research on the literature genre of poetry

• The Poetry Foundation : poems listed by glossary term.
• Representative Poetry Online : glossary with links to full-text poems.

• Key to Poetic Forms
• Guide to Poetic Terms
• Guide to Prosody

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Posted on Feb 07, 2022

Types of Poems: 15 Poetry Forms You Need to Know

Poetry is an art form that, for much of its history, has been defined by how it adheres to (or defies) its own tradition. And part of that rich tradition is the poetic forms that have been championed by each generation's leading writers. To understand where poetry is going next, readers and writers should ideally know where poetry has come from .

In this Reedsy guide, we will examine what it takes to write and publish poetry. But lest we run before we walk, we should first become intimate with the many faces of the great spoken art...

In other words, here are 15 types of poems everybody should know:

The invention of the sonnet is first accredited to the thirteenth-century Sicilian poet Giacomo da Lentini, who crafted the form as an ideal way of expressing ‘courtly love’. This poetry form was typically meant to express a ‘forbidden love’ in the court (think ‘noble lady falls in love with the squire’) and it was a genre in itself at the time. 

Modern variations are closer to Seamus Heaney’s Glanmore Sonnets, in which he takes the drama expected of a sonnet and plays on that by writing about the mundane.

The two most common sonnets are named for their best-known practitioners: William Shakespeare and the 14th-century poet, Petrarch. While both of these are fourteen lines long, they come with different rule sets:

What makes a Shakespearean sonnet?

Structure: Fourteen lines of iambic pentameter.

• Three quatrains (4 lines), followed by a couplet (two lines).
• The final couplet presents a volta (AKA a thematic twist) or conclusion.

Rhyme scheme: ABAB CDCD EFEF GG.

Similar forms in other cultures: Onegin stanza / oneginskaya strofa (Russian), Quatorzain (French, archaic). 

What is iambic pentameter?   Iambic pentameter consists of five iambic ‘feet’ — stressed syllables followed by unstressed syllables — sounding something like:   Now IS the WIN-ter OF our DIS-con-TENT   It was Shakespeare's favored meter, and, spoiler alert, iambic pentameter crops up in a lot of other poetic forms!

What makes a Petrarchan sonnet?

Structure: Fourteen lines, split into two stanzas, in iambic pentameter (traditionally).

• First stanza: eight lines (an octave) asking a question or posing an argument
• Second stanza: six lines (a sestet) answering that question. 
• The volta arrives between the eighth and ninth lines 

Meter: Iambic pentameter (traditionally). 

Rhyme scheme: ABBA ABBA CDECDE

Shakespearean example: " Sonnet 18" by William Shakespeare

Shall I compare thee to a summer’s day?

Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May,

And summer’s lease hath all too short a date;

Sometime too hot the eye of heaven shines,

And often is his gold complexion dimm'd;

And every fair from fair sometime declines,

By chance or nature’s changing course untrimm'd;

But thy eternal summer shall not fade,

Nor lose possession of that fair thou ow’st;

Nor shall death brag thou wander’st in his shade,

When in eternal lines to time thou grow’st:

   So long as men can breathe or eyes can see,

   So long lives this, and this gives life to thee.

Petrarchan example: "How Do I Love Thee? (Sonnet 43)" by Elizabeth Barrett Browning

How do I love thee? Let me count the ways.

I love thee to the depth and breadth and height

My soul can reach, when feeling out of sight

For the ends of being and ideal grace.

I love thee to the level of every day’s

Most quiet need, by sun and candle-light.

I love thee freely, as men strive for right.

I love thee purely, as they turn from praise.

I love thee with the passion put to use

In my old griefs, and with my childhood’s faith.

I love thee with a love I seemed to lose

With my lost saints. I love thee with the breath,

Smiles, tears, of all my life; and, if God choose,

I shall but love thee better after death.

Ever get so excited about that new book you’ve been waiting to get your hands on, or that new game with amazing graphics, that you just want to tell everyone about it? Well, poets have been right there with you for centuries, they even made a poetic form specifically to praise things they think are really amazing. (Though historically speaking, they probably didn’t write about games.)

What a mighty fine thing!

Unlike the previous poetry forms, the ode is a lyrical stanza addressing a specific person, place, thing, or event. In fact, it doesn’t just casually address the thing of choice; it’s written in elaborate praise of said thing. The term ‘ode’ originates from the Ancient Greek ōdḗ (or ‘ aoidē ’), meaning ‘song’ —  likely reflecting the form’s origins as a predominantly musical form. 

There are two classic subcategories of ode: Pindaric and Horatian — both of which follow an ABABCDECDE rhyme scheme. However, contemporary odes tend to be more irregular. 

What makes a pindaric ode?

Structure: Traditionally separated into three-stanza sections; the strophe (two plus lines repeated as a unit), a metrically harmonious antistrophe (similar to the strophe, but with a thematic reverse), and the epode (concludes the poem thematically, and has a different meter and length to the previous stanzas).

Meter: Characterized by irregular line length.

Rhyme: ABABCDECDE

What makes a  Horatian ode?

Structure: Written in a series of couplets or quatrains, thematically surrounding intimate scenes in day-to-day life. Irregular odes may follow any structure.

Meter: Poet's choice, but the rhyme scheme and meter should be consistent throughout.

Rhyme scheme: ABABCDECDE. Irregular odes have no set pattern. 

What makes an i rregular ode?

Structure: No strict form, verse structure and patterns should be irregular.

Meter: As the title suggests, the meter can be irregular.

Rhyme scheme: Typically rhymed, but the placement of the rhyme is the poet's choice.

Pindaric ode extract: "Ode To Aphrodite" by Sappho

Deathless Aphrodite, throned in flowers, Daughter of Zeus, O terrible enchantress, With this sorrow, with this anguish, break my spirit Lady, not longer! Hear anew the voice! O hear and listen! Come, as in that island dawn thou camest, Billowing in thy yoked car to Sappho Forth from thy father's Golden house in pity! ... I remember: Fleet and fair thy sparrows drew thee, beating Fast their wings above the dusky harvests, Down the pale heavens, Lightning anon! And thou, O blest and brightest, Smiling with immortal eyelids, asked me: 'Maiden, what betideth thee? Or wherefore Callest upon me? 

Horatian ode extract: "Ode to a Nightingale" by John Keats

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 thy happy lot,

         But being too happy in thine 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

         Cool'd a long age in the deep-delved earth,

Tasting of Flora and the country green,

         Dance, and Provençal song, and sunburnt 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:

Irregular ode extract: "Ode to the West Wind" by Percy Bysshe Shelle

O wild West Wind, thou breath of Autumn's being,

Thou, from whose unseen presence the leaves dead

Are driven, like ghosts from an enchanter fleeing,

Yellow, and black, and pale, and hectic red,

Pestilence-stricken multitudes: O thou,

Who chariotest to their dark wintry bed

The winged seeds, where they lie cold and low,

Each like a corpse within its grave, until

Thine azure sister of the Spring shall blow

Her clarion o'er the dreaming earth, and fill

(Driving sweet buds like flocks to feed in air)

With living hues and odours plain and hill:

Wild Spirit, which art moving everywhere;

Destroyer and preserver; hear, oh hear!

While most modern readers may be more familiar with 80s power ballads than the works of middle-English poets — poetry, culture, and music as we know it today will owe a lot to this form. 

Ballads were invented to narrate a story in a memorable way. (Ever heard of the lovable vigilante Robin Hood? You might not have if his legend wasn’t passed down in 14th-century ballads!) 

"They'll sing songs about you one day..."

Though popularized by British and Irish bards, the name actually derives from the medieval French chanson balladée (meaning ‘dance songs’) — and it’s not hard to see the semblance between this form’s rhythm and structure and modern-day music:

Lithe and listen, gentleman,

That be of freeborn blood; 

I shall you tell of a good yeoman, 

His name was Robin Hood.

— A Gest of Robyn Hode, ed. Francis James Child. 

While hardly the bread and butter of twenty-first-century writers, 1985's US poet laureate Gwendolyn Brooks has been praised for her mastery of this poetic form. Ballads nowadays can be easily identified by their quatrains (four-line stanzas) and simple, melodic rhyme scheme – designed to fit with musical accompaniment. 

What makes a ballad?

Structure: Any length, usually written in quatrains.

Meter:  Traditionally, they're written in alternating lines of iambic tetrameter (eight syllables) and iambic trimeter (six syllables). 

Rhyme scheme: ABAB or ABCB, occasionally ABABBCBC.

Similar forms in other cultures:   Vaar (Punjabi),  Corrido (Mexican). 

Ballad example: "A Ballad of Hell" by John Davidson

'A letter from my love to-day!

Oh, unexpected, dear appeal!'

She struck a happy tear away,

And broke the crimson seal.

'My love, there is no help on earth,

No help in heaven; the dead-man's bell

Must toll our wedding; our first hearth

Must be the well-paved floor of hell.'

The colour died from out her face,

Her eyes like ghostly candles shone;

She cast dread looks about the place,

Then clenched her teeth and read right on.

'I may not pass the prison door;

Here must I rot from day to day,

Unless I wed whom I abhor,

My cousin, Blanche of Valencay.

An elegy is a mournful poetic form, the origins of which can be traced back to a combination of Ancient Greek poetics and Old English scriptures from the 11th Century, written to lament a death. 

Given the form’s long and rich history, you could point to a plethora of the most well-known poets — such as John Milton, or Walt Whitman — and probably find an elegy somewhere in their work. 

