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Posted by : cj on Monday, April 30, 2007 - 07:06 PM
Members' Posting Pool .
If you would like to get your poetry published at, ,CLICK HERE.

**********ANNOUNCING********** is pleased to announce the
2007 Chicago Summer Poetry Contest with $200 in prizes.


--Poetry Submissions will be accepted for this contest in two categories.

Category One: Poetry about Chicago.

Category Two: Poetry about poetry.


1) TWO FIRST PRIZE WINNERS: There will be two First Prize winners, one from each category. One poem from each category will be chosen as the First Prize winning poem of that category. First Prize winning poets will receive $100 each, an award certificate, and publication of the winning poem at Winners will be offered a featured slot in the 2007 Chicago Poetry Fest, to happen on Saturday, August 25, 2007, from 3 to 7:30 PM, at Mercury Cafe, 1505 W. Chicago Ave, during which cash prizes will be distributed. (Prize money will be mailed if winner is not able to attend award ceremony.) Details about the award ceremony are at the bottom of this page.

2) TEN HONORABLE MENTIONS: Five poems from each category will receive an honorable mention. Poets receiving honorable mentions will receive an award certificate and will have their poem published at

3) ALL POETS WILL GET THE CHANCE TO BE PUBLISHED: ALL poems submitting into this contest will get the chance to be published in an online anthology at, to be published on the internet in August of 2007.


--Your poem about Chicago can be about Chicago as a city, a particular Chicago neighborhood, the people of Chicago, a person from Chicago, Chicago traditions, food, weather, Lake Michigan, landmarks, history, or any aspect of Chicago the author chooses to explore. Your poem about Chicago does not necessarily need to include the word "Chicago" in it. Use your imagination.


--Your poem about poetry can be about the process of writing poetry, poetry as a personification, poetry about a poet, poetry inspired by a famous poem, the academics of poetry, a parody of a poetry style, or whatever your imagination can come up with, as long as it is a poem about poetry. Your poem about poetry does not necessarily need to include the word "poetry" in it. Use your imagination.


--Poems submitted into this contest must be the original work of the submitting author.

---Poems can be written in any form or style, including freestyle, rap, rant, haiku, sonnet, prose--there are no limitations.

--Poets do not have to live in Chicago to participate in this contest. We encourage submissions from anyone, anywhere in the world.

--Poets may submit up to three poems per category (total of six poems). All poems will be considered separately and equally. (See below for entry fee instructions.)

--Please specify if your poem has been previously published.

--All poets who enter this contest must have an active e-mail account, as all correspondence regarding this contest will be done through e-mail.

--DEADLINE: Entries must be received by July 31, 2007. Please (and we can't stress this enough), in order to make the judging easier and more accurate, do not wait until the deadline to send in your poems; send in your entries today. Winners will be announced in August. Winners will be invited to (but not required to) read as part of the 2007 Chicago Poetry Fest, Saturday, August 25, from 3 to 7:30 PM, at Mercury Cafe, 1505 W. Chicago Ave. Click Here for some scenes from a previous sponsored event.


--Submissions for the 2007 Chicago Summer Poetry Contest can be emailed to

--Entry fee is $10 per poem. Before emailing poem(s), CLICK ON THIS LINK RIGHT HERE to pay the entry fee by credit card, debit card or e-check. Please make sure you fill out where it says "price" with a dollar amount to include all your entries. Example: if you are submitting one poem, the entry fee is $10. Two poems, $20. Up to six poems (three poems maximum per category); six poems would be a $60 entry fee. Type in correct amount where it says "price".

If you have any problems paying the entry fee through PayPal please let us know immediately.

--Submissions of poetry should then be sent in an email as a microsoft word attachment. If you do not understand what this means or if you have questions, write to If you send the work in the "body" of the email (rather than as an attachment) you risk losing the form of the poetry.

--Author's name and e-mail address must be included at the top of each page of poetry.

--Also specify either "Category 1" or "Category 2" at the top of each poem.

--In the body of the email, confirm that you have paid your entry fee through PayPal, and state the name by which the entry fee was made, if it is different than your own.

