2. Sonnet A fourteen line poem in iambic pentameter with a prescribed rhyme scheme The subject is traditionally love. Three variations are found frequently in English, although others are occasionally seen. Shakespearean Sonnet A style of sonnet used by Shakespeare with a rhyme scheme of abab cdcd efef gg

3. 61 Is it thy will, thy image should keep open A My heavy eyelids to the weary night? B Dost thou desire my slumbers should be broken, A While shadows like to thee do mock my sight? B Is it thy spirit that thou send'st from thee C So far from home into my deeds to pry, D To find out shames and idle hours in me, C The scope and tenor of thy jealousy? D O, no! thy love, though much, is not so great: E It is my love that keeps mine eye awake: F Mine own true love that doth my rest defeat, E To play the watchman ever for thy sake: F For thee watch I, whilst thou dost wake elsewhere, G From me far off, with others all too near. G 79 Whilst I alone did call upon thy aid, My verse alone had all thy gentle grace; But now my gracious numbers are decayed, And my sick Muse doth give an other place. I grant, sweet love, thy lovely argument Deserves the travail of a worthier pen; Yet what of thee thy poet doth invent He robs thee of, and pays it thee again. He lends thee virtue, and he stole that word From thy behaviour; beauty doth he give, And found it in thy cheek: he can afford No praise to thee, but what in thee doth live. Then thank him not for that which he doth say, Since what he owes thee, thou thyself dost pay.

4. A type of lyrical stanza. 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. It is an elaborately structured poem praising or glorifying an event or individual, describing nature intellectually as well as emotionally An Irregular Ode is a poem with meter and rhyme just like all other odes but has no set pattern. Each line rhymes somewhere throughout. Ode To Spring (a) Oh ! Glorious Spring, how amazing you are (b) You are both Truth's beauty and light (a) You travel far (b) Yet always remain bright (c) Baby lambs greet you with a bleat (d) Birds fly stretching their wings (c) Lovers on a seat (d) We are truly thankful for what you bring (e) Spring never leave (f) Oh but can I compare (g) How I feel when you're near? (g) Spreading your joy to those so dear (h) Spring we celebrate your birth (h) And we mourn each year you leave this Earth Oh Spring!

5. My heart aches, and a drowsy numbness pains My sense, as though of hemlock I had drunk, Or emptied some dull opiate to the drains One minute past, and Lethe-wards had sunk: 'Tis not through envy of the happy lot, But being too happy in thy happiness,– That thou, light-winged Dryad of the trees, In some melodious plot Of beechen green, and shadows numberless, Singest of summer in full-throated ease. O for a draught of vintage, that hath been Cooled a long age in the deep-delved earth, Tasting of Flora and the country green, Dance, and Provencal song, and sun-burnt mirth! O for a beaker full of the warm South, Full of the true, the blushful Hippocrene, With beaded bubbles winking at the brim, And purple-stained mouth; That I might drink, and leave the world unseen, And with thee fade away into the forest dim: Fade far away, dissolve, and quite forget What thou among the leaves hast never known, The weariness, the fever, and the fret Here, where men sit and hear each other groan; Where palsy shakes a few, sad, last gray hairs, Where youth grows pale, and spectre-thin, and dies; Where but to think is to be full of sorrow And leaden-eyed despairs; Where beauty cannot keep her lustrous eyes, Or new love pine at them beyond tomorrow. Strophe Antistrophe Epode

6. SEASON of mists and mellow fruitfulness, Close bosom-friend of the maturing sun; Conspiring with him how to load and bless With fruit the vines that round the thatch-eaves run; To bend with apples the moss'd cottage-trees, And fill all fruit with ripeness to the core; To swell the gourd, and plump the hazel shells With a sweet kernel; to set budding more, And still more, later flowers for the bees, Until they think warm days will never cease; For Summer has o'er brimm'd their clammy cells. Who hath not seen thee oft amid thy store? Sometimes whoever seeks abroad may find Thee sitting careless on a granary floor, Thy hair soft-lifted by the winnowing wind; Or on a half-reap'd furrow sound asleep, Drowsed with the fume of poppies, while thy hook Spares the next swath and all its twinèd flowers: And sometimes like a gleaner thou dost keep Steady thy laden head across a brook; Or by a cyder-press, with patient look, Thou watchest the last oozings, hours by hours. Where are the songs of Spring? Ay, where are they? Think not of them, thou hast thy music too,— While barrèd clouds bloom the soft-dying day And touch the stubble-plains with rosy hue; Then in a wailful choir the small gnats mourn Among the river-sallows, borne aloft Or sinking as the light wind lives or dies; And full-grown lambs loud bleat from hilly bourn; Hedge-crickets sing; and now with treble soft The redbreast whistles from a garden-croft; And gathering swallows twitter in the skies.

7. Is also known as pattern poetry or shaped verse, these are poems that are printed on the page so that they form a recognizable outline related to the subject, thus conveying or extending the meaning of the words. Pattern poetry retains its meaning when read aloud, whereas the essence of concrete poetry lies in its appearance on the page rather than in the words; it is intended to be perceived as a visual whole and often cannot be effective when read aloud. This form has had brief popularity at several periods in history.