You can mourn more than just a person

Of course, this expression of sorrow isn’t exclusive to the death of a person, but also the topic of loss more generally: how we deal with it, the abstract loss of things, or the absence of what once was. Think Thomas Gray’s Elegy Written in a Country Churchyard , in which the speaker wanders through a churchyard (no surprises there) and begins to contemplate his own death, ultimately ending the poem with a passerby reading out an elegy for the narrator himself. 

Typically, this form was written in elegiac couplets, but nowadays you’ll usually find them in rhyming quatrains. Of course, if you’re interested in identifying an elegy, or writing one yourself, the most important thing to know is that the rules aren’t strict as long as the content is on-message. 

What makes an elegy?

Structure: Can be as long as the poet wants, and is mostly commonly written in couplets or quatrains, but it’s the poet’s choice as long as it’s about death/mourning/etc. 

Meter:  Iambic pentameter (usually).

Rhyme scheme: Typically ABBA or ABAB, but not strictly.

Similar forms in other cultures: Keening or Caointeoireacht (Gaelic Celtic), Rithā’ (Arabic), Soaz, Noha, and Marsiya (Arabic, Persian, Urdu).

Elegy example: "In Memoriam A.H.H." by Alfred, Lord Tennyson

Our little systems have their day;

   They have their day and cease to be:

   They are but broken lights of thee,

And thou, O Lord, art more than they.

We have but faith: we cannot know;

   For knowledge is of things we see

   And yet we trust it comes from thee,

A beam in darkness: let it grow.

The epic poetry form is, as the name might suggest, one of the longest (and oldest) forms of poetry — often book-length. For context, the oldest recorded piece of literature is The Epic of Gilgamesh, which dates back to the Bronze Age between 2500 and 1300 BCE. Though commonly associated with Ancient Greek poets such as Virgil and Homer, almost every classic civilization had its own form of epic. For example, Mahabharata in ancient India and the ancient Persian Shahnameh .

While modern poets seldom write epics, the few that are published (such as Kate Tempest’s 2013 epic Brand New Ancients ) are equal parts eye-catching and ripe for critical acclaim when done well.

Epics are long by their very nature

Written in narrative verse , epic poems usually follow the story of a hero or a group of heroes — a famous example of this is, of course, The Odyssey by Homer. Though it’s difficult to define precise rules for writing epic poetry, The Odyssey’s structure is typical with its long stanzas and no rhyme scheme to speak of.

What makes an epic?

In the absence of strict rules, here are a couple of things to look out for:

Standard structure: Often epic (!) in stanza and overall length.

Common features:

• Repetition of words or symbols; 
• Enjambement Sentences allow lines to carry over to the next without punctuation, which makes the stanza flow more similar to a real speech; 
• Caesura: Mid-line pauses (usually signified by a full-stop or comma) are the poetry equivalent of writing ‘pause for effect’ in a script — helping to add weight to a line, control the pace of the poem, and mimic speech. 

Similar forms in other cultures:   Kāvya (Indian),  Alpamysh (Turkish),  Duma (Ukrainian).

Epic poetry extract: "The Odyssey" by Homer (trans. Emily Wilson).

“Hear me, leaders

And chieftains of Phaecia. I will tell you

The promptings of my heart. This foreigner — 

I do not know his name — came wandering 

from west or east and showed up at my house.

He begs and prays for help to travel on.

Let us assist him, as we have before

with other guests: no visitor has ever 

been forced to linger in my house. We always

give them safe passage home. Now let us launch 

a ship for her maiden voyage on the water,

and choose a crew of fifty-two, the men 

selected as the best, and lash the oars

beside the benches. Then return to shore,

and come to my house. Let the young men hurry

to cook a feast. I will provide supplies,

plenty for everyone. And I invite 

you also, lords, to welcome him with me.

Do not refuse! We also must invite 

Demodocus, the poet. Gods inspire him, 

so any song he chooses to perform

is wonderful to hear.”

6. Alexandrine

The modern English alexandrine is derived from the traditional French alexandrine: one line of twelve syllables, which may be repeated to form a whole poem. What's more, it's not technically a poetic form but a metrical structure — referring to the rhythm and length of a single line.

Though the French alexandrine and the English alexandrine are, by all accounts, pretty similar, there are two key differences when it comes to the caesura and emphasis on syllables, which we'll outline below.

We’ve made sure to include examples of the traditional French alexandrine alongside an English alexandrine. Because French language alexandrines are often translated to iambic pentameter for English speech patterns, we’ve also included French verse by poet and playwright Molière, as well as a faithful English translation of Du Bartas’s French poetry to show you how this form can look in French and English translation. 

What makes a French alexandrine?

Structure: A single line adding up to twelve metric syllables.

Meter: Two half-sections (hemistichs) of six syllables , separated by a caesura (pause).

Rhyme scheme: Usually AABB or ABAB when used in a longer poem

Similar forms in other cultures: Trzynastozgłoskowiec (Polish), český alexandrín (Czech), mester de clerecía (Spanish). 

What makes an English alexandrine?

Structure: A series of quatrains (four-line stanzas), any length. 

Meter: Each line has twelve stresses, with no fixed caesura.

Similar forms in other cultures: Trzynastozgłoskowiec (Polish), český alexandrín (Czech), mester de clerecía (Spanish).

Alexandrine extract: "Le Misanthrope" by Molière

Que de son cuisinier il s'est fait un mérite,

et que c'est à sa table à qui l'on rend visite.

Note how there is a natural momentary pause after the fifth syllable of each line. This pause is what's known as a caesura .

Alexandrine extract: "La Sepmaine" by Guillaume de Saluste Du Bartas

Thou that guid’st the course of the flame-bearinge spheares; 

The waters fomye bitt, Seas sou’reigne, thou that beares; 

That mak’st the Earth to tremble; whose worde onely byndes, 

And slackes th’vnruly raynes, to thy swifte postes the wyndes; 

Alexandrine extract: "To A Skylark" by Percy Bysshe Shelley

Hail to thee, blithe Spirit!

Bird thou never wert,

That from Heaven, or near it,

Pourest thy full heart

In profuse strains of unpremeditated art.

7. Blank verse

Popular with both old and contemporary writers, blank verse is unrhymed poetry — written most commonly in iambic pentameter. You’ll likely have encountered this form previously; it is commonly found in Shakespeare's plays and poems, chosen perhaps for its similarity to natural English speech. (And, not to mention, it would sound pretty strange if characters spoke in rhymes throughout every play!)

Because of its focus on rhythm above all, blank verse is a great form to look at if you want to delve into meter (what sounds right) and meaning ( why, without a rhyme scheme, is one word chosen over another).

What makes a blank verse poem?

Structure: Overall length and stanza length are the poet’s choice. 

Meter: Must be in metric verse, usually iambic pentameter.

Rhyme scheme: Unrhymed.

Blank verse example: "Tintern Abbey" by William Wordsworth.

Five years have past; five summers, with the length

Of five long winters! and again I hear

These waters, rolling from their mountain-springs

With a soft inland murmur.—Once again

Do I behold these steep and lofty cliffs,

That on a wild secluded scene impress

Thoughts of more deep seclusion; and connect

The landscape with the quiet of the sky.

The day is come when I again repose

Here, under this dark sycamore, and view

These plots of cottage-ground, these orchard-tufts,

Which at this season, with their unripe fruits,

Are clad in one green hue, and lose themselves

'Mid groves and copses. Once again I see

These hedge-rows, hardly hedge-rows, little lines

Of sportive wood run wild: these pastoral farms,

Green to the very door; and wreaths of smoke

Sent up, in silence, from among the trees!

With some uncertain notice, as might seem

Of vagrant dwellers in the houseless woods,

Or of some Hermit's cave, where by his fire

The Hermit sits alone.

8. Villanelle

The villanelle is a nineteen-line poetic form strictly consisting of five three-line stanzas, ending in a quatrain.

Sadly, this form has nothing to do with a certain loveable villain from BBC’s Killing Eve. In fact, its name can be traced all the way back to the medieval Latin ‘villanus’, meaning ‘farmhand’, reflecting the villanelle’s origin as pastoral folk music — in which a single (usually female) singer would improvise lyrics while a ring of dancers danced around her. 

It bears repeating...

The modern villanelle’s heavy use of refrain, in which specific lines of the poem are repeated , definitely reflects its musical roots. This common repetition has made it the favored form for poets who wish to convey obsession — such as with Sylvia Plath’s Mad Girl’s Love Song, in which the narrator obsesses over the loss of a loved one who may or may not have been real. 

What makes a villanelle?

Structure: Nineteen lines, structured with five tercets (three-line stanzas) followed by a quatrain.

Meter:  No strict meter, though most villanelle's after the twentieth century have been written in pentameter. 

Repetitions: 

• Line one must repeat in lines six, twelve, and eighteen. 
• Line three must repeat in lines nine, fifteen, and nineteen. 

Rhyme scheme: ABA, ABA, ABA, ABA, ABA, ABAA.

Villanelle example: "Theocritus" by Oscar Wilde

O Singer of Persephone!

In the dim meadows desolate

Dost thou remember Sicily?

Still through the ivy flits the bee

Where Amaryllis lies in state;

O singer of Persephone!

Simaetha calls on Hecate

And hears the wild dogs at the gate;

Still by the light and laughing sea

Poor Polypheme bemoans his fate:

And still in boyish rivalry

Young Daphnis challenges his mate:

Slim Lacon keeps a goat for thee,

For thee the jocund shepherds wait,

Villanelle extract: "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 blackness gallops in:

I shut my eyes and all the world drops dead.