--Title e-mail "Summer Poetry Contest".


--Poems should be typed or printed on 8 ½ x 11 white paper in a plain, black font.

--Poems that have more than one page should be stapled together or held together with a paperclip, and pages should be numbered.

--The author's name and email address must appear at the top of all pages of poetry.

--Also specify either "Category 1" or "Category 2" at the top of each poem.

--Send one copy of your poem(s), postage paid, to:

Chicago Poetry Contest
c/o C. J. Laity
3345 N. Marshfield #301
Chicago, IL 60657

IMPORTANT: Do not forget to include the entry fee, which is $10 per poem.

--Include a check or money order for the appropriate entry fee ($10 per poem); that is, $10 for one poem, $20 for two poems, and so on, up to a maximum of six poems ($60)—three poems per category. Check or money order must be made out payable to the order of C. J. Laity.

*Entry fees into this contest will be considered gifts to and will be used by its publisher, C. J. Laity, to fund the prize money and will also go toward the publication of in general and the live poetry events it sponsors. Entry fees are not considered payment for any service or product.

**DEADLINE: Entries must be received by July 31, 2007. Please (and we can't stress this enough), in order to make the judging easier and more accurate, don't wait until the deadline; send in your entries today. Winners will be announced in August. Winners will be invited to (but not required to) read as part of The 2007 Chicago Poetry Fest, Saturday, August 25, from 3 to 7:30 PM, at Mercury Cafe, 1505 W. Chicago Ave.

***All rights revert back to the author and author keeps all copyright of the work after publication at


Carol Anderson, Kim Berez, Jose Bono, Buddha309, Jeff Burd, Vito Carli, Esteban Colon, Larry O. Dean, Maureen Flannery, Chris Gallinari, Dave Gecic, Sandy Goldsmith, Steven Hammond, Lonna Kingsbury, Kathy Kubik, Dred Sista Ren, Mojdeh, Sondra Morin, Charlie Newman, Peacetreaty, Joe Roarty, Tom Roby (Omniphonic), Charlie Rossiter, Ivan Ramos, Rusty Russell, Cathleen Schandelmeier, Beth Snyder, Dina Stengel, E. Donald Two-Rivers, Jacqui Wolk and the winners of's Summer Contest, also featuring the poetry and music of Dave Donovan, with sythesizer by Lem Roby, free and open to the public.

