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Movie Title Year Distributor Notes Rev Formats Annette's Sexy Classics 2019 Western Visuals DO Anticipation 1982 Vinegar Syndrome DRO Beauty 1982 VCA Facial 1 DO Behind the Scenes of an Adult Movie 1984 Metro NonSex 2 DO Best of Gail Palmer 1981 Entertainment World DO Best of VCX Classics 2 2005 VCX 1 DO Biker Slavegirls 1979 Video De Sade O Blue Vanities 314 1999 Blue Vanities Facial Budding of Brie 1980 VCA LezOnly 1 DO Calendar Girl 1983 VCA 1 DRO Classic Swedish Erotica 20 1986 Unknown Doing It (II) 1983 Essex Video / Electric Hollywood Easy 1978 VCX 11 DRO Ecstasy Girls 1 1979 Caballero Home Video 3 DRO Erotic Fantasies 4 1983 Metro Erotic Fantasies: Women With Women 1984 Metro LezOnly DRO Exhausted 1981 Excite-DVD.com Clip 1 Fantasyworld 1979 VCX 1 DO Flight Sensations 1983 VCA Clip 1 Hard Soap Hard Soap 1977 Caballero Home Video Anal Facial DRO Hot Legs 1979 VCX 1 DRO Hot Pockets 1979 Unknown Hot Rackets 1979 Metro Facial 4 DO Hot Slut Orgies 1982 Classic X 1 DO
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less rigid rules than the construction of the individual dróttkvætts.[86] Visual presentation Main article: Visual poetry Even before the advent of printing, the visual appearance of poetry often added meaning or depth. Acrostic poems conveyed meanings in the initial letters of lines or in letters at other specific places in a poem.[87] In Arabic, Hebrew and Chinese poetry, the visual presentation of finely calligraphed poems has played an important part in the overall effect of many poems.[88] With the advent of printing, poets gained greater control over the mass-produced visual presentations of their work. Visual elements have become an important part of the poet's toolbox, and many poets have sought to use visual presentation for a wide range of purposes. Some Modernist poets have made the placement of individual lines or groups of lines on the page an integral part of the poem's composition. At times, this complements the poem's rhythm through visual caesuras of various lengths, or creates juxtapositions so as to accentuate meaning, ambiguity or irony, or simply to create an aesthetically pleasing form. In its most extreme form, this can lead to concrete poetry or asemic writing.[89][90] Diction Main article: Poetic diction Poetic diction treats the manner in which language is used, and refers not only to the sound but also to the underlying meaning and its interaction with sound and form.[91] Many languages and poetic forms have very specific poetic dictions, to the point where distinct grammars and dialects are used specