jumps inThe sound of water.

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LIMERICK - A limerick is a very structured poem that can be categorized as "short but sweet." They are usually humorous, and are composed of 5 lines, in an aacca rhyming pattern. In addition, the first, second and fifth lines are usually 3 anapestic feet (uu/, 2 unstressed followed by 1 stressed) each. The third and fourth lines are usually 2 anapestic feet. Lines 1, 2 and 5 rhyme; Lines 3 and 4 rhyme. EX: (by Edward Lear) There was an old man with a beard. Who said: It is just as I feared. Two Owls and a Hen, Four Larks and a Wren, Have all built their nest in my beard! (by Richard Scrafton Sharpe) A Tailor who sailed from Quebec, In a storm ventur'd once upon deck, But the waves of the sea, Were as strong as could be, And he tumbled in up to his neck. a a b b a

EX:

a a b b a

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LYRIC a short poem with one speaker (not necessarily the poet) who expresses thought and feeling. Though it is sometimes used only for a brief poem about feeling (like the sonnet), it is more often applied to a poem expressing the complex evolution of thoughts and feeling, such as the elegy, the dramatic monologue, and the ode. The emotion is or seems personal. In classical Greece, the lyric was a poem written to be sung, accompanied by a lyre. EX: "The Sky is Low" by Emily Dickinson The Sky is low-the Clouds are mean A Traveling Flake of Snow Across a Barn or through a Rut Debates if it will goA Narrow Wind complains all Day How someone treated him. Nature, like Us is sometimes caught Without her Diadem1.

Diadem: n. crown
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NARRATIVE VERSE: A poem that tells a story. Ideally, a narrative poem should balance the story with the poetry and not be merely a story in the form of a poem or a poem with a loose thread of narrative to tie it together. Ballad and epic are two traditional forms of narrative poetry. A narrative poem often ends before the action is resolved and may present an unsolved mystery or situation. An example of this is found in Edgar Allen Poe's fantastic rhyming poem The Raven. EX: The Rime of the Ancient Mariner by Samuel Taylor Coleridge The Goblin Market by Christina Rossetti "Thomas the Rhymer" (traditional ballad) The Illiad by Homer (traditional epic) "The Raven" by Edgar Allen Poe An anecdote written as narrative verse: My Great Aunt and I Walked through afternoon sun, Across the apple orchard. I ran on ahead, Picking up apples And stuffing them into my pockets. Biting into crisp sweetness, Throwing them high. Till suddenly I heard A scream And turned to see her Beating at her head Where a swarm of bees Buzzed angrily . . . A fable written as a narrative poem, with a chorus: The race began. Hare was there And then was not Hot on the winds heels Hare shot off Arched back Coiled like a spring Legs kicking Into space. The race, the race At a furious pace. Tortoise crept Forwards, Edging Along, Thinking that slow And steady Might win Like an upturned tureen The race, the race At a furious pace. So, on Tortoise crept. But Hare slept. Confident of winning, Took a nap Daft chap . . .
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ODE - a long lyric poem of a serious nature that commemorates or celebrates; a classical form of poetry, typically of medium length with complex stanzas and effects. Ancient odes were usually written to commemorate ceremonial occasions such as anniversaries or funerals. The Romantic poets wrote odes in celebration of art, nature, or exalted states of mind. A classic ode is structured in three parts - the strophe, the antistrophe and the epode but different forms such as the homostrophic ode and the irregular ode exist. EX: Horaces Odes John Keats Ode to a Nightingale Percy Bysshe Shelley's Ode to the West Wind Thomas Grays Elegy Written in a Country Churchyard William Wordsworths Ode: Intimations of Immortality Samuel Taylor Coleridges Dejection: An Ode

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QUATRAIN a 4-line stanza or poem... Common rhyme schemes in quatrains are aabb, aaba, and abab. There is no set number of beats required for a quatrain. You just need to make sure that you have a rhythmic pattern. You also need to come up with a title for your quatrain. EX: PARTING AT MORNING (by Robert Browning) Round the cape of a sudden came the sea, And the sun looked over the mountain's rim: And straight was a path of gold for him, And the need of a world of men for me. EX: "The Tyger" (By William Blake) Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry? a b b a

a a b b

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SESTINA - a highly structured form of poetry, dating back to the 12th century. It consists of thirty-nine lines; six six-line stanzas ending with a triplet. There are no restrictions on line length, although, in English, the sestina is most commonly written in iambic pentameter or in decasyllabic meters. In the five stanzas following the first one which sets it up; the same six words must end the six lines, in a strictly prescribed variation of order. The variation is this: if we number the six words that end the first stanza's lines as 123456, these same words will switch places in the following sequences-- 615243, 364125, 532614, 451362, and 246531. The six words are then included within the lines of the concluding triplet (also called the envoy or tornada), again in a prescribed order: the first line containing 2 & 5, the second line containing 4 & 3, and the final line containing 1 & 6. However, there seem to be more variations on the order of the use of the key words in the final tercet. Another way to understand the pattern of line ending words for a stanza, given the previous stanza works like this: If the words at the ends of the lines of the first stanza are A, B, C, D, E, and F End the first line of the next stanza with the word from last line of the previous one, i.e. F. End the next line with the word from the first line of the previous stanza, i.e. A. Next use the word from the last line not already used (E). Next use the word from the first line not already used (B). Next use the word from the last line not already used (D). Next use the word from the first line not already used (C). This gives the final word order: F A E B D C. Then take this stanza as the model and perform the same transformation to get the next stanza. In writing a sestina it is often helpful to choose end-words which can be used in more than one sense or in more than one grammatical form, e.g. as both a noun and a verb.

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EX: As an example of the way in which a sestina's end-words shift, below is a modern translation of the first two stanzas of a sestina by Dante Alighieri. I have come, alas, to the great circle of shadow, to the short day and to the whitening hills, when the colour is all lost from the grass, though my desire will not lose its green, so rooted is it in this hardest stone, that speaks and feels as though it were a woman. And likewise this heaven-born woman stays frozen, like the snow in shadow, and is unmoved, or moved like a stone, by the sweet season that warms all the hills, and makes them alter from pure white to green, so as to clothe them with the flowers and grass. a b c d e f f a e b c d

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SONNET - A sonnet is a fourteen-line poem in iambic pentameter with a carefully patterned rhyme scheme. The sonnet has been used so successfully by many different poets. The Italian, or Petrarchan sonnet, named after Francesco Petrarch (1304-1374). In this form, its fourteen lines break into an octave (or octet), which usually rhymes abbaabba, but which may sometimes be abbacddc or even (rarely) abababab; and a sestet, which may rhyme xyzxyz or xyxyxy, or any of the multiple variations possible using only two or three rhyme-sounds. The English or Shakespearean sonnet was developed first by Henry Howard, Earl of Surrey (1517-1547). It consists of three quatrains and a couplet--that is, it rhymes abab cdcd efef gg. For sonnets, form and its strictures make up part of what a poet wants to say. In other words, the poet is using the structure of the poem as part of the language: we will find the "meaning" not only in the words, but partly in their pattern as well. Both forms break between lines eight and nine; the octave in the Italian frequently breaks into two quatrains, like the English; and its sestet frequently ends in a final couplet. Readers should pay close attention to line-end punctuation, especially at lines four, eight, and twelve, and to connective words like and, or, but, as, so, if, then, when, or which at the beginnings of lines (especially lines five, nine, and thirteen). EX. of Petrarchan sonnet: Farewell Love and all thy laws for ever octave Farewell Love and all thy laws for ever, Thy baited hooks shall tangle me no more; Senec and Plato call me from thy lore To perfect wealth my wit for to endeavour. In blind error when I did persever, Thy sharp repulse, that pricketh aye so sore, Hath taught me to set in trifles no store And scape forth, since liberty is lever. turn; sestet Therefore farewell; go trouble younger hearts And in me claim no more authority; With idle youth go use thy property And thereon spend thy many brittle darts. concluding couplet For hitherto though I have lost all my time, Me lusteth no lenger rotten boughs to climb. a b b a a b b a c d d c e e

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EX. of SHAKEPEAREAN SONNET: Sonnet 138 When my love swears that she is made of truth a I do believe her, though I know she lies, b That she might think me some untutor'd youth, a Unlearned in the world's false subtleties. b First quatrain; note puns and the intellectual games: [I know she lies, so I believe her so that she will believe me to be young and untutored] Thus vainly thinking that she thinks me young, c Although she knows my days are past the best, d Simply I credit her false speaking tongue: c On both sides thus is simple truth suppress'd. d Second quatrain: [Well of course I know that she doesn't really think I'm young, but I have to pretend to believe her so that she will pretend that I'm young] But wherefore says she not she is unjust? e And wherefore say not I that I am old? f O, love's best habit is in seeming trust, e And age in love loves not to have years told: f Third quatrain: [so why don't we both fess up? because love depends upon trust and upon youth]} Therefore I lie with her and she with me, g And in our faults by lies we flatter'd be. g Final couplet and resolution: [we lie to ourselves and to each other, so that we may flatter ourselves that we are young, honest, and in love]. Note especially puns.