9. Free verse

Free verse is the favored poetry form for many contemporary poets, in large part because (as the name implies) they can make their own rules — and break them if they wish. Poets naturally choose to make their own rules most often because, in this form, understanding the effect of punctuation and stanza breaks on how a poem is read is essential. 

When writing in free verse, poets (that is if they want to make their poetry public) must be considerate of the reader: how will one rhyme scheme read vs. another? Does this pause emphasize the previous line properly? Are there enough breaks for the reader to catch their breath? These are just some of the questions a poet writing in free verse might ask themselves! 

What makes a free verse poem?

Structure: Poet’s choice.

Meter: Anything, really.

Rhyme scheme: Any which way is fine.

Equivalent in other cultures: Japanese haibun.

Free verse example: "Come Slowly, Eden" by Emily Dickinson.

Come slowly – Eden!

Lips unused to Thee –

Bashful – sip thy Jessamines –

As the fainting Bee –

Reaching late his flower,

Round her chamber hums –

Counts his nectars –

Enters – and is lost in Balms.

Note: Free verse always results in interesting book interiors! Check out our post on poetry book layouts for insights from designers and inspiration.

10. Acrostic

Acrostic poetry spells out a secret meaning, often using the first letter of each new line, stanza, or any other recurring feature. The hidden message could be a word, phrase, or, more commonly, a name — sounds exciting, right? This form was popularised from the high middle ages onwards, with many poets at the time beginning their longer works with a short acrostic spelling their name. 

Hidden in plain sight

The beauty of this form is the diversity in how it might be used. Indeed, there have been several instances in recent years of people — such as CEOs, resigning employees, politicians — utilizing prose acrostics in emails and letters (often to convey a political message). You can even find multiple acrostics in the same poem — you might point to Behold, O God! by William Browne, in which you can find three different hidden New Testament verses, as a great example of this. 

There aren’t strict rules when it comes to writing this form; you only need to remember that, if there’s a hidden meaning (which is often identified through seemingly random capitalization of letters) then chances are that you’re reading an acrostic.  

What makes an acrostic?

Structure: Poet’s choice — just get a hidden meaning in!

Meter: Poet’s choice, but this will probably be determined by the hidden meaning.

Rhyme scheme: Poet’s choice!

Acrostic example: "Elizabeth"   by Edgar Allan Poe.

Elizabeth, it surely is most fit

[Logic and common usage so commanding]

In thy own book that first thy name be writ,

Zeno and other sages notwithstanding;

And I have other reasons for so doing

Besides my innate love of contradiction;

Each poet - if a poet - in pursuing

The muses thro' their bowers of Truth or Fiction,

Has studied very little of his part,

Read nothing, written less - in short's a fool

Endued with neither soul, nor sense, nor art,

Being ignorant of one important rule,

Employed in even the theses of the school-

Called - I forget the heathenish Greek name

[Called anything, its meaning is the same]

"Always write first things uppermost in the heart."

The haiku may often be the first type of poem you encounter; whether you’ve had to write one for school, or you’ve encountered them as Instagram poetry, you’ve probably had some experience with haiku . Though they were traditionally poems about the poet’s geographical and seasonal placement , paying homage to the landscape, nowadays people use the short form for comedic effect. 

Short and sweet

The haiku is a three-line poem, with a 5-7-5 syllable structure, originating in seventeenth-century Edo-period Japan. Originally named ‘hokka,’ the haiku is derived from the opening of a longer, collaborative, form of Japanese poetry called renga (or, linked poetry). Notably, most English translations separate haiku into three separate lines, while (romanized) originals are usually one single line separated by caesura. 

What makes a haiku?

Structure: Three lines long, with a 5-7-5 syllable structure:

• Line one: five syllables.
• Line two: seven syllables.
• Line three: five syllables.

Meter: Each line must follow the 5-7-5 syllable structure. 

Rhyme scheme: N/A.

Haiku example: "The Oak Tree" by Matsuo Bashō

In the original Japanese, romanized:

Kashi no ki no / hana ni kamawanu / sugata kana.

In English, translated by Robert Hass.

The oak tree:

not interested

in cherry blossoms.

12. Epigram

An epigram is a short poetic form that can range from two to four lines long. That said, many poets choose to create longer poems using this form by essentially lacing a number of smaller poems together — the end effect being that each section works well with the next while also standing on its own. 

Little poems found in the wild

Though the form was popularized by poets such as Samuel Taylor Coleridge, Voltaire in the sixteenth and seventeenth centuries, you might also point to Ezra Pound or Ogden Nash as more recent writers who favored this style. You might also be interested to know that, unlike other forms, epigrams are not exclusive to poetry. They can be used as a literary device, or in a speech to illustrate complex ideas concisely. (You might point to “an eye for an eye leaves the whole world blind,” a quotation often attributed to Mahatma Gandhi, as a good example of this.)

What makes an epigram?

If you’re looking to spot a poetic epigram, take a look at these simple rules:

Structure: Two to four lines, structured in couplets or four-line quatrains. 

Meter:  Often in iambic pentameter, but not strictly so. 

Rhyme scheme: ABAB (most commonly). 

Epigram example: "Auguries of Innocence" by William Blake.

To see a World in a Grain of Sand

And a Heaven in a Wild Flower 

Hold Infinity in the palm of your hand 

And Eternity in an hour

Epigram example: "Underwoods: Epigram" by Robert Louis Stevenson.

Of all my verse, like not a single line;   

But like my title, for it is not mine.   

That title from a better man I stole:   

Ah, how much better, had I stol'n the whole.

13. Epitaph

Think of epitaphs as like ‘Elegy Lite’. They’re often found carved onto gravestones so they need to be short unless the intended grave is actually a mausoleum. They also don’t have specific rules to speak of. They date back to the Ancient Egyptians and Greeks — but the English language form used nowadays is derived more closely from the Ancient Roman version, which was less emotive and focused on portraying facts about the deceased. 

So long, farewell

That said, modern epitaphs often include riddles, puns on names or professions, and even acrostics (though, it takes some care to know when humor is appropriate). One of the most famous influences for the modern-day epitaph is Robert Burns, who wrote thirty-five epitaphs (for close family, friends, and even himself), many of which were satirical. 

What makes an epitaph?

Structure: Poet’s choice!

Meter: Poet’s choice!

Similar forms in other cultures: Jisei (Japanese).

Epitaph example: "Epitaph on my own Friend" by Robert Burns

An honest man here lies at rest

As e'er God with his image blest.

The friend of man, the friend of truth;

The friend of Age, and guide of Youth:

Few hearts like his with virtue warm'd,

Few heads with knowledge so inform'd:

If there's another world, he lives in bliss;

If there is none, he made the best of this.

Epitaph example: "Epitaph" by Edna St. Vincent Millay

Heap not on this mound

  Roses that she loved so well;

Why bewilder her with roses,

  That she cannot see or smell?

She is happy where she lies

  With the dust upon her eyes.

14. Limerick

If you’ve ever heard a poem about an old man from Nantucket, then you’ve almost certainly encountered a limerick. These humorous poems, known best for their often rude or shocking punchlines, were popularized by Edward Lear in the nineteenth century. 

Part of what enhances the reader’s enjoyment of this form is the distinct AABBA rhyme scheme and rhythm which makes it fun to recite (and a great party trick!). After all, a great joke should feel inevitable and unexpected — the first rhyme of a limerick does this by setting a limit on what the punchline could possibly be, while the last line aims to catch you off-guard despite expectations. 

What makes a limerick?

The most important guideline to follow when writing this type of poetry is, of course, to make it funny and memorable. That aside, limericks do have a few rules that make them easy to identify:

Structure: One stanza, five lines.

Meter: The predominant meter is anapestic (two unstressed syllables followed by a stressed syllable). Two long(er) lines of 7-10 syllables each, and two short lines of 5-6 syllables each. The final line should be a punchline. 

Rhyme scheme: AABBA.

Note: Though the most common limerick form, following its rise in popularity, would rhyme the same word in the first and last lines, it’s more common now to avoid this, unless for a specific effect. 

Limerick example: "Limerick" by Anonymous 

The limerick packs laughs anatomical

Into space that is quite economical.

But the good ones I’ve seen

So seldom are clean

And the clean ones so seldom are comical.

Limerick example: "There was an Old Man with a Beard" 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 nests in my beard.

15. Concrete

Concrete is given its name because, like concrete in a mold, it changes shape to fit the artist’s purpose. Indeed, it’s written to assume a specific shape on the page in order to reflect the poem’s subject matter. (And, let’s be honest, it’s probably quite an enjoyable form to play around with!) 

This form was popular as far back as Greek Alexandria in the 3rd and 4th centuries BCE, and ancient examples of concrete poems (shapes like eggs or hatchets) still remain today. For more recent examples, you might point to George Herman, who was particularly well-known for his concrete poetry — such as in the example below, where the poem’s form mimics the ‘wings’ mentioned in the verse. 

What makes a concrete poem?

Structure: How long is a piece of string? That aside, the poem’s physical shape should reflect a theme or symbol. 

Meter:  Beholden to the poem's shape. 

Rhyme scheme:  As the poet wishes...

Concrete poetry example: "Easter Wings" by George Herbert.

Lord, who createdst man in wealth and store,

Though foolishly he lost the same,

Decaying more and more,

Till he became

Most poore:

O let me rise

As larks, harmoniously,

And sing this day thy victories:

Then shall the fall further the flight in me.

My tender age in sorrow did beginner

And still with sicknesses and shame.

