anaphora the repetition of a word or phrase, usually at the beginning of a line.
alliteration the repetition of sounds in a sequence of words.
allegory narrative with two levels of meaning, one stated and one unstated.
apostrophe direct address to an absent or otherwise unresponsive entity (someone or something dead, imaginary, abstract, or inanimate).
assonance the repetition of vowel-sounds.
beat a stressed (or accented) syllable.
binary dual, twofold, characterized by two parts.
blank verse unrhymed iambic pentameter.
caesura an audible pause internal to a line, usually in the middle. (An audible pause at the end of a line is called an end-stop.) The French alexandrine, Anglo-Saxon alliterative meter, and Latin dactylic hexameter are all verse forms that call for a caesura.
chiasmus from the Greek letter Chi ( Χ ), a "crossed" rhetorical parallel. That is, the parallel form a:b::a:b changes to a:b::b:a to become a chiasmus.
climax the high point; the moment of greatest tension or intensity. The climax can occur at any point in a poem, and can register on different levels, e.g. narrative, rhetorical, or formal.
consonance the repetition of consonant-sounds.
couplet two lines of verse, usually rhymed. Heroic couplet: a rhymed iambic pentameter couplet.
diction word choice, specifically the "class" or "kind" of words chosen.
elegy since the 17th century, usually denotes a reflective poem that laments the loss of something or someone.
end-stopped line a line that ends with a punctuation mark and whose meaning is complete.
enjambed line a "run-on" line that carries over into the next to complete its meaning.
foot the basic unit of accentual-syllabic and quantitative meter, usually combining a stress with one or more unstressed syllables.
free verse poetry in which the rhythm does not repeat regularly.
imagery the visual (or other sensory) pictures used to render a description more vivid and immediate.
meter a regularly repeating rhythm, divided for convenience into feet.
metonomy a figure of speech in which something is represented by another thing that is commonly and often physically associated with it, e.g. "White House" for "the President."
ode a genre of lyric, an ode tends to be a long, serious meditation on an elevated subject.
prosody the study of versification, i.e. the form—meter, rhyme, rhythm, stanzaic form, sound patterns—into which poets put language to make it verse rather than something else.
refrain a phrase or line recurring at intervals. The definition does not require that a refrain include the entire line, nor that it recur at regular intervals, though refrains often are and do.
rhythm the patterns of stresses, unstressed syllables, and pauses in language. Regularly repeating rhythm is called meter.
scansion the identification and analysis of poetic rhythm and meter. To "scan" a line of poetry is to mark its stressed and unstressed syllables.
simile a figure of speech that compares two distinct things by using a connective word such as "like" or "as."
speaker the "I" of a poem, equivalent to the "narrator" of a prose text. In lyric poetry, the speaker is often an authorial persona.
speech act the manner of expression (as opposed to the content). Examples of speech acts include: question, promise, plea, declaration, and command.
stanza a “paragraph” of a poem: a group of lines separated by extra white space from other groups of lines.
symbol an image that stands for something larger and more complex, often something abstract, such as an idea or a set of attitudes.
symbolism the serious and relatively sustained use of symbols to represent or suggest other things or ideas. (Distinct from allegory in that symbolism does not depend on narrative.)
synecdoche a figure of speech in which a part of something is used to represent the whole, e.g. “wheels” for “car.”
tone the speaker’s or author’s attitude toward the reader, addressee, or subject matter. The tone of a poem immediately impresses itself upon the reader, yet it can be quite difficult to describe and analyze.
topos a traditional theme or motif (e.g. the topos of modesty).
trope a figure of speech, such as a metaphor (trope is often used, incorrectly, to mean topos)
valediction an act or utterance of farewell.
If these writing notes helped with your poem/story, please tag me. Or leave a link in the replies. I'd love to read them!
More: Word Lists
A mood for real 👍
I truly have no idea
assassination classroom season 2 dvd covers 1-8 (+ extra valentine's ova), from the official website
Learn the alphabet with Koro Sensei
I hope this hasn’t been done yet
Finally wanted to dump these here, after watching Assassin Classroom in full like.. TWICE!! I've.. kinda made a shitton of art of some oc's I've shoved into the show!! sadly im well aware most are very out of context !!!
(SPOILERS BELOW!! EXPLANATION OF CHARACTERSS!!)
Wraith:
I thought of a home ec teacher as I thought it was weird that throughout the show a lot of their skills, especially the assassin ones are contributed to home ec. However during the show we don't see any of it??, and personally since the impact of this subject has so much of one on the kids that have several moments where it's brought up, I feel like the kids should have a teacher/ different teacher for the subject (much like Karasuma+ Irena!!); as while it's not a core subject exactly (At least in Koro's eyes)
I would say but it's a big enough one to where they could have an assassin come in to try to kill Korosensei and unique ways, as koro strives for creativity a lot, and widely reflects on the class that this is the reason the others fail alot. As well as this, in terms of teaching, welding random objects as weapons is relatively untouched, despite it being a powerful skill to a assassin in a moment of danger, as well as several adults in the show using this tactic.
I also think the kids deserve a (relatively) healthy and stable adult to help them plan out their Island scheme. It'd be fun, as well as this terasaka and his gang (who are mainly focused in this category) to get along with someone and possibly get more screentime, I think the kids deserve to show their more creative side, especially since they did this in a huge and largely complicated plan on the island.), in which several characters with very important and cool talents get overlooked.
Mike:
I thought the idea of a homeless character would be interesting, this is the end class, I think an incident such as either becoming homeless or losing both of your parents would be an extreme enough thing that would have severe impact on your grades. I also think it'd be. A fun totally not mean comparison for the reaper and koro and Mike and koro
Ren:
Mike's friend, he also is homeless along him. I think that, instead of a lot of the tragic reasons that a lot of characters are in there, he would have more of a different reason, I would like to think he's been in a child Care system since birth (and eventually he ran away from, when his only friend became homeless also), which is kind of grown him to become null to a lot of things, so the boys struggles to apply himself, and truthfully find a reason to care about a lot of things.
I think his arc, at least remotely over the season would be going from someone kind of like karma, who's frankly violent and uncaring unless they're in his circle, to genuinely learning how to apply himself and move himself forward. I also think Karma, as well as Itona deserve to have more friends personally, as honestly, even when they have their arcs they're kind of standoffish..
Also truthfully a lot of characters really don't have that much behavioral issues, except for mostly arc characters, I think in a End class koro deserves to help more kids as a treat
ill probably do some more character interactions soon :]]!!! please enjoy
BIBLIOMANIA
Written by Orval (Oobaru) and illustrated by Macchiro
koro sensei from assassination classroom? thank you!
Korosensei from Assassination Classroom
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