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Acrostics Excellent discussion and illustration of the single, double, and triple acrostic. Written by Smitha Chakravarthula on the Poetic Nest site. Acrostics Al Rocheleau, online poetry guru on the Orca forum, gives a thorough, understandable explanation, with example. Ballad Al Rocheleau's thorough, understandable explanation, with example. From the Orca forum. Ballad Wikipedia article. Brief definitions of several types of ballads, with links to a wide variety of samples. Ballade Not to be confused with the Ballad. From Larry Gross's theWORDshop pages of poetry forms. The Ballade adapted from French into English by Geoffrey Chaucer, is a member of the large Rondeau family. Ballade Bob Newman's explanation of the form, including variations;including the complete Adelaide Crapsey cinquains. From the dmoz Open Directory Project. Cinquain Amaze: The Cinquain Journal. Cinq-Cinquain A sequence of five cinquain; from the French: "five groupings of five." Clerihew "How to Write a Clerihew," from Clear and simple definition, but it is all you need to know to write one; with examples. Clerihew From Wikipedia. Brief definition, with examples, including "The World's shortest Clerihew." Clerihew Clear explanation, with examples from, where you will find lots of other fun with words. Couplet From The Craft of Poetry, a poetry course devised by Vince Gotera and Damon McLaughlin. Dorsimbra Created by Eve Braden, Frieda Dorris and Robert Simonton; contains three quatrains, each requiring a different pattern. Dramatic Monologue: An Introduction Brief explanation with links to other discussions of the form. Grossblank A form created by Larry Gross, patterned after blank verse. This is his explanation of the form, with example. Epistle John Hewitt's informative intro to the Epistle, with an example. The Grossblank A variation on blank verse, created by Larry Gross; with examples. Kyrielle Originally a medieval French verse pattern adapted into English. From Larry Gross's theWORDshop pages of poetry forms. Limerick From The Limerick Special Interest Group. Along with the next item, the best online sites I've seen for the form. Limericks Just for the Fun of It Excellent. Includes "a Dozen How-to Tips for Beginners." Limerick The dmoz Open Directory Project, a handy list of links to other limerick sites. The Limerick Robert Lo's intro to the limericks with examples. Little Willie Created in 1902 by Harry Graham, this nonsense quatrain has much in common with the limerick. From Larry Gross's theWORDshop pages of poetry forms. The Ode Intro to the basics of writing an ode, including the Pindaric and Horatian . Ode Encarta's discussion of Classical and Modern odes, with many links to examples. The English Ode Links to discussions of the ode. The Palinode is a song, discourse or poem recanting a previous one. It has a lengthy history in both serious and humorous verse. From Larry Gross's theWORDshop pages of poetry forms. Pleiades A single seven-line stanza conceived in 1999 by Craig Tigerman, Lead Editor of Sol Magazine. Quatrain From The Craft of Poetry, a poetry course devised by Vince Gotera and Damon McLaughlin. Includes a discussion of the pantoum. Sestina From The Craft of Poetry, a poetry course devised by Vince Gotera and Damon McLaughlin Sestina Al Rocheleau, online poetry guru first with Atlantic Monthly then with the popular Orca forum, gives a thorough, understandable explanation, with example. Sestina Excellent how-to article by Ariadne Unst, "The Sestina Verse Form." Sestina From Larry Gross's theWORDshop pages of poetry forms. Most sestinas take a serious road. This definition includes a humorous example. Sonnet "The Sonnet Verse Form" by Joan Zimmerman: An excellent introduction, explaining differences and characteristics of a good many variations of the form. Sonnet Al Rocheleau, online poetry guru first with Atlantic Monthly then with the popular Orca forum, gives a thorough, understandable explanation, with example. Sonnet From The Craft of Poetry, a poetry course devised by Vince Gotera and Damon McLaughlin Sonnet Central Best sonnet site around. Definitions, instructions for writing, articles and sonnets from 600 years of sonneteers, from Petrarch to the 20th century, plus a Sonnet Magnet board for instant composing and other attractions as well; you can even submit poems to the site and read those of others. Tercet From The Craft of Poetry, a poetry course devised by Vince Gotera and Damon McLaughlin Tercet and Triad John Hewitt's brief intro to the 3-line verse pattern, with examples. Terza Rima Smitha Chakravarthula defines and illustrates this verse pattern adapted from Italian poets of the 13th century. Includes helpful hints on using meter and rhyme. Triolet The oldest of the various Round forms from 13th century France, From Larry Gross's theWORDshop pages of poetry forms. Triolet The Triolet Verse Form" by Joan Zimmerman, a practical how-to. Villanelle Al Rocheleau of Orca forum gives a thorough, understandable explanation, with example. Villanelle Verse Form Ariadne Unst's explanation and example.Villanelle and Terzanelle From The Craft of Poetry, a poetry course devised by Vince Gotera and Damon McLaughlin. Climbing Rhyme Larry Gross's introduction to a simple form of this ancient Burmese verse pattern. Burmese Climbing Rhyme Smitha Chakravarthula's explication of the pattern seems to be taken from my earlier article (See above entry), but she has added illustrations of two specific forms: the Luc Bat and the Than Bauk. Ghazal "Basic Points about the Ghazal," by Agha Shahid Ali. One of the few sites which stress the "canonical form of the ghazal " as opposed to looser modern variations. Ghazal Four informative articles and several examples; from AHApoetry. Ghazal "The Ghazal Verse Form," a good article by Len Anderson, from Ariadne's Web. The Haibun Beth Vieira's "Haibun: Haikai Prose" from Ariadne's Web. Brief but good intro to the form. Haijinx An international online journal stressing the role of humor in haiku. Links to other sites. Haiku Helpful access to how-to's, articles and examples. Includes a dictionary of season words and links to other sites. From AHApoetry. Haiku Joan Zimmerman's helpful introduction to "The Haiku Verse Form," from Ariadne's Web. Haiku: Beyond the 5-7-5 Al Rocheleau's understandable explanation of haiku and senryu, with examples. Haiku Definition of Haiku by Alexey Andreyev. Point by point discussion of how to make a haiku, with good examples. Haiku Is What? Ruth Davidson's fine introductory article on haiku. Haiku Universe Dhugal J. Lindsay's excellent site on haiku; also links to tanka, renga, renku, and the difference between haiku and senryu. Links to Please Elizabeth St Jacques' links to haiku, tanka, renga and sijo sites. Pantoum Ariadne Unst's introduction to "The Pantoum Verse Form." Pantoum Al Rocheleau's thorough, understandable explanation, with example. Pantoum Bob Newman's easy to understand explanation, with example. Pantoum Damon McLaughlin deals with the Quatrain and the Pantoum as one example. Poetry In The Light Elizabeth St Jacques provides a variety of information and examples for haiku as well as for haibun, renga, rengay, dodoistu, tanka and sijo. Renga "What Is a Renga?" Larry Gross's basic introduction to this ancient Japanese pattern, with examples and a template for seasonal renga. Renga: The Four Elements Renga A new variation on the ancient renga pattern, with example. Rengay Verse Form Extensive discussion by Joan Zimmerman, with examples. Explains the differences between rengay and renga/renku. Renku Home William J. Higginson's extensive explanations of renku and other linking patterns. Includes an article on the differences between renga and renku. Rubáiyát Ariadne Unst's "The Rubáiyát Verse Form": one of the more understandable explanations of this pattern. Sijo Larry Gross's extensive explanation of classical sijo, with abundant examples and links to other pages. Sijo Elizabeth St Jacques excellent and extensive site for sijo. Sijo AHApoetry presents an introduction to the form, with examples; based on articles by Larry Gross. Sijoforum An email forum for posting anything and everything about sijo. Open to all. Hosted by Larry Gross. Tan Renga Larry Gross's "The World of Tan Renga" explains the form and adds many examples. Tanka Joan Zimmerman's introduction to "The Tanka Verse Form." Tanka Informative definitions, articles and history, with examples and links to other sites. From AHApoetry. Tanka Richard MacDonald's explanation, with historical background on tanka, sedoka and choka. Tanka: American Tanka Journal founded in 1996; dedicated exclusively to contemporary English-language tanka. You'll find the definition of tanka in the History link. Tanka and Sijo Neca Stoller's definitions and examples for tanka, sedoka, sijo and haibun, with links to other sites and markets. Whitney Created by Betty Ann Whitney, this seven-line pattern contains 3, 4, 3, 4, 3, 4, 7 syllables respectively. All American: Glossary of Literary Terms Alphabetical compilation by students at the University of North Carolina at Pembroke. Bob's Byway's Glossary of Poetic Terms Probably the most widely-known and most-used glossary on the Internet, with cross-references and informative sidelights. Craft of Poetry A course taught at the U of Northern Iowa; provides clear definitions and illustrations of 7 poetry forms and 7 important poetry characteristics: Style, Repetition, Rhyme & Music, Line & Meter, Imagery, Form, and Tradition. allegory (AL-eh-GOR-ee): a narrative that serves as an extended metaphor. Allegories are written in the form of fables, parables, poems, stories, and almost any other style or genre. The main purpose of an allegory is to tell a story that has characters, a setting, as well as other types of symbols, that have both literal and figurative meanings. The difference between an allegory and a symbol is that an allegory is a complete narrative that conveys abstract ideas to get a point across, while a symbol is a representation