Thou didst so punish sinne,

That I became

Most thinne.

Let me combine,

And feel thy victorie:

For, if I imp my wing on thine,

Affliction shall advance the flight in me. 

Now that you have an idea of the various traditional poetry forms mastered by poets of yesteryear, how would you like to write your own? Continue to the next part of this series and learn just that! 

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Poems and Poets

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Cambridge Companions

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The Oxford English Dictionary

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Johns Hopkins Guide to Literary Theory & Criticism

The Johns Hopkins Guide to Literary Theory & Criticism is an indispensable resource for scholars and students of literary theory and discourse. Presents a comprehensive historical survey of the field's most important figures, schools, and movements.

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Types of Poems: 33 Unique Poetry Forms (With Examples)

As an art form, poetry stands as a testament to the power of words to weave tapestries of emotions, to capture the essence of life’s profound moments, and to ignite the fire of imagination within us. It has evolved and embraced countless forms throughout history, each one distinct, evocative, and capable of touching the deepest recesses of our hearts.

In this journey, we will explore 33 poetry forms, each with its own spellbinding cadence and thought-provoking beauty. Brace yourself to be transported to the realms of joy, sorrow, love, and wonder, as we unravel the artistry and brilliance that lies within these poetic treasures.

What is Poetry?

Poetry is an art form that uses language to arouse feelings, spur ideas, and spark the imagination. It goes beyond the limitations of traditional language to paint pictures with words and capture the essence of human experiences in a special and condensed way.

Poets use rhythm, vivid descriptions, imaginative language, and a lyrical arrangement of words to bring their thoughts to life.

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Key Elements of Poetry

Let’s first explore the essential components that make up the world of poetry. From rhyming words and rhythmic patterns to the arrangement of lines and the use of descriptive language, these are the building blocks of poetic expression.

• Rhyme: The repetition of similar sounds at the end of words or phrases, used to create a musical or rhythmic feel. E.g., bright and delight .
• Meter: The rhythmic pattern of stressed and unstressed syllables in a line of poetry, which helps establish a consistent beat or inflection. E.g., in “Shall I compare thee to a summer’s day?” Each foot consists of one unstressed syllable followed by one stressed syllable for a rhythm of da-DUM da-DUM da-DUM da-DUM da-DUM .
• Stanza: A group of lines in a poem that are separated from other groups by line breaks, similar to a paragraph in prose. A couplet has two lines, a tercet three, a quatrain four, and a quintain five lines.
• Enjambment: The continuation of a sentence or thought from one line of poetry to the next without a pause, which improves flow and creates suspense or surprise.
• Theme: The main idea, message, or underlying concept explored in a poem, usually an emotion or universal truth.
• Imagery: Descriptive language that appeals to the senses and conjures up evocative mental pictures and sensory experiences. E.g., “The golden sun melted into the horizon, casting a warm orange glow over the rippling waves, as seagulls soared gracefully through the cotton candy clouds.”
• Symbolism: The use of objects, colors, or actions to represent abstract ideas or concepts, adding layers of meaning and depth to a poem. E.g., a mockingbird representing innocence and purity.

What is a Poem?

A poem is a specific piece of writing that embodies the art form of poetry. It is a creative composition that uses various poetic techniques (such as rhyme, meter, imagery, and figurative language) to describe thoughts, feelings, or experiences in a condensed and artistic way.

On the other hand, poetry is a broader term that encompasses the entire genre or category of literary art characterized by rhythmic and imaginative language. Poetry refers to the collective body of works that utilize poetic techniques, while a poem is a specific example or instance of poetry.

Types of Poems

From the timeless elegance of sonnets to the lyrical beauty of haikus, join us as we delve into the intricate world of different types of poems, revealing their unique characteristics, structures, and charm.

In this section you can discover various types of poems in the following categories:

Lyric Poetry

Narrative poetry.

• Pastoral Poetry  

Dramatic Poetry

Light and satirical poetry, referential poetry, experimental poetry.

Unlike narrative poetry that tells a story, lyric poetry is more focused on capturing a particular mood, moment, or sentiment. It is a genre of poetry that expresses personal emotions, thoughts, and observations.

The themes explored in lyric poetry can vary widely, from love and nature to loss, longing, and the complexities of the human condition. By dealing with feelings that we all experience, these poems create an emotional response in readers through the power of imagery, rhythm, and the beauty of language.

Lyric poetry is written according to very specific structural rules, with each type having its own conventions and exceptions. Let’s explore the different types in detail.

A sonnet is a 14-line poem that follows a specific rhyme scheme, meter, and structure. It originated in Italy and became popularized in English poetry during the Renaissance.

As a result, there are two main types of sonnets:

• Petrarchan Sonnet: The original Italian sonnet is divided into an eight-line and a six-line stanza. The first section often presents a question which the second part answers. The rhyme scheme for the first part is typically ABBAABBA, while the second can follow any rhyme scheme.
• Shakespearean Sonnet: Also known as the English sonnet, this one is composed of three four-line stanzas (quatrains) and a final rhymed couplet. The rhyme scheme is typically ABAB CDCD EFEF GG.

Look at the start of Shakespeare’s “ Sonnet 18 ” as an example:

Shall I compare thee to a summer’s day? (A) Thou art more lovely and more temperate: (B) Rough winds do shake the darling buds of May, (A) And summer’s lease hath all too short a date. (B)

When a poem expresses sorrow or grief over the loss of someone or something, it is called an elegy. It reflects on themes of mortality, remembrance, mourning, and the transient nature of life.

Elegies are often written as a tribute to honor a deceased, but they can also combine with broader themes, such as the decline of a way of life or the loss of innocence.

They’re usually structured in multiple four-line stanzas with an ABAB rhyme scheme, although many modern poets don’t follow these rules.

Thomas Gray’s “Elegy Written in a Country Churchyard” reflects on the lives and deaths of the common people buried in a village churchyard, contemplating the transience of life and the legacy left behind.

It starts like this:

The curfew tolls the knell of parting day, (A) The lowing herd wind slowly o’er the lea, (B) The plowman homeward plods his weary way, (A) And leaves the world to darkness and to me. (B)

An ode is a form of lyrical poetry that is characterized by its praise, admiration, or celebration of a person, place, thing, or idea. It is a poetic expression of deep affection, enthusiasm, or reverence.

They usually consist of multiple four-line stanzas and employ a consistent rhyme scheme and meter that can either be ABAB, AABB, or any other. But it’s the regularity in rhyming and structure that is most important, not the specific conventions.

One type of ode has a fourth line that is shorter than the others in each stanza, while another type uses a shorter third line. But these rules are broken in irregular odes.

“Ode to a Nightingale” by John Keats reflects on the transient nature of human existence and finds solace in the song of a nightingale. It uses 10-line stanzas of which the first goes like this:

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 thy happy lot, But being too happy in thine 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.

Stepping out of Western poetry, a haiku is a traditional Japanese poem consisting of three non-rhyming lines. It typically follows a 5-7-5 syllable pattern, with the first line containing five, the second seven, and the third five syllables.

Each poem captures a single observation, impression, emotion, or thought. While they were traditionally focused on nature, modern haiku can be written about anything at all.

Murakami Kijo wrote this little treasure about middle age:

First autumn morning (5) The mirror I stare into (7) Shows my father’s face. (5)

For those whose ideas are just a little too big for a Haiku, a cinquain is written over five lines with a syllable pattern of 2-4-6-8-2 for a total of 22 syllables. Similar to haiku, they are concise, focused on one observation, and often center on nature, but they can explore other themes too.

American poet Adelaide Crapsey’s “November Night” captures one beautiful observation:

Listen… With faint dry sound, Like steps of passing ghosts, The leaves, frost-crisp’d, break from the trees And fall.

Ghazal poems originate from Arabic and Persian literature. They traditionally consist of a first rhyming couplet, followed by couplets in which the second line rhymes with the first couplet in an AA BA CA DA structure.

Each line within the couplet is usually of equal length, and each couplet tends to be self-contained, capable of standing alone as a complete thought.

The Ghazal typically explores themes like love, desire, longing, loss, separation, and spiritual yearning, but can also touch on themes of nature, metaphysics, and divine love.

Agha Shahid Ali’s “Even the Rain” explores the themes of love, grief, memory, loss, and the persistence of sorrow:

What will suffice for a true-love knot? Even the rain? But he has bought grief’s lottery, bought even the rain. “our glosses / wanting in this world” “Can you remember?” Anyone! “when we thought / the poets taught” even the rain? After we died—That was it!—God left us in the dark. And as we forgot the dark, we forgot even the rain. Drought was over. Where was I? Drinks were on the house. For mixers, my love, you’d poured—what?—even the rain.

Blank Verse Poems

For poets who don’t like working on rhyming words, blank verse consists of unrhymed lines written in a metered scheme called iambic pentameter. This means that each line has five pairs of an unstressed and stressed syllable, resulting in a total of ten syllables per line.

Blank verse provides a balance between structure and flexibility, combining the musicality of poetry with the natural cadence of everyday speech.

Many of the characters in Shakespeare’s plays speak in blank verse. Romeo’s famous monologue from Act 2, Scene 2 of Romeo and Juliet starts:

But soft! What light through yonder window breaks? It is the East, and Juliet is the sun! Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief That thou her maid art far more fair than she.

A villanelle is a poetic form that consists of 19 lines arranged in six stanzas, the first five with three lines and a sixth with four lines. It flows following a very specific rhyme scheme and structure of ABA ABA ABA ABA ABA ABAA.

