Poetry has a magical way of sparking creativity in young minds and introducing children to various forms of poetry opens up a world of imagination and expression. From a limerick’s rhythmic bounce to a haiku’s structured beauty, each poetic form offers unique ways for students to play with language and express their thoughts. These forms make writing fun and help students develop critical thinking and language skills.
By combining these poetry lessons with the Pattern Based Writing: Quick & Easy Essay program, you’re giving your students a powerful toolkit for becoming both effective and imaginative writers. Whether crafting a metaphor-laden free verse or a cleverly constructed diamante poem, students will learn to express their ideas with precision and flair. The result? Young authors who are not only skilled but also deeply passionate about the art of writing.
Today, we will explore the following fourteen poetic forms and devices that will ignite your students’ creativity:
1. Diamante Poems, 2. Rhyme Schemes, 3. Rhymes and Word Families, 4. Acrostic Poems, 5. Haiku, 6. Limericks, 7. Clerihew, 8. Couplets, Triplets, and Quadruplets, 9. Quatrains, 10. Tanka, 11. Free Verse, 12. Simile, 13. Metaphor, and 14. Alliteration.
Diamante Poems
Diamante poems, named after the Italian word for “diamond,” are shaped like a diamond and consist of seven lines that follow a specific pattern of nouns, adjectives, and verbs. American poet Iris Tiedt introduced them in the 1960s as a creative way to teach grammar and contrast ideas. One exciting aspect of diamante poems is that they can either describe one subject or contrast two opposite subjects, making them a versatile tool for teaching young poets to explore language and structure in a visually engaging format.
Four Keys to the Diamante Poem:
- Has seven lines formed in the shape of a diamond.
- You can base the poem around either synonyms or antonyms. What’s similar or what’s the complete opposite?
- Using antonyms seems to be the more popular version. “Two sides of the same coin” is a fun and interesting concept to explore. It’s the “ying and the yang” that makes it so much fun!
- There is a turning point midway through the poem where the focus shifts from one subject to the other subject.
Outline:
- Line 1: One noun (Subject 1)
- Line 2: Two adjectives describing the Subject 1 noun
- Line 3: Three verbs (ending in -ing) related to the noun in Line 1
- Line 4: Four nouns (the first two related to the noun in Line 1, and the last two related to the noun in Line 7)
- Line 5: Three verbs (ending in -ing) related to the noun in Line 7
- Line 6: Two adjectives describing the noun in Line 7
- Line 7: One noun (Subject 2: usually contrasting or related to the noun in Line 1)
Example 1:
Puppies
Funny, playful
Ripping, running, licking
Ball, leash, bell, mouse
Stalking, sleeping, watching
Silly, cuddly
Kittens
Example 2:
School
Busy, fun
Learning, growing, exploring
Classrooms, friends, books, desks
Studying, playing, laughing
Valuable, necessary
Education
Rhyme Schemes
Understanding and utilizing rhyme schemes is essential for teachers to harness the power of rhymes in poetry. A rhyme scheme is a blueprint that outlines the pattern of rhymes in a poem, often represented by letters such as “A” and “B” to indicate which lines rhyme. By learning these patterns, students will create more structured and harmonious verses, making their poetry more impactful and enjoyable.
For example, the first and third lines rhyme with each other in an ABAB rhyme scheme, as do the second and fourth.
Examples of rhyme schemes:
- AABB – hat, cat, top, mop
- ABAB – hat, top, cat, mop
- ABBA – hat, top, mop, cat
- AABA – hat, cat, top, sat
Rhymes and Word Families
Rhymes have long been a cornerstone of playful and engaging language learning, offering a rhythmic way to explore word patterns and phonics. We find these patterns in many nursery rhymes rooted in centuries of oral storytelling and poetic expression. Word families, such as those ending in -ack, -ail, or -ing, provide a fantastic foundation for discovering rhymes and enhancing vocabulary.
–ack, -ail, ake, -all, -ame, -ank, -ar, -ash, -ate, -ay, -eep, -ell, -ick, -ide, -ight, -ile, -ing, -ink, -it, -oat, -ock, -oil, -oke, -ook, -oom, -ood, -ool, -ore, -ought, -ouse, -ow, -ump, -unk!!
One fun and educational way to delve into rhymes is by experimenting with nursery rhymes, which are already brimming with word families.