of an idea or concept that can have a different meaning throughout a literary work (A Handbook to Literature). One well-known example of an allegory is Dante’s The Divine Comedy. In Inferno, Dante is on a pilgrimage to try to understand his own life, but his character also represents every man who is in search of his purpose in the world (Merriam Webster Encyclopedia of Literature). Although Virgil literally guides Dante on his journey through the mystical inferno, he can also be seen as the reason and human wisdom that Dante has been looking for in his life. See A Handbook to Literature, Merriam Webster’s Encyclopedia of Literature. Machella Caldwell, Student, University of North Carolina at Pembroke alliteration (a-LIT-uh-RAY-shuhn): a pattern of sound that includes the repetition of consonant sounds. The repetition can be located at the beginning of successive words or inside the words. Poets often use alliteration to audibly represent the action that is taking place. For instance, in the Inferno, Dante states: "I saw it there, but I saw nothing in it, except the rising of the boiling bubbles" (261). The repetition of the "b" sounds represents the sounds of bubbling, or the bursting action of the boiling pitch. In addition, in Sir Phillip Sidney's Astrophel and Stella, the poet states: "Biting my truant pen, beating myself for spite" (Line 13). This repetition of the "t" sound represents the action of the poet; one can hear and visualize his anguish as he bites the pen. Also in Astrophel and Stella, the poet states, "Oft turning others' leaves, to see if thence would flow, / Some fresh and fruitful showers upon my sunburn'd brain" (7-8). Again, the poet repeats the "fr" sounds to emphasize the speaker's desire for inspiration in expressing his feelings. Poets may also use alliteration to call attention to a phrase and fix it into the reader's mind; thus, it is useful for emphasis. Therefore, not only does alliteration provide poetry or prose with a unique sound, it can place emphasis on specific phrases and represent the action that is taking place. See A Handbook to Literature, Literature: An Introduction to Fiction, Poetry, and Drama. Stacey Ann Singletary, Student, University of North Carolina at Pembroke allusion (a-LOO-zhuhn): a reference in a literary work to a person, place, or thing in history or another work of literature. Allusions are often indirect or brief references to well-known characters or events. Specific examples of allusions can be found throughout Dante’s Inferno. In a passage, Dante alludes to the Greek mythological figures, Phaethon and Icarus, to express his fear as he descends from the air into the eighth circle of hell. He states: Allusions are often used to summarize broad, complex ideas or emotions in one quick, powerful image. For example, to communicate the idea of self-sacrifice one may refer to Jesus, as part of Jesus' story portrays him dying on the cross in order to save mankind (Matthew 27:45-56). In addition, to express righteousness, one might allude to Noah who "had no faults and was the only good man of his time" (Genesis 6:9-22). Furthermore, the idea of fatherhood or patriarchial love can be well understood by alluding to Abraham, who was the ancestor of many nations (Genesis 17:3-6). Finally, Cain is an excellent example to convey banishment, rejection, or evil, for he was cast out of his homeland by God (Genesis 4:12). Thus, allusions serve an important function in writing in that they allow the reader to understand a difficult concept by relating to an already familiar story. See A Handbook to Literature, Literature: An Introduction to Fiction, Poetry, and Drama. Stacey Ann Singletary, Student, University of North Carolina at Pembroke antagonist (an-TAG-uh-nist): a character in a story or poem who deceives, is not supposed to be heard by other actors on stage. An aside is usually used to let the audience know what a character is about to do or what he or she is thinking. For example, in Othello, Iago gives several asides, informing the audience of his plans and how he will try to achieve his goals. Asides are important because they increase an audience's involvement in a play by giving them vital information pertaining what is happening, both inside of a character's mind and in the plot of the play. See A Handbook to Literature, The Concise Oxford Dictionary of Literary Terms, Merriam Webster’s Encyclopedia of Literature. Dawn Oxendine, Student, University of North Carolina at Pembroke ballad (BAL-uhd): a narrative folk song. The ballad is traced back to the Middle Ages. Ballads were usually created by common people and passed orally due to the illiteracy of the time. Subjects for ballads include killings, feuds, important historical events, and rebellion. For example, in the international ballad “Lord Randall,” the young man is poisoned by his sweetheart, and in “Edward,” the son commits patricide. A common stylistic element of the ballad is repetition. “Lord Randall” illustrates this well with the phrase at the end of each