Poetry (from the Latin poeta, a poet) is a form of literary art in which language is used for its aesthetic

and evocative qualities in addition to, or in lieu of, its apparent meaning. Poetry may be written independently, as discrete poems, or may occur in conjunction with other arts, as in poetic drama, hymns, lyrics, or prose poetry. It is published in dedicated magazines (the longest established being Poetry and Oxford Poetry), individual collections and wider anthologies. Poetry and discussions of it have a long history. Early attempts to define poetry, such as Aristotle's Poetics, focused on the uses of speech in rhetoric, drama, song, and comedy.[1] Later attempts concentrated on features such as repetition, verse form and rhyme, and emphasized the aesthetics which distinguish poetry from more objectively informative, prosaic forms of writing, such as manifestos, biographies, essays, and novels .[2] From the mid-20th century, poetry has sometimes been more loosely defined as a fundamental creative act using language.[3] Poetry often uses particular forms and conventions to suggest alternative meanings in the words, or to evoke emotional or sensual responses. Devices such as assonance, alliteration, onomatopoeia, and rhythm are sometimes used to achieve musical or incantatory effects. The use of ambiguity, symbolism, irony, and other stylistic elements of poetic diction often leaves a poem open to multiple interpretations. Similarly, metaphor, simile, and metonymy[4] create a resonance between otherwise disparate imagesa layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between individual verses, in their patterns of rhyme or rhythm. Some forms of poetry are specific to particular cultures and genres, responding to the characteristics of the language in which the poet writes. While readers accustomed to identifying poetry with Dante, Goethe, Mickiewicz and Rumi may think of it as being written in lines based upon rhyme and regular meter, there are traditions, such as Biblical poetry, that use other approaches to achieve rhythm and euphony. Much of modern British and American poetry is to some extent a critique of poetic tradition,[5] playing with and testing (among other things) the principle of euphony itself, to the extent that sometimes it deliberately does not rhyme or keep to set rhythms at all.[6][7][8] In today's globalized world poets often borrow styles, techniques and forms from diverse cultures and languages. Narrative poetry is poetry that has a plot. The poems that make up this genre may be short or long, and the story it relates to may be simple or complex. It is usually nondramatic, with objective regular scheme and meter.[1] Narrative poems include epics, ballads, idylls and lays. Some narrative poetry takes the form of a novel in verse. An example of this is The Ring and the Book by Robert Browning. In terms of narrative poetry, a romance is a narrative poem that tells a story of chivalry. Examples include the Romance of the Rose or Tennyson's Idylls of the King. Although these examples use medieval and Arthurian materials, romances may also tell stories from classical mythology. Shorter narrative poems are often similar in style to the short story. Sometimes these short narratives are collected into interrelated groups, as with Chaucer's Canterbury Tales. Some literatures contain prose narratives that includes poems and poetic interludes; much Old Irish poetry is contained within prose narratives, and the Old Norse sagas include both incidental poetry and the biographies of poets. An example is "The Cremation of Sam McGee" by Robert Service. The Ballad Of Charlotte Dymond" by Charles Causley " The Book of the Duchess by Geoffrey Chaucer The Canterbury Tales by Geoffrey Chaucer The Charge of the Light Brigade by Alfred, Lord Tennyson Crank by Ellen Hopkins

Lyric poetry a form of poetry with rhyming schemes that express personal and emotional feelings. In the ancient world, lyric poems meant played to the lyre. Lyric poems do not have to rhyme, and today do not need to be set to music or a beat.[1] Aristotle, in Poetics 1447a, mentions lyric poetry (kitharistike played to the cithara) along with drama, epic poetry, dancing, painting and other forms of mimesis. The lyric poem, dating from the Romantic era, does have some thematic antecedents in ancient Greek and Roman verse, but the ancient definition was based on metrical criteria, and in archaic and classical Greek culture presupposed live performance accompanied by a stringed instrument.

Drama is the specific mode of fiction represented in performance.[1] The term comes from a Greek word meaning "action" (Classical Greek: , drama), which is derived from "to do"

(Classical Greek: , drao). The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception.[2] The early modern tragedy Hamlet (1601) by Shakespeare and the classical Athenian tragedy Oedipus the King (c. 429 BCE) by Sophocles are among the supreme masterpieces of the art of drama.[3] The two masks associated with drama represent the traditional generic division between comedy and tragedy. They are symbols of the ancient Greek Muses, Thalia and Melpomene. Thalia was the Muse of comedy (the laughing face), while Melpomene was the Muse of tragedy (the weeping face). Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BCE)the earliest work of dramatic theory.[4] The use of "drama" in the narrow sense to designate a specific type of play dates from the 19th century. Drama in this sense refers to a play that is neither a comedy nor a tragedyfor example, Zola's Thrse Raquin (1873) or Chekhov's Ivanov (1887). It is this narrow sense that the film and television industry and film studies adopted to describe "drama" as a genre within their respective media.[5] "Radio drama" has been used in both sensesoriginally transmitted in a live performance, it has also been used to describe the more high-brow and serious end of the dramatic output of radio.[6] Drama is often combined with music and dance: the drama in opera is sung throughout; musicals include spoken dialogue and songs; and some forms of drama have regular musical accompaniment (melodrama and Japanese N, for example).[7] In certain periods of history (the ancient Roman and modern Romantic) dramas have been written to be read rather than performed.[8] In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously before an audience.[9]