It also employs repeated lines or refrains. The first line of the poem is repeated as the last line of the second and fourth stanzas, while the third line is repeated as the last line of the third and fifth stanzas. The final stanza, called the quatrain, uses both refrains.

The form originated from Italian folk songs and gained popularity in French poetry.

“Do not go gentle into that good night”, a poem about death by Dylan Thomas, illustrates it perfectly. Here is an extract:

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.

Written in only one stanza, a triolet is an eight-line classic French poem that rhymes ABAAABAB. However, it only has five distinct lines, with the first repeating as the fourth and seventh, and the second repeating as the eighth.

Thomas Hardy wrote this one called “How Great My Grief”:

How great my grief, my joys how few, Since first it was my fate to know thee! Have the slow years not brought to view How great my grief, my joys how few, Nor memory shaped old times anew, Nor loving-kindness helped to show thee How great my grief, my joys how few, Since first it was my fate to know thee?

A sestina poem consists of six stanzas followed by a final triplet (a total of 39 lines).

It is known for its intricate repetition of six end words, creating a unique pattern throughout the poem. The final word of each line in the first stanza becomes the final word of each line in subsequent stanzas, according to a set rotation. The final tercet then uses all six end words, with one word in the middle of each line and one at the end.

While capturing the mundane details of daily life, “Sestina” by Elizabeth Bishop follows these rules with first and final stanzas that read like this:

September rain falls on the house. In the failing light, the old grandmother sits in the kitchen with the child beside the Little Marvel Stove, reading the jokes from the almanac, laughing and talking to hide her tears. Time to plant tears, says the almanac. The grandmother sings to the marvelous stove and the child draws another inscrutable house.

Another French contribution to the list, rondel poems originated in medieval France. They typically consist of thirteen lines divided into three stanzas of four, four, and five lines, although some authors start with a five-line stanza and end with a six-line one. The opening phrase or line of the first stanza is repeated as the refrain at the end of the second and third stanzas.

Its rhyming scheme starts with AABB in the first stanza, and then varies from one poet to the next.

“In Flanders Fields” by soldier and poet John McCrae describes a war in Flanders Fields among the crosses and dead who were alive just days before. It starts with the refrain as a first line, as it should. Here is the first stanza:

In Flanders fields the poppies blow Between the crosses, row on row, That mark our place; and in the sky The larks, still bravely singing, fly Scarce heard amid the guns below.

Because epitaph poems are very short, the language has to be concise. They are written in memory of a deceased person and are typically inscriptions found on gravestones or memorial plaques. They can encompass a range of emotions, from solemn and reflective to humorous or uplifting.

W. H. Auden wrote this epitaph in memory of W. B. Yeats :

Earth, receive an honored guest, William Yeats is laid to rest. Let the Irish vessel lie Emptied of its poetry.

Narrative poetry is a genre of poetry that tells a story or recounts a sequence of events. It uses poetic language and techniques to convey a plot, characters, and a sense of progression. Narrative poems often have a clear beginning, middle, and end, similar to traditional storytelling, and may explore themes of love, adventure, mythology, moral principles, or historical events.

The most common types of poems in this group are the epic, allegory, and ballad. Let’s have a closer look.

Possibly the hardest form of poetry to read, an allegory tells a story with hidden meanings. Its characters, events, and settings represent something else that is not verbally specified in the text. The purpose of these poems is to teach a moral lesson or convey deeper truths through symbols and metaphors. They are like a puzzle where you have to look beyond the surface to uncover the intended message of the poem.

These poems tend to employ rich imagery, figurative language, and metaphors to enhance their allegorical nature.

At the beginning of William Blake’s The Marriage of Heaven and Hell we find these two stanzas:

Once meek, and in a perilous path, The just man kept his course along The vale of death. Roses are planted where thorns grow, And on the barren heath Sing the honey bees. Then the perilous path was planted: And a river and a spring On every cliff and tomb; And on the bleached bones Red clay brought forth.

This poem represents a transformation from suffering or difficulty to wisdom or enlightenment or, given the remainder of the book’s message, probably the journey from being repressed to living out one’s wishes and desires.

Often written in book form, an epic is a long narrative poem that tells heroic stories or describes grand adventures. It often follows a larger-than-life protagonist who embarks on a remarkable journey or faces extraordinary challenges. They are known for their elevated language, epic similes, and grand scale.

They’re filled with heroic deeds, mythical creatures, and epic battles, and are often about legendary heroes and their quests, exploring themes of honor, bravery, and the human condition.

John Milton’s Paradise Lost , for example, draws on biblical themes and epic poetic storytelling to explore the Fall of Man, the temptation of Adam and Eve by Satan, the consequences of disobedience, free will, redemption, and the struggle between temptation and virtue. It doesn’t get any more epic than that.

Through a series of verses, a ballad poem tells a story. It often has a musical quality and is designed to be sung or recited. Ballads typically focus on themes of love, adventure, tragedy, or folklore, and they often have a regular rhyme scheme and a simple, repetitive structure.

They were traditionally passed down orally through generations, preserving stories and legends in a captivating and memorable way.

“The Highwayman” by Alfred Noyes explores themes of loyalty, passion, betrayal, and the consequences of pursuing a dangerous life of adventure. It tells the tragic story of a daring highwayman, a robber on horseback, who is in love with Bess, the innkeeper’s daughter.

When the highwayman is betrayed to the authorities by a jealous stableman, Bess warns him but has to sacrifice her life in the process. He is then killed in an unsuccessful attempt at revenge, and the ghosts of the two lovers meet in the afterlife, riding together eternally on the highway.

Metrical Romance

The narrative poetry known as Metrical romance presents stories of chivalry, love, adventure, or tragedy. They often follow a knight or hero on a quest.

Tristan and Iseult is a story that has been told in numerous forms, in poems, operas, plays, novels and even movies. It recounts the forbidden love between Tristan, a knight, and Iseult, the Irish princess that is married to his uncle.

In the long Matthew Arnold poem, Tristram misses his Irish Iseult so much that he marries another woman called Iseult, whom he does not love. While he is on his deathbed, his Irish Iseult arrives, gives him a final kiss, and promises never to leave his side. She subsequently dies with him while his loyal wife looks on.

Pastoral Poetry

Pastoral poetry is a genre that idealizes rural life and the beauty of nature. It depicts a romanticized and peaceful natural setting, often populated by shepherds, shepherdesses, and other pastoral figures. It honors nature, which provides a setting for the ideas of love, beauty, and simplicity.

Rural life is often contrasted with urban existence as free from complexities and challenges. These poems evoke a sense of nostalgia and harmony with the natural world. They usually contain imagery and vivid descriptions of landscapes.

We will describe the most common types below.

Basic Pastoral Poetry

This is the most basic form of this genre that includes most of the elements mentioned above. The beauty of nature, a romanticized depiction of rural life, and an appeal to simplicity.

In Christopher Marlowe’s “The Passionate Shepherd to His Love”, the shepherd invites his love to come and live with him, and tells a story about how good it will be. Look at the first two stanzas:

Come live with me, and be my love; And we will all the pleasures prove That hills and valleys, dales and fields, Woods, or steepy mountain yields. And we will sit upon the rocks, Seeing the shepherds feed their flocks By shallow rivers to whose falls Melodious birds sing madrigals.

Often the shortest type in this category, eclogues are short pastoral poems often written in dialogue form , featuring shepherds or landowners engaging in conversations about love, nature, and social issues.

Virgil’s “Eclogue 1”, for example, is a conversation between two people, one of whom has been forced off his land. He tells of his meeting with a god in Rome who answered his plea and allowed him to keep his land. He wishes his interlocutor could spend a night there with him.

It ends with:

Yet you might have rested here with me tonight on green leaves: we have ripe apples, soft chestnuts, and a wealth of firm cheeses: and now the distant cottage roofs show smoke and longer shadows fall from the high hills.

Georgic Poetry

This is where poetry meets practicality. Georgic poetry focuses on natural or rural themes, offering practical advice on farming, gardening, and agricultural pursuits.

Virgil wrote this introduction to his Georgics :

What makes the cornfield smile; beneath what star Maecenas, it is meet to turn the sod Or marry elm with vine; how tend the steer; What pains for cattle-keeping, or what proof Of patient trial serves for thrifty bees; — Such are my themes.

Pastoral Elegy

Pastoral elegies combine the pastoral setting with themes of mourning and loss, often lamenting the death of a loved one.

John Milton’s “Lycidas” mourns his friend, Edward King, who died when his ship was wrecked. It starts with:

Yet once more, O ye laurels, and once more Ye myrtles brown, with ivy never sere, I come to pluck your berries harsh and crude, And with forc’d fingers rude Shatter your leaves before the mellowing year. Bitter constraint and sad occasion dear Compels me to disturb your season due; For Lycidas is dead, dead ere his prime, Young Lycidas, and hath not left his peer.

Dramatic poetry is a genre that mimics the conventions of theater or dramatic performance through dialogue or monologue.

It is driven either by monologues or by dialogue between characters, providing insights into their thoughts, feelings, and interactions. The poet may present multiple perspectives through the voices of different characters.

There is often a narrative or plot that unfolds through the dialogue and actions of the characters. It can depict conflicts, resolutions, and other dramatic events.

Often very emotional in nature, monologue poems feature a solitary speaker who delivers an extended speech or narrative, usually revealing their thoughts, emotions, and experiences. The character addresses their monologue to someone else.