verse: “…mother, mak my bed soon, for I’m sick at the heart and I fain wad lie down.” A Handbook to Literature notes the ballad occurs in very early literature in nearly every nation. Therefore, in addition to being entertaining, ballads can help us to understand a given culture by showing us what values or norms that culture deemed important. See A Handbook to Literature, Benet’s Reader’s Encyclopedia, Merriam-Webster’s Encyclopedia of Literature, The Book of Ballads. Monica Horne, Student, University of North Carolina at Pembroke character (KARE-ec-ter): a person who is responsible for the thoughts and actions within a story, poem, or other literature. Characters are extremely important because they are the medium through which a reader interacts with a piece of literature. Every character has his or her own personality, which a creative author uses to assist in forming the plot of a story or creating a mood. The different attitudes, mannerisms, and even appearances of characters can greatly influence the other major elements in a literary work, such as theme, setting, and tone. With this understanding of the character, a reader can become more aware of brothers, possibly twins, who displayed intense sibling rivalry. God was not pleased with Cain's offerings, but found pleasure in Abel's offerings. Provoked by God's displeasure with him, Cain murdered his own brother out of jealousy. Victoria Henderson, Student, University of North Carolina at Pembroke connotation (KAH-nuh-TAE-shun): an association that comes along with a particular word. Connotations relate not to a word's actual meaning, or denotation, but rather to the ideas or qualities that are implied by that word. A good example is the word "gold." The denotation of gold is a malleable, ductile, yellow element. The connotations, however, are the ideas associated with gold, such as greed, luxury, or avarice. Another example occurs in the Book of Genesis. Jacob says: “Dan will be a serpent by the roadside, a viper along the path, that bites the horse’s heels so that its rider tumbles backward" (Gen 49:17). In this passage, Dan is not literally going to become a snake. However, describing Dan as a "snake" and "viper" forces the reader to associate him with the negative qualities that are commonly associated with reptiles, such as slyness, danger, and evil. Dan becomes like a snake, sly and dangerous to the riders. Writers use connotation to make their writing more vivid and interesting to read. See A Dictionary of Literary Terms and Literary Theory. Jennifer Lance, Student, University of North Carolina at Pembroke couplet (KUP-let): a style of poetry defined as a complete thought written in two lines with rhyming ends. The most popular of the couplets is the heroic couplet. The heroic couplet consists of two rhyming lines of iambic pentameter usually having a pause in the middle of each line. One of William Shakespeare’s trademarks was to end a sonnet with a couplet, as in the poem “Shall I Compare Thee to a Summer’s Day”: denotation (DEE-no-TAE-shuhn): the exact meaning of a word, without the feelings or suggestions that the word may imply. It is the opposite of “connotation” in that it is the “dictionary” meaning of a word, without attached feelings or associations. Some examples of denotations, Student, University of North Carolina at Pembroke denouement (day-noo-mon): literally meaning the action of untying, a denouement is the final outcome of the main complication in a play or story. Usually the climax (the turning point or "crisis") of the work has already occurred by the time the denouement occurs. It is sometimes referred to as the explanation or outcome of a drama that reveals all the secrets and misunderstandings connected to the plot. In the drama Othello, there is a plot to deceive Othello into believing that his wife, Desdemona, has been unfaithful to him. As a result of this plot, Othello kills his wife out of jealousy, the climax of the play. The denounement occurs soon after, when Emilia, who was Desdemona's mistress, proves to Othello that his wife was in fact honest, true, and faithful to him. Emilia reveals to Othello that her husband, Iago, had plotted against Desdemona and tricked Othello into believing that she had been unfaithful. Iago kills Emilia in front of Othello, and she dies telling Othello his wife was innocent. As a result of being mad with grief, Othello plunges a dagger into his own heart. Understanding the denouement helps the reader to see how the final end of a story unfolds, and how the structure of stories works to affect our emotions. See Encyclopedia of Literature, Miriam Webster. Shelby Locklear, Student, University of North Carolina at Pembroke dialogue (di-UH-log): The conversation between characters in a drama or narrative. A dialouge occurs in most works of literature. For example, many ballads demonstrate a ocnversation between two or more characters. In the anonymous ballad, "Sir Patrick Spens", we are able to observe the dialogue between Sir Patrick Spens and his mirry