Hickory Dickory Dock (Word families: -ock, -ick)
Hickory Dickory Dock,
The mouse ran up the clock.
The clock struck one,
The mouse ran down,
Hickory Dickory Dock.
Jack and Jill (Word families: -ill, -own)
Jack and Jill went up the hill
To fetch a pail of water.
Jack fell down and broke his crown,
And Jill came tumbling after.
Twinkle, Twinkle, Little Star (Word families: -ar, -igh)
Twinkle, twinkle, little star,
How I wonder what you are!
Up above the world so high,
Like a diamond in the sky.
To experiment with these, you can transform classic lines like “Hickory, Dickory Dock” into playful variations by swapping out word families, turning them into creative exercises that help students grasp the concept of rhyming while having fun. This playful approach makes learning about rhymes enjoyable and reinforces the importance of word families in building reading and writing skills.
Fun Idea: Choose a nursery rhyme and try substituting different word families.
Example:
- Hickery, dickery doc, the mouse ran up the clock.
Becomes
- Hockery, dockery, ick, the mouse became quite sick.
Acrostic Poems
Acrostic poems are a captivating and versatile form of poetry where the first letters of each line spell out a word or message when read vertically. This ancient form of poetry dates back to ancient Greece and has been used throughout history in various cultures to convey hidden messages or thematic content. The word “acrostic” comes from the Greek words “akros” (meaning “edge”) and “stichos” (meaning “line”), reflecting the poem’s structure of lining up letters to create a meaningful word or phrase.
Acrostic poems are extraordinarily adaptable. We can use them to spell out names, concepts, or emotions, making them an excellent tool for creative expression and educational exercises.
Two Keys to the Acrostic Poem:
- The letters in the title of your poem become the first letter in each line of your poem.
- If the title of your poem is “HAT” your poem will be three lines and if your title is “ELEPHANT” your poem will be eight lines.
Simple Example: HAT
Held on the tip-top of your head,
A thing of warmth or beauty,
To be worn, warm, and admired!
Imagine crafting an acrostic poem for the word “SPARKLE” to celebrate the joy of a sunny day. Each line will start with a letter from the word “SPARKLE,” creating a vibrant and visually stimulating poem that spells out the theme of brightness and energy. For example:
Sunshine warms the earth so bright,
Painting skies in hues of light,
Admiring the day’s clear blue,
Rays of gold peek through the view,
Kites soar high in playful dance,
Laughter fills the air with chance,
Every moment sparkles anew.
This approach not only makes writing fun but also helps students see how creative expression can be both structured and imaginative.
Cinquains
Cinquains use five lines with a specific syllable or word count pattern. Originating from the French word “cinq,” meaning “five,” the cinquain’s format can vary, but it often follows a pattern of syllables or stresses per line, such as 2-4-6-8-2 syllables. This form was popularized in the early 20th century by American poet Adelaide Crapsey (1878-1914), who adapted it from traditional Japanese forms and developed the modern cinquain style.
We can write cinquains using different patterns, such as the classic syllabic form or a more freeform word-count version. This flexibility allows poets to explore various themes, ideas, and emotions within a compact and concise structure.
Three Keys to the Cinquain:
- Five lines
- Unrhymed
- Contains either a word count or syllable count. Modern versions use the word count.
Outline:
- Line 1: One noun that is both the subject and title.
- Line 2: Two adjectives describing the Line 1 noun.
- Line 3: Three verbs with –ing that tell an action related to the Line 1 noun.
- Line 4: Four words in a complete sentence that describe a feeling about the Line 1 noun.
- Line 5: One word that means the same thing as the Line 1 noun.
Example: Beach
Beach
Sandy, salty
Swimming, playing, sunning
I love the beach.
Seashore
“November” by Adelaide Crapsey
November
Gloomy, gray
Falling, fading, drifting
Leaves cover the ground
Winter
“Child” by Adelaide Crapsey
Child
Playful, small
Laughing, jumping, running
Joy in every step
Happy
Haiku
Haikus are a traditional form of Japanese poetry that attempts to capture the essence of a moment in three lines, following a syllable pattern of 5-7-5. Haikus originated in the 17th century and evolved from the opening stanza of a collaborative poem called a renga. The most famous haiku poet, Matsuo Bashō (1644-1694), raised this concise form into an art, using it to express deep observations about nature and the human experience.