“My Last Duchess” by Robert Browning is a monologue poem in which the Duke of Ferrara reveals his thoughts and feelings about his deceased wife as he shows a portrait of her to a visitor, subtly conveying his possessiveness and controlling nature.

That’s my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now; Fra Pandolf’s hands Worked busily a day, and there she stands.

Soliloquy poems are also written as monologues, but they focus on the character’s self-reflection and introspection. It is personal and confidential, and not shared with another character.

When asking “To be or not to be,” Shakespeare’s Hamlet runs through some metaphors to compare the suffering and unfairness of life and death to determine which is worse.

As a category, light and satirical poetry is characterized by its playful, amusing, and often humorous approach, aiming to entertain and bring a smile to readers’ faces.

These types of poems use devices like witty wordplay, comical situations, irony, ridicule, and satire to make fun of someone or something.

Let’s examine different forms of this genre.

Satirical Poetry

Poems that use irony, wit, humor, or ridicule to criticize vices or follies in individuals, society, or institutions are what we call satirical poetry. It employs satire as a means of social commentary, often employing exaggeration or absurdity to highlight and critique flaws. They have no structural rules.

The Hunting of the Snark by Lewis Carroll humorously follows a group of characters in search of an elusive, non-existent thing called a “Snark.” It satirizes various aspects of society and human behavior while showcasing Carroll’s whimsical wordplay.

While satirical poetry is usually humorous, it can also take on serious subjects, as in The Masque of Anarchy by Percy Bysshe Shelley. This poem offers a satirical critique of the British government and its oppressive measures during the Peterloo Massacre in 1819. Here is an extract:

I met Murder on the way – He had a mask like Castlereagh – Very smooth he looked, yet grim; Seven blood-hounds followed him: All were fat; and well they might Be in admirable plight, For one by one, and two by two, He tossed the human hearts to chew Which from his wide cloak he drew.

An epigram poem is a concise and witty statement that expresses a clever or insightful idea. It aims to convey a sharp or satirical observation, often with a humorous or ironic twist.

American poet Ogden Nash wrote “Ice Breaking”, which is one of the most famous ones:

Candy Is dandy, But liquor Is quicker.

Short, humorous poems with a light-hearted, often nonsensical tone are called limericks. They consist of five lines with an AABBA rhyme scheme, where the first, second, and fifth lines rhyme, and the third and fourth lines rhyme with each other. They often include wordplay, clever twists, or surprise endings.

British poet Edward Lear wrote many of them, including this classic:

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 nests in my beard!”

Clerihews are four-line poems that focus on a person or character, typically with humorous and light-hearted observations. They often have an AABB rhyme scheme and are known for their witty and satirical tone.

Here, their inventor, Edmund Clerihew Bentley, pretends that the chemist Sir Humphrey Davy is upset about the fact that gravy contains so much sodium, the very element that Davy discovered.

Sir Humphrey Davy Abominated gravy. He lived in the odium Of having discovered Sodium.

Referential poems use the arrangement of their words to refer to something else, such as a person, poem, or object, usually to pay tribute.

There are two common types that we will describe below.

Acrostic poems

In acrostic poems, the first letter (or sometimes other specific letters) of each line, when read vertically from top to bottom, spell out a word, name, or phrase. The selected word or phrase is usually related to the subject or theme of the poem, but can also refer to something else. The rest of the structure is up to the poet.

“A Boat Beneath a Sunny Sky” appears at the end of Lewis Carroll’s Through the Looking-Glass . The first letter of each line spells out the name of the real-life Alice, Alice Pleasance Liddell. The “Alice” portion goes like this:

A boat beneath a sunny sky, Lingering onward dreamily In an evening of July — Children three that nestle near, Eager eye and willing ear,

Golden Shovel Poems

Created by American poet Terrance Hayes, golden shovel poems pay homage to a chosen line or lines from an existing poem. This is the newest poetic form on this list.

A line or lines from an existing poem serve as the “spine” of the new poem. Each word in the selected line is then used as the last word in each line of the new poem, in order. The poet then writes new lines that build upon or respond to the selected line.

“The Golden Shovel” by Terrance Hayes is the original Golden shovel poem that inspired the form itself. It uses Gwendolyn Brooks’ poem “We Real Cool” as the source material, with each word from Brooks’ poem serving as the last word in each line of Hayes’ poem. You can see the “We Real Cool” in the first three lines:

When I am so small Da’s sock covers my arm, we cruise at twilight until we find the place the real men lean, bloodshot and translucent with cool.

A broad poetic category known as experimental poetry pushes the boundaries of traditional poetic conventions. It encompasses various innovative and unconventional approaches, often challenging conventional forms, structures, language usage, and thematic exploration.

Poetry that does not adhere to the traditional rules of meter, rhyme, or specific poetic forms is known as free verse. It is characterized by its freedom from strict structure, allowing poets to experiment with line breaks, rhythm, and language without the constraints of predetermined patterns.

“Howl” by Allen Ginsberg, for example, uses 112 non-rhyming paragraph-like lines to describe scenes from the beat generation, with hardly any punctuation except for commas. Here is an extract:

I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz,

Prose Poems

Prose poems combine the elements of poetry and prose. Unlike traditional poems, which use line breaks and stanzas, they are written in prose form, with sentences and paragraphs that flow without the typical line breaks associated with poetry. The poets do use other poetic elements, however, like alliteration, metaphor, metered structure, and soft rhyming. It originated in 19th-century France.

Look at the natural flow of this excerpt from “Spring Day” by Amy Lowell:

The day is fresh-washed and fair, and there is a smell of tulips and narcissus in the air. The sunshine pours in at the bath-room window and bores through the water in the bath-tub in lathes and planes of greenish-white. It cleaves the water into flaws like a jewel, and cracks it to bright light.

Erasure Poems

Created by selectively erasing or blacking out words from an existing text, erasure poems reveal a new composition. The poet takes an existing source text, such as a newspaper article, book page, or even a poem, and removes or obscures certain words to create a new poetic work. The poem can be written with lines or stanzas, or it can be left on the original text.

Austin Kleon has written a whole book of surprisingly deep poems by crossing out bits of newspaper columns. He appropriately called it Newspaper Blackout .

Echo verse is a poetic form that emphasizes repetition within the structure of the poem. It deliberately repeats certain words, phrases, or sounds at specific intervals throughout the poem, creating a rhythmic and musical effect.

In a haunting poem called “Annabel Lee” by Edgar Allan Poe, the phrases “Annabel Lee” and “the sea” are repeated throughout, emphasizing the speaker’s undying love for his dead beloved. It begins:

It was many and many a year ago, In a kingdom by the sea, That a maiden there lived whom you may know By the name of Annabel Lee; And this maiden she lived with no other thought Than to love and be loved by me. I was a child and she was a child, In this kingdom by the sea, But we loved with a love that was more than love— I and my Annabel Lee—

Concrete Poetry

In concrete poetry, the visual presentation of the text on the page is an integral part of the poem’s meaning and expression. The arrangement of words, letters, and symbols on the page forms a visual representation that complements or enhances the content of the poem.

“The Mouse’s Tale” by Lewis Carroll appears in Alice’s Adventures in Wonderland . It takes the form of a long, winding, and visually intricate tail (pun intended) that visually depicts the narrative of a mouse’s adventures.

Frequently Asked Questions

In this section, we will address common questions about poetry, its definitions, and its characteristics.

What are the Main Types of Poetry?

The most important and enduring types of poetry include the sonnet, haiku, ballad, ode, elegy, limerick, epic, and free verse, each with its own unique characteristics.

Poetry vs. Poem: What’s the Difference?

Poetry refers to the broad category of literary art characterized by the use of imaginative and rhythmic language to evoke emotions, express ideas, and explore the human condition. A poem, on the other hand, is a specific piece of writing that embodies the art form of poetry. In other words, poetry is the artistic category, while a poem is a specific example of it in practice. Like a garden is made up of many flowers, poetry is made up of many poems.

Does Poetry Have to Rhyme?

No, poetry does not have to rhyme. While rhyming is a common poetic technique, it is not a requirement for a piece of writing to be considered poetry. Free verse, for example, is a form of poetry that does not rely on rhyme.

What is a Poem That Doesn’t Rhyme Called?

A poem that doesn’t rhyme is called “free verse”, a type of poetry that has no formal rules and constraints. It allows poets greater freedom and flexibility in terms of structure, line breaks, and rhythm. Instead of relying on rhyme, free verse emphasizes other poetic elements such as imagery, symbolism, and figurative language.

Are Poetry Books Popular?

There is a strong and dedicated readership for poetry, and an increasing number of people now read it. According to the National Endowment for the Arts, 11.7% of American adults read poetry, the highest numbers since they started their surveys.

What Makes Good Poetry?

Good poetry evokes strong emotions, uses descriptive and imaginative language, explores profound ideas or themes, is written in concise style, and pays attention to the musicality and rhythm of words.

Is Poetry a Form of Art?

Yes, poetry is a form of art, celebrated for its creative and imaginative use of language and its ability to capture the essence of human experiences in a condensed and memorable way.

Final Thoughts

Exploring the diverse world of poetry reveals a rich tapestry of forms and styles that transcend all boundaries. Whether it’s the rhythmic elegance of a sonnet or the visual intricacy of concrete poetry, these diverse forms remind us that poetry is a vibrant and ever-evolving art form that continues to inspire and captivate readers across generations.

So, let these examples be an invitation to explore, experiment, and embrace the infinite world of poetic expression.