men. In the verses 21-24, "Mak hast, mak haste, my mirry men all, Our guid schip sails the morne: O say na sae, my master deir, for I feir a deadline storme," dialogue can be seen. According to A Handbook of Literature, dialogue serves several functions in literature. It moves the action along in a work and it also helps to characterize the personality of the speakers, which vary depending on their nationalities, jobs, social classes, and educations. It also gives literature a more natural, conversational flow, which makes it more readable and enjoyable. By showcasing human interaction, dialogue prevents literature from being nothing more than a list of descriptions and actions. Dialogue varies in structure and tone depending on the people participating in the conversation and the mood that the author is trying to maintain in his or her writing. See A Handbook to Literature,The American Heritage Dictionary. Ramon Gonzalez, Student, University of North Carolina at Pembroke didactic (di-DAK-tik): refers to literature or other types of art that are instructional or informative. In this sense The Bible is didactic because it offers guidance in moral, religious, and ethical matters. It tells stories of the lives of people that followed Christian teachings, and stories of people that decided to go against God and the consequences that they faced. The term "didactic" also refers to texts that are overburdened with instructive and factual information, sometimes to the detriment of a reader's enjoyment. The opposite of "didactic" is "nondidactic." If a writer is more concerned with artistic qualities and techniques than with conveying a message, then that piece of work is considered to be nondidactic, even if it is instructive. See Encyclopedia of Literature, Benet's Readers Encyclopedia. Jennifer Baker, University of North Carolina at Pembroke dramatic monologue (dra-MA-tik mon'-O-lôg): a literary device that is used when a character reveals his or her innermost thoughts and feelings, those that are hidden throughout the course of the story line, through a poem or a speech. This speech, where only one character speaks, is recited while other characters are present onstage. This monologue often comes during a climactic moment in a work and often reveals hidden truths about a character, their history and their relationships. Also it can further develop a character's personality and also be used to create irony. The most famous examples of this special type of monologue can be out of a Greek work known as a "elegus," a song of mourning or lamentation that is accompanied by the flute. Beginning in the 16th century, elegies took the form we know today. Two famous elegies include Thomas Gray’s "Elegy Written in a Country Churchyard" and Walt Whitman’s "When Lilacs Last in the Dooryard Bloom’d". Gray’s elegy is notable in that it mourned the loss of a way of life rather than the loss of an individual. His work, which some consider to be almost political, showed extreme discontent for strife and tyranny set upon England by Oliver Cromwell. This work also acted as an outlet for Gray’s dissatisfaction with those poets who wrote in accordance with the thoughts and beliefs of the upper class. In his elegy, Gray mourned for his country and mourned for its citizens. Whitman, inspired by the assassination of Abraham Lincoln, wrote his elegy in its classic form, showing sorrow for the loss of an individual. See A Reader’s Companion to World Literature, and Dictionary of World Literature. epigram (ep-e-gram): a short poem or verse that seeks to ridicule a thought or event, usually with witticism or sarcasm. These literary works were very popular during the Renaissance in Europe in the late 14th century and the Neoclassical period, which began after the Restoration in 1660. They were most commonly found in classic Latin literature, European and English literature. In Ancient Greek, an epigram originally meant a short inscription, but its meaning was later broadened to include any very short poems. Poems that are meditative or satiric all fall into this category. These short poems formulated from the light verse species, which concentrated on the tone of voice and the attitude of the lyric or narrative speaker toward the subject. With a relaxed manner, lyricists would recite poems to their subjects that were comical or whimsical. poetry publisher looking for submissions, constructed an epigram to show humor in Romanticism. Ways to get poetry published, the way to get poetry published, get poem published, where to get poem published, where to get poetry published, where to get my poetry published. His thoughts, who will publish my poetry, who publishes poetry, figurative language (fig-YOOR-a-tive LAN-gwije): a type of language that varies from the norms of literal language, in which words mean exactly what they say.

Note: is pleased to announce the 2007 Summer Poetry Contest, with two contest categories and $200 in cash prizes. Click here for details.

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