Traditionally, haikus focus on nature. The simplicity of the haiku makes it easy for poets of all ages to understand and appreciate. Yet, its depth and precision encourage poets to distill their thoughts into a single, impactful moment. Haikus are celebrated and taught worldwide because of their elegance and simple ability to inspire mindfulness and reflection.
Four Keys to the Haiku:
- Three lines
- No rhyme.
- Nature based
- Count the syllables!
Outline:
- Line 1 – 5 Syllables
- Line 2- 7 Syllables
- Line 3 – 5 Syllables
My Example:
Cold arctic winds blow
Around majestic glaciers
Now melting, soon lost
The Falling Flower by Paul Muldoon
The falling flower
I saw drift back to the branch
Was a butterfly.
Spring Awakening by Richard Wright
I am nobody:
A red sinking autumn sun
Took my name away.
The Morning Glory by Allen Ginsberg
The morning glory
Also turns to the sun
May we do the same.
Limerick
Limericks are a playful and often humorous form of poetry known for their distinctive rhythm and rhyme scheme. Limericks originated in the 18th century and gained popularity in English literature through the works of Edward Lear. Lear is often credited with bringing this lively poetic form to widespread attention. A limerick consists of five lines, with a rhyme scheme of AABBA, where the first, second, and fifth lines typically have three beats, and the third and fourth lines have two beats.
The limerick is often associated with lighthearted, whimsical or nonsensical content, making them a favorite in children’s literature and humorous verse. The name “limerick” likely came from the Irish city of Limerick, although the exact connection remains unclear.
Four Keys to the Limerick:
- Contains five lines
- It’s a joke, a rhyme, a funny poem all wrapped up in one!
- Contains one couplet and one triplet. (Line 1, 2 and 5 rhyme. Lines 3, 4 rhyme.)
- Often contains exaggeration, play on words, and just plain silliness.
There Was an Old Man with a Beard by Edward Lear (1812-1888)
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!’
There Was an Old Man in a Tree by Edward Lear (1812-1888)
There was an Old Man in a tree,
Who was horribly bored by a bee;
When they said, “Does it buzz?”
He replied, “Yes, it does!
It’s a regular brute of a bee!”
There was a Young Man from Peru by Anonymous
There was a young man from Peru,
Who dreamed he was eating his shoe;
He awoke with a fright
In the middle of the night
To find that his dream had come true.
Clerihew
A clerihew is another whimsical and often humorous form of poetry that consists of four lines with a simple AABB rhyme scheme. British writer Edmund Clerihew Bentley invented the form in the early 20th century. Clerihews typically focus on famous people, providing a light-hearted and sometimes absurd twist on their lives or characteristics.
Unlike more formal poetic structures, clerihews are characterized by freedom in meter and rhyme, allowing for a playful and inventive style. They often feature a quirky or satirical tone, making them a fun and engaging way to explore people’s lives while showcasing the poet’s creativity.
Four Keys to the Clerihew:
- Four lines
- Lines 1 and 2 rhyme and lines 3 and 4 rhyme. (AABB)
- Line 1 contains the name of a character.
- Light, funny, and even silly.
My Example
Robert Wise
The horse he road was a big surprise.
It is tall and big, and I don’t know how
But it seems the horse he rides is really a cow.
Sir Humphry Davy by Edmund Clerihew Bentley
Sir Humphry Davy
Abominated gravy.
He lived in the odium
Of having discovered sodium.
Sir Christopher Wren by Edmund Clerihew Bentley
Sir Christopher Wren
Said, “I am going to dine with some men.
If anyone calls
Say I am designing St Paul’s.
John Stuart Mill by Edmund Clerihew Bentley
John Stuart Mill,
By a mighty effort of will,
Overcame his natural bonhomie
And wrote Principles of Political Economy.
Couplets, Triplets (Tercets), and Quadruplets (Quatrains)
Couplets, triplets, and quadruplets are poetic forms that refer to stanzas composed of two, three, or four lines, respectively. These forms are essential building blocks in poetry, each offering a unique way to structure thoughts and ideas.
Couplets consist of two lines that typically rhyme and have the same meter. They have been used throughout literary history to convey concise, impactful statements or to conclude a poem. Couplets can be traced back to classical poetry, including the works of Chaucer and Shakespeare, who often used them in their sonnets and plays.