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Comparative Literature: Genre Studies, Rhetoric, Poetics

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• Genre Studies, Rhetoric, Poetics
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Reference works

• New Princeton Encyclopedia of Poetry and Poetics - PN 1021 .N39 1993 Humanities Reference Alex Preminger et al, eds. Revised ed. Princeton, N. J. : Princeton University Press, 1993. more... less... A premier guide to the genres of poetry in different traditions.
• Lexicon van literaire termen / Dictionnaire des termes litteraires- PN 44.5 .D48x 2005 Humanities Reference edited by Hendrik van Gorp et al. Paris: Champion, 2001.
• Handbook of Literary Rhetoric : A Foundation for Literary Study - PA 181 .L313 1998 Humanities Reference Heinrich Lausberg, ed. Leiden; Boston: Brill, 1998.
• New Critical Idiom (multivolume series) : Genre Titles This series comprises introductions to recent developments in topics of interest to students of literature. Press info button for titles related to genre studies. more... less... Genre / John Frow. London: Routledge, 2006. PN 45.5 F76 2006 Dialogue/ Peter Womack. London: Routledge, 2011. P 95 .45S W63 2011 Elegy / David Kennedy. London: Routledge, 2007. PR 509 .E4 K46 2007 The Gothic / Fred Bottling. London: Routledge, 1996. PR 830 .T3 B68 1996 Pastoral / Terry Gifford. London: Routledge, 1999. PR 149 .P3 G64 1999 Parody / Simon Dentith. London: Routledge, 2000. PN 6149 .P3 D43 2000 Science Fiction / Adam Roberts. London: Routledge, 2000. PZ 4 .A2 R58 2000 Crime Fiction / John Scaggs. London: Routledge, 2005. PS 830 .C74 S28 2005 Comedy / Andrew Stott. London: Routledge, 2005. PN 1922 .S78 2005 Drama/Theatre/Performance/ Simon Shepherd. London: Routledge, 2004. PN 1655 .S49 2004 Dramatic Monologue / Glennis Byron. London: Routledge, 2003. PR 509 .M6 B97 2003 Magical Realism / Maggie Ann Bowers. London: Routledge, 2004. NX 456.5 .M3 B68 2004 Autobiography / Linda R. Anderson. London: Routledge, 2001. [electronic resource: http://site.ebrary.com/lib/byuprovo/Doc?id=5001570] Romance / Barbara Fuchs. London: Routledge, 2004. PN 56 .R6 F83 2004.
• New Critical Idiom (multivolume series) : Rhetoric/Poetics/Exegesis This series contains introductions to topics of interest in literary studies. Press info button for titles related to rhetoric, poetics, and exegesis (reading). more... less... Metre, rhythm, and verse form / Philip Hobsbaum. London: Routledge, 1996. PR 508 .V45 H53 1996 Stylistics / Richard Bradford. London: Routledge, 1997. PN 203 .B68 1997 Metaphor/David Punter. London: Routledge, 2007. PN 228 .M4 P86x 2007 Discourse / Sara Mills. London: Routledge, 1997. P 302 .M55 1997. Also available as an electronic resource: http://site.ebrary.com/lib/byuprovo/Doc?id=10057269 Intertextuality / Graham Allen. London: Routledge, 2000. PN 98 .I58 A45 2000 Difference / Mark Currie. London: Routledge, 2004. P 121 .C87 2004 The Author / Andrew Bennett. London: Routledge, 2005. PN 145 .B429 2005 Performativity / James Loxley. London: Routledge, 2007. P 95.55 .L69 2007 The Sublime / Philip Shaw. London: Routledge, 2006. BH 301 .S7 S53 2006 Narrative / Paul Cobley. London: Routledge, 2001. PN 3383 .N35 C63 2001 Mimesis/ Matthew Potolsky. London: Routledge, 2006. PN 56 .M536 P68 2006
• Companion to Rhetoric and Rhetorical Criticism - PN 187 .C65 2004 edited by Walter Jost and Wendy Olmsted. Oxford: Blackwell, 2004

Websites of interest

• David Chandler's Semiotics for Beginners
• Study of narrative at Georgetown A wiki for the study of narrative, including such topics as mimesis and intertextuality.
• Silva Retoricae

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Here are 9 Poetry Genres Explained With Examples

All of us have studied  poetry  in our school days! Many of us have also tried to write poetry at some point, in our lives. Whether it was to vent out our feelings or perhaps for an academic purpose. Sometimes, even to impress a special someone! Podium in its various blogs have talked about the various benefits of  learning   creative writing . In this article, we will learn about different poetry genres. We will also see a few  examples  of each of these major genres. This will absolutely enhance your basic knowledge of how poetry can be categorized. Nonetheless, it might also motivate you to produce a creation pertaining to one of these genres.

What is poetry?

What are poetry genres, narrative poetry, epic poetry, dramatic poetry, satirical poetry, lyric poetry, elegy poetry, speculative poetry, more about different poetry genres.

Poetry , of course, is a part of literature and is one of the earliest and oldest forms of writing. One can communicate their feelings and evoke emotions through poetry just as other forms of literature and art do. They can even talk about a certain social or political issue. One can also pass commentary on their personal life by using poetry as a necessary tool. It can as well be about the world around them.

Poetry will always be universal because it can be written in any  language . It is also one of the most interesting forms of art because of the various figures of  speech . For instance,  alliteration , onomatopoeia, transferred epithet, personification, pathetic fallacy, synecdoche, metonymy, simile, metaphor, among others. These poetic forms or devices can be incorporated into the poems to make them more artistic.

Along with that, many poets choose to rhyme the lines of their poems. Thus, this lends a certain flow to the poem. This is known as the rhyme scheme of the poem. Poets also use metre which is a very significant feature of poetry. This is called so as it provides the poem with a  rhythm  that adds to the sentiment of the theme and genre.

Also Read:  What is Haiku Poetry?

The word ‘genre’ is actually French and it means a ‘kind of something’ or a ‘sort of something’. The concept originated in Ancient Greece and was brought forth by the philosopher, Plato. He had segregated literature into three different groups – poetry,  drama , and  prose . The easiest way to understand the meaning of genres is by looking at them as the categories of any  mode  of  communication . Whether it is an artwork, or book, films, television series, music, and of course, poems, to name a few. Based on the trends of the day and age, each of these forms is divided into numerous categories. They are then further segregated into thematic and stylistic divisions. This categorization is called the genre. Now, let’s have a look at the nine different poetry genres!

Knowing different poetry genres improves your ability to convey a  message  through writing.

Also Read:  Free Verse Poetry: Know What Is Free-Verse Poetry?

Understand Poetry In An Easier Way!

Narrative  poetry is one of the most common poetic forms. It is a type of poetic form that tells stories and tales through verses. This poetic form is very much similar to a novel. It is quite similar to a short story that has a  plot , character, and setting. Narrative poetry depicts a series of events, including actions and  dialogues . It uses a number of poetic methods such as rhyme, meter, and rhyming scheme. Usually, a narrative poem has a single speaker who is known as the narrator; a narrator is a person who recites the entire story from the beginning to the end.

For example, Edgar Allan Poe’s ‘ The Raven ’ is a narrative poem. This poem presents a grieving man’s mysterious confrontation with a raven and his descent into despair. The grieving man is the narrator of this poem. Another example of narrative poetry is the old English poem ‘Beowulf’. It is the story of the heroic warrior Beowulf who hears about Grendel. It is a destructive monster who destroys the kingdom of King Hrothgar.

Beowulf is able to defeat Grendel but his troubles are not over here. This is because Grendel’s mother wishes to take her revenge. In the end, Beowulf is not only able to defeat Grendel’s mother but also become the King of the Geats. Eventually, he dies in a fight with a dragon. The poem ends in the manner of a tribute to Beowulf for all that he had accomplished during his lifetime.

An epic poetry is a length narrative poem. It highlights the intricate details, features, and journey of its characters from a remote  past . These long poems typically detail extraordinary feats and  adventures  of characters from a distant past. The epic poems have certain special qualities that categorize them in this specific genre. The hero is always going to be a famous legendary figure. Either from mythology or because of his unbelievable heroic accomplishments.

The poem itself spans over several nations throughout the world or might encompass various kingdoms. The characters are extremely  brave  and often perform feats that are beyond human capabilities. Although such texts are lengthy, they are still written in verse and not in prose. Lastly, divine intervention is something that is not only common but expected inclusion in an epic poem.

‘ The Iliad ’ and ‘ The Odyssey ’ by  Homer  are great examples of epic poetry because both give a detailed description of the journey or the events of the Trojan War and about the life of Ulysses. Ulysses was a great king who enjoyed traveling and the poem talks about his journey after the Trojan war. ‘ Mahabharata ’ is also an excellent example of an epic poetry. This poem is written in Sanskrit language. It is a beautifully written poem and to be precise, one of the longest poems.

Dramatic poetry is poetic form that tells a story to its readers and usually has a narrator. The most popular kind of dramatic poetry is a dramatic monologue. Another name for a dramatic monologue is the persona poem. Such type of monologue utilizes the first-person  point of view . These poems have a long speech. The narrator is the only speaker and is addressing an unknown audience or character. Here the narrator appears as if the readers are overhearing the conversation.

For example, ‘ My Last Duchess ’ by Robert Browning is a beautiful dark poem. While reading a poem like this, it feels as if one is unfolding a secret or a story. This, in turn, makes it even more exciting and intriguing. In ‘My Last Duchess’, the duke is describing the portrait of his last duchess. She was his late wife and his journey with the duchess. The unique style of this type of poem allows the readers to ponder their thoughts and understanding and evokes emotions in them. The master of the dramatic monologue is Robert Browning. This is because of his penchant liking for writing in this form.