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TANKA - The Tanka poem is very similar to haiku but Tanka poems have more syllables and it uses simile, metaphor and personification. A Tanka poem should have thirty-one syllables arranged in five lines (five, seven, five, seven, and seven).
Line one - 5 syllables Line two - 7 syllables Line three - 5 syllable Line four - 7 syllables Line five - 7 syllables Beautiful mountains Rivers with cold, cold water. White cold snow on rocks Trees over the place with frost White sparkly snow everywhere.

EX. Pouncer Still as a statue the cat awaits her breakfast An innocent mouse carelessly crosses the grass The cat explodes into life -- Roger Stevens

Moon madness makes me Dance in delight under stars. I lift up my hands And feel my arms grow longer As they wrap around the moon. -- Margaret Cheasebro

Years on my own I still stare after A white-haired couple The way his body Shields her from the wind Thelma Mariano

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VILLANELLE A villanelle (or occasionally villonelle) is a traditional poetic form that entered English-language poetry in the late 1800s from the imitation of French models. The relatively low number of rhyme words available makes the writing of villanelles more difficult in English than it is in Romance languages. It is 19 lines long, 5 stanzas of three lines and 1 stanza of four lines with two rhymes and two refrains. The 1st, then the 3rd lines alternate as the last lines of stanzas 2,3,and 4, and then stanza 5 (the end) as a couplet. It is usually written in tetrameter (4 feet) or pentameter. The first five stanzas are triplets, and the last stanza is a quatrain such that the rhyme scheme is as follows: "aba aba aba aba aba abaa." The tricky part is that the 1st and 3rd lines from the first stanza are alternately repeated such that the 1st line becomes the last line in the second stanza, and the 3rd line becomes the last line in the third stanza. The last two lines of the poem are lines 1 and 3 respectively, making a rhymed couplet. Line 1 Line 2 Line 3 Line 4 Line 5 Line 6 Line 7 Line 8 Line 9 Line 10 Line 11 Line 12 Line 13 Line 14 Line 15 Line 16 Line 17 Line 18 Line 19 a b a a b a a b a a b a a b a a b a a 1st refrain 2nd refrain

1st refrain (same as line 1)

2nd refrain (same as line 2)

1st refrain (same as line 1)

2nd refrain (same as line 2)

1st refrain (same as line 1) 2nd refrain (same as line 2)

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EX. Do Not Go Gentle into that Good Night (by Dylan Thomas) Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light. Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night, Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay, Rage, rage against the dying of the light. Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way, Do not go gentle into that good night, Grave men, near death, who see with blinding sight Blind eyes could blaze like meteors and be gay, Rage, rage against the dying of the light. And you, my father, there on the sad height, Curse, bless, me now with your fierce tears, I pray. Do not go gentle into that good night, Rage, rage against the dying of the light.

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EX. Mad Girl's Love Song (by Sylvia Plath) I shut my eyes and all the world drops dead; I lift my lids and all is born again. (I think I made you up inside my head.) The stars go waltzing out in blue and red, And arbitrary darkness gallops in: I shut my eyes and all the world drops dead. I dreamed that you bewitched me into bed And sung me moon-struck, kissed me quite insane. (I think I made you up inside my head.) God topples from the sky, hell's fires fade: Exit seraphim and Satan's men: I shut my eyes and all the world drops dead. I fancied you'd return the way you said. But I grow old and I forget your name. (I think I made you up inside my head.) I should have loved a thunderbird instead; At least when spring comes they roar back again. I shut my eyes and all the world drops dead. (I think I made you up inside my head.)

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EX: The House on the Hill (By Edward Arlington Robinson)

They are all gone away, The House is shut and still, There is nothing more to say. Through broken walls and gray The winds blow bleak and shrill: They are all gone away. Nor is there one to-day To speak them good or ill: There is nothing more to say. Why is it then we stray Around that sunken sill? They are all gone away, And our poor fancy-play For them is wasted skill: There is nothing more to say. There is ruin and decay In the House on the Hill: They are all gone away, There is nothing more to say.

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