Triplets, or tercets, are three-line stanzas with various rhyme schemes, such as AAA or ABA. Notable examples of triplets include Dante’s use of the terza rima in “The Divine Comedy,” where the interlocking rhyme scheme creates a complex and engaging structure.
Quadruplets, or quatrains, are four-line stanzas with various rhyme schemes like ABAB, AABB, or ABBA. Quatrains are versatile and commonly used in various poetic forms, including sonnets and ballads. They balance brevity and depth, allowing poets to develop their ideas in a structured yet flexible format.
These forms have in common their use of rhyme and rhythm to create a coherent and aesthetically pleasing structure. They each provide a framework for poets to express their thoughts, with couplets being the simplest and quatrains offering the most room for elaboration.
Eight Keys to Couplets, Triplets and Quadruplets:
- Can be an entire poem in itself or just one part of a larger poem.
- Rules and complexity seem to vary on couplets, triplets and quadruplets based on how simple or complex the teacher wants to make it for their students.
- Each line rhymes, most of the time.
- Each line contains the same or a similar meter.
- Ideally each line will have the same number of syllables.
- Couplet: Two lines that rhyme and have the same or similar meter.
- Triplet: Three lines that rhyme and have the same or similar meter.
- Quadruplet: Four lines that rhyme and have the same or similar meter.
Couplet Example: Shakespeare’s Ending Couplet from Sonnet 18
So long as men can breathe or eyes can see,
So long lives this and this gives life to thee.
Couplet Example: Shakespeare’s Macbeth
Double, double, toil and trouble;
Fire burn and cauldron bubble.
Triplet From “Acquainted with the Night” by Robert Frost
I have been one acquainted with the night.
I have walked out in rain—and back in rain.
I have outwalked the furthest city light.
Triplet From “Ode to the West Wind” by Percy Bysshe Shelley
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,
Quatrains (Quadruplets)
Quatrains are a classic poetic form consisting of four-line stanzas, often with a set rhyme scheme such as ABAB, AABB, or ABBA. This form has been a staple in poetry for centuries, with roots tracing back to early European literature. The quatrain’s simplicity allows for a wide range of poetic expression, from lyrical to narrative to reflective and descriptive.
Four Keys to the Quatrain:
- Four lines
- There are many different rhyming patterns that can be considered correct. (Alternating, Enveloping…)
- Many follow these rhyme schemes (AABB, ABAB, ABBA, ABCB, AABA)
- It is great (but not absolutely necessary) if you can make the rhyming lines have the same number of syllables!
Quatrain: Jack and Jill Nursery Rhyme
Jack and Jill went up the hill
To fetch a pail of water;
Jack fell down and broke his crown,
And Jill came tumbling after.
From “The Tyger” by William Blake (1757-1827)
Tyger! Tyger! burning bright
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry?
From “The Swing” by Robert Louis Stevenson (1850-1894)
How do you like to go up in a swing,
Up in the air so blue?
Oh, I do think it the pleasantest thing
Ever a child can do!
From “The Caterpillar” by Christina Rossetti (1830-1894)
Brown and furry
Caterpillar in a hurry,
Take your walk
To the shady leaf or stalk.
Quatrains are a key component of the Shakespearean sonnet, where each of the three quatrains builds upon the previous one before concluding with a final couplet. Whether in a classic sonnet or a modern poem, quatrains continue to be celebrated and popular. Have you heard this one?
William Shakespeare (c. 1564-1616): Sonnet 18 (Note: Shakespeare uses three quatrains and concludes with a final couplet that captures the central idea.)
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 dimmed;
And every fair from fair sometime declines,
By chance or nature’s changing course untrimmed;
But thy eternal summer shall not fade
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wander’st in his shade,
When in eternal lines to time thou growest:
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.
Tanka
Tanka is a traditional form of Japanese poetry that dates back over 1,300 years, originating in the 7th century during the Nara period. “Tanka” means “short poem” and consists of five lines with a syllable pattern of 5-7-5-7-7. Unlike haiku, which often focuses on nature and a single moment, tanka allows for more personal expression and emotional depth, frequently exploring themes of love, longing, and the beauty of the natural world.
Tanka was originally part of a larger poetic tradition called waka, which includes various forms of classical Japanese poetry, including Katauta, Chōka, and Sedōka.