A dramatic monologue usually includes all or a few of the following elements. A  fiction  speaker and audience, a symbolic setting, Talismanic props, dramatic  gestures , and emphasis on the speaker’s subjectivity. Along with this, a focus on dramatics, problematics of  irony  or non-irony, and involved reader’s role-playing. Browning presents all these ingredients in the most appealing and fascinating platter. ‘My Last Duchess’ is his all- time  masterpiece when it came to dramatic monologues. This poem serves as the perfect example of a dramatic poem.

Satire  is a work of literature that highlights follies and human vices. It also throws light upon stupidity and ridicule. Social dysfunction or obnoxious individuals, or both are the targets of satire. The satirical poem makes fun of someone’s vice, absurdities, foolishness, injustice, abuses, shortcomings, or moral failing. Inspiring or warning the readers is the goal of this kind of poem. The satirical poem is a mockery for the readers to either laugh at or to learn something from it.

An example of satirical poetry is Alexander Pope’s ‘ The Rape of the Lock ’. ‘The Rape of the Lock’ is a rare instance in which a light theme is given an exalted treatment. This is done for satirical purpose. All through the poem, the importance is given to things that are unimportant, insignificant, practically meaningless, and farcical. Broadly, the very conception of writing an epic on the rape of a lock of hair is funny. It bears testimony to the poet’s effort to make the little things great and the great things little. In ‘The Rape of the Lock’ the balance is nicely trimmed between the concealed irony and the assumed gravity . It is the triumph of insignificance, the apotheosis of foppery and folly.

As the name suggests, a lyric poem is short and highly musical in tone. A lyric poem is capable of conveying strong, intense emotions and feelings to the readers. The lyric poets make use of various rhymes, literary devices, and metre to give  song -like touch to the poem. A lyric poem is short and doesn’t necessarily tell a detailed story or journey. Thus, a lyric poem is like a personal expression of emotions and feelings by a single speaker.

A very interesting example is William Wordsworth’s “ The World Is Too Much With Us ”

Also Read:  Poetry Types: 7 different types of poetry with examples

An elegy is one of the poetry genres that resonates with death or loss. The elegy usually comprises themes of grief, sadness, loss, redemption, compassion, and reflection. Traditionally in elegy the verses are in couplets. Although, earlier elegies didn’t follow any set rules and have no set form or style. Hence there was extensive liberty towards the rhyming scheme and metre.

One of the finest examples of such poetry is ‘ Elegy Written in a Country Churchyard ’ by Thomas Gray. The poem is an elegy expressing the emotions of the poet after the death of the poet Richard West in 1742. Another example of elegiac poetry is ‘ Adonais: An Elegy on the death of John Keats ’.  P.B.  Shelley wrote this pastoral elegy in 1821 in remembrance of the Romantic poet, John Keats who passed away the same year succumbing to tuberculosis. Although Shelley and Keats were not great friends, they did share comradeship, and Shelley was impressed with the young poet. Upon finding out about his illness, Shelley even offered to help him recuperate in Italy. Upon Keats’ death, Shelley penned down the elegy ‘Adonais’ and himself passed away within a year of the publication, supposedly with a volume of Keats’ poetry in his pocket.

There are two  types  of verse poems out of which are – the free-verse poems and the other one is the blank verse poems. Though they might appear to be similar in names they are quite different. Free verse poetry is free of rules and regulations; as a result, it lacks a consistent rhyme scheme, metre, or musical structure. Moving on, blank verse poetry follows a much stricter structure with a precise metre. The blank verse follows no rhyme scheme. It is unpreferable to use free verse. Nonetheless, poetry in blank verse is popular.

Poets like  Shakespeare  and Milton favoured Blank verse style. For instance, Shakespeare wrote Sonnet 130 in blank verse whereas Walt Whitman’s wrote ‘ Leaves of Grass ’ in free verse. Another instance of a poem written in free verse is W. H. Auden’s ‘ Musee des Beaux Arts ’. As the poem begins, the speaker, a sophisticated, educated, and urbane man, makes a sweeping generalization of the “Old Masters” and about their representation of suffering.

The speaker makes references to multiple paintings to emphasize his argument that suffering has its place in the ebb and flow of life. It is not special and occurs alongside the most ordinary activities like “eating or opening the window or just walking dully along”. The speaker’s premise in the first stanza was that suffering, unconsciously, goes unnoticed by mankind.

In the second stanza, he changes the direction of this premise and says that suffering is deliberately not noticed by mankind. This tells us that he has now entered into the world of the  painting  and is adding fictitious details to it. Therefore, his description is ekphrastic as well as imaginative. This contrasts with the speaker’s tone in the first stanza. A man engaged in philosophical musing is what it is about.

Fable is another common poetry genres. A Fable is poetic story written in verse or prose with a moral or didactic at the end. Traditionally fables make use of  animals  instead of humans as characters or leads to illustrate and explain a valuable lesson. ‘ A Grain of Salt ’ by Audrey Heller is a classic example of poetry from this genre.

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Speculative poetry depicts or illustrates themes of  science  fiction and mythology . In layman’s term speculative means to be unsure or something one is uncertain about. Hence, something unknown inspires the speculative poems. Science fiction poetry or fantasy poetry with a scientific touch is another name for Speculative Poetry. Speculative poetry is judged and defined based on its theme or subject in focus which makes it different from the other types of poetry.

Christina Rossetti’s ‘ Goblin Market ’ is an interesting example of speculative poetry. This poem draws our attention to the themes of temptation and redemption. ‘Goblin Market’ is a story of two sisters visiting Goblin market selling goblin  fruits .

Q. What is the best genre of poetry?

A. There is no such genre of poetry that can be termed as the best. This is so because poetry, like any other works of art, is subjective. Which means that each individual will perceive it differently. Therefore, what is best for one individual may not be the best for another. One should choose the best genre of poetry based on their personal preferences.

Q. How to start writing poetry?

A. There are many ways to induce the creative writing process, however, it is critical to understand that not everyone writes at the same speed. For some, it may just an hour to finish writing a poem and for others, it may take a month. Along with that, seeking inspiration from one’s surroundings, personal life and experiences, social situations, as well as  nature , become the perfect ingredients for poetry.

Q. What are some examples of Elegy?

A. Some examples of Elegy are ‘O Captain! My Captain!’ by Walt Whitman which he wrote in memory of President Abraham Lincoln. Alfred Lord Tennyson’s ‘In Memoriam A.H.H.’ is another example of Elegy written in remembrance of Tennyson’s close friend Arthur Henry Hallam.

Q. What are figures of speech?

A. Poets generally use figures of speech. They are a non-literal expression of things. It adds to the poetic and aesthetic qualities of the work of art and also showcases the vast knowledge and understanding of the poet when it comes to the technicalities of writing poems or other forms of literature. Moreover, it makes the poetic piece sound more beautiful. Some examples of figures of speech are hyperbole, alliteration, simile, metaphor, personification, pathetic fallacy, oxymoron, transferred epithet, onomatopoeia, metonymy, paradox, antithesis, assonance, repetition, apostrophe, pun, and synecdoche.

Q. What is hyperbole?

A. Hyperbole is a  figure of speech  or poetic device used in literature to convey something in an exaggerated manner. This lends aesthetic value to a poem which transcends reality with the help of the figure of speech. Examples of hyperbole are present in poem ‘Daffodils’ by William Wordsworth when he writes about the number of daffodils present in the field and declares that he can see ten thousand in each glance which is realistically impossible. Still it helps the reader to comprehend the sheer number of the golden daffodils in the field.

‘Ten thousand saw I at a glance,’

Q. What are two features of epic poetry?

A. The first feature of epic poetry is the inclusion of Gods and Goddesses or at the very least semi-Gods such as seen in Homer’s character Achilles in ‘The Iliad’. The epic poetry always begins with an invocation to the nine Muses.

Q. What is a sonnet?

A. Originally begun in Italy, a sonnet is a form of poetry. Although  William Shakespeare  modified the sonnet in England, its pioneer was actually Petrarch. In a sonnet, an iambic pentameter is used. A sonnet contains only fourteen lines.

Q. What happens when a poet does not name his or her poem?

A. When a poet does not name his or her poem  then  the poem is usually known by the first line of the poem itself. For instance, Shakespeare’s sonnet ‘Let Me Not to the Marriage of True Minds’ does not have a name but first line of the sonnet became its name. On the other hand, if the poems belong to a certain sequence or collection then the poems could also be given a certain numerical figure. To consider the same example, ‘Let Me Not to the Marriage of True Minds’, the sonnet belongs to a large sonnet sequence of a hundred and fifty-four sonnets and so, this particular sonnet is also called ‘Sonnet 116’.

Q. What is ekphrastic poetry?

A. The word ‘ekphrasis’ is actually Greek and it means ‘speaking out’. It is a verbal or written representation of a graphic presentation. This sort of poetry generally describes visual art in verbal terms. An example of such poetry is John Keats’ ‘An Ode to a Grecian Urn’.

In conclusion, regardless of whether one is a student, a poetry enthusiast, or just someone trying to learn something new, this lesson will definitely help one improve their basic understanding of the nine different  genres of poetry . This article has also explored the meaning of poetry in great detail and the salient features attached to it which make it stand out from other basic poems. Gradually, it becomes easy to categorize your own poetry with the help of these genres. Take out your pens & papers because now you are ready to begin with your very own poem which could belong to any of these beautiful and interesting genres!

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