Tanka is the most common form of waka. It became prevalent in the imperial courts, where it was used for exchanging messages and expressing feelings concisely yet elegantly. Over time, tanka has continued to influence Japanese literature. It has even gained appreciation in the Western world for its lyrical beauty and ability to convey complex emotions in a brief, structured form.
Four Keys to the Tanka:
- Five lines.
- Each line has a specific syllable count. (5-7-5-7-7)
- Does not rhyme
- Traditional themes are nature, seasons, friendship, and love
Outline:
- Line 1: 5 Syllables
- Line 2: 7 Syllables
- Line 3: 5 Syllables
- Line 4: 7 Syllables
- Line 5: 7 Syllables
My Example:
Happy days are here
Good weather and my good friends
Spending time well spent
Days are long and time runs fast.
Grateful in life, day and night.
Example by By Ki no Tsurayuki (872–945)
The night is so still,
Even the sound of my tears
Has vanished in air.
My longing for you echoes
Only in the silent moon.
Example by Ono no Komachi (825-900)
In this world of ours,
where life will fade like the dew
on a morning’s breeze,
I think of the body’s shape
and how it will vanish too.
Example by Izumi Shikibu (976–1030)
Watching the moon,
at dawn, the white haze of spring,
I dream of you.
But dreams are fleeting things,
and love is fleeting, too.
Free Verse
Free verse is an open form of poetry that breaks away from traditional rules of meter and rhyme, allowing poets to express themselves without the constraints of fixed patterns. Free verse originated in the late 19th and early 20th centuries and became popular through the works of poets like Walt Whitman, who used it to capture the natural rhythms of speech and the qualities of American life. Unlike structured forms of poetry, free verse relies on the flow of ideas, the natural or irregular cadence of language, and imagery to convey meaning and emotion.
Free verse is highly flexible and can even resemble prose. It can vary in line length, rhythm, and structure, making it a many-sided tool for poets to explore complex themes and emotions. Despite its lack of formal constraints, free verse requires careful attention to word choice, tone, and pacing. Free verse allows poets to craft mighty works that resonate with readers on a deep, personal level.
Three Keys to Free Verse:
- No set pattern or structure.
- Doesn’t rhyme or have a specific rhythm. However, it is acceptable if there is some rhyme or some rhythm.
- Often used to express deep thoughts or emotions.
My Example
The wily winds blew down barren landscapes.
Free yet contained by natures forces.
Caught in the middle,
A pioneer,
Heading west, west, west.
Fog by Carl Sandburg (1878-1967)
The fog comes
on little cat feet.
It sits looking
over harbor and city
on silent haunches
and then moves on.
Song of Myself by Walt Whitman (1819-1892)
I celebrate myself, and sing myself,
And what I assume you shall assume,
For every atom belonging to me as good belongs to you.
I loafe and invite my soul,
I lean and loafe at my ease observing a spear of summer grass.
Eletelephony by Laura E. Richards (1850-1943)
Once there was an elephant,
Who tried to use the telephant—
No! no! I mean an elephone
Who tried to use the telephone—
(Dear me! I am not certain quite
That even now I’ve got it right.)
However it was, he got his trunk
Entangled in the telephunk;
The more he tried to get it free,
The louder buzzed the telephee—
(I fear I’d better drop the song
Of elephop and telephong!)
Simile
Similes are figures of speech that compare two different things using the words “like” or “as” to highlight similarities between them. Writers and speakers have used this literary device for thousands of years, with roots in ancient literature. Homer used similes in the Iliad and Odyssey to create vivid imagery and bring scenes to life. Similes make abstract ideas more concrete and relatable, helping readers and listeners visualize concepts by linking them to the familiar.
Similes can evoke strong feelings or create humor by comparing something unknown to something known. For example, the phrase “as busy as a bee” instantly conveys the idea of being very active and industrious. Similes are widely used in both poetry and everyday language, making them an essential and powerful tool for writers and speakers of all ages.
Three Keys to Similes:
- Compares things that are unalike.
- Uses the words “like, as”
- Have some fun and use “as if” and “as though”
Five Familiar Similes
- As light as a feather
- As cold as ice
- As quiet as a mouse
- As strong as an ox
- As quick as lightning
Two Similes from Homer’s The Odyssey (c. 700 BC)
- She stood by Odysseus, like a lion of the wilderness, patrolling his den after hunting for meat.
- Like a musician stretching a string, a very well-bent string on a new peg, so without any effort Odysseus strung his mighty bow.
From The Rime of the Ancient Mariner by Samuel Taylor Coleridge (1772-1834)
Her lips were red, her looks were free,
Her locks were yellow as gold:
Her skin was as white as leprosy,
Six More Examples
- The little boy rode his tricycle proudly, as if he were the ruler of both land and time.
- The sea was as smooth as glass and the sky as clear as crystal. — The Myths of the North American Indians (1914) by Lewis Spence
- Life is like a box of chocolates. You never know what you’re gonna get. — Forrest Gump by Winston Groom
- Memory is like a dog that lies down where it pleases. — Cees Nooteboom.
- Good prose is like a windowpane. — Why I Write by George Orwell
- Death lies on her like an untimely frost. – Romeo and Juliet by William Shakespeare
Metaphor
Metaphors are fundamental figures of speech used in language to create vivid and imaginative connections between different concepts. A metaphor compares two unrelated things by stating that one thing is another, allowing us to understand one idea in terms of another. For example, saying “Time is a thief” suggests that time steals moments from our lives, even though time itself cannot literally steal.
Metaphors have been a part of human communication for thousands of years, tracing back to ancient Greece. The word “metaphor” comes from the Greek word metapherein, meaning “to transfer” or “to carry over,” reflecting how metaphors carry meaning from one context to another. Metaphors are prevalent in everyday language, literature, and even thought processes, as they help us make sense of complex ideas by relating them to familiar experiences.
We will focus on simple metaphors that use straightforward comparisons that are easy to understand and common in speech and writing. We’ll leave out more complex forms like extended metaphors, which can span multiple sentences or even an entire text.
The Key to Metaphors:
- Makes a comparison of two things by saying that one is the other.
Examples:
- It is raining cats and dogs.
- All the world’s a stage, and all the men and women merely players. — As You Like It by William Shakespeare
- Hope is the thing with feathers. — Emily Dickinson
- Life is a journey, not a destination by Ralph Waldo Emerson
Life Is by Mother Teresa (1910-1997)
Life is an opportunity, benefit from it.
Life is beauty, admire it.
Life is a dream, realize it.
Life is a challenge, meet it.
Life is a duty, complete it.
Life is a game, play it.
Life is a promise, fulfill it.
Life is sorrow, overcome it.
Life is a song, sing it.
Life is a struggle, accept it.
Life is a tragedy, confront it.
Life is an adventure, dare it.
Life is luck, make it.
Life is too precious, do not destroy it.
Life is life, fight for it.
Alliteration
Alliteration is a stylistic device where the initial consonant sounds of words are repeated in close succession, creating a rhythmic and melodic quality. This technique dates back to ancient poetry and is common in both classical and modern literature. “Alliteration” comes from the Latin word alliteratio, meaning “to litter together.”
Historically, alliteration was a key feature in Old English poetry, where it was used to unify lines and create a sense of cohesion. For example, in Beowulf, alliteration helps to link phrases and reinforce the poem’s oral tradition.
In contemporary language use, alliteration remains popular in poetry, slogans, advertising, and brand names, adding a playful and memorable quality to the text or message. It can emphasize key themes or create a pleasing cadence. Whether in the catchy phrases of advertising or the rhythmic patterns of a poem, alliteration continues to be a powerful tool for engaging and entertaining audiences.
Two Keys to Alliteration:
- Words in a sequence which begin with the same stressed consonant sound.
- Alliteration makes things easy to remember and easy on the ears.
Why use alliteration? Just ask a kid! Examples: Bugs Bunny, Mickey Mouse, Daffy Duck, Fred Flintstone, Woody Woodpecker, Wonder Woman, Road Runner, Porky Pig, Roger Rabbit, Richie Rich, Mighty Mouse, George of the Jungle, Huckleberry Hound, Peter Pan, Captain Crunch, etc.
Why use alliteration? Just ask, Coca-Cola, Dunkin’ Donuts, Best Buy, PayPal, Krispy Kreme, Bed Bath & Beyond, Red Robin, Jolly Green Giant, and Buffalo Wild Wings. It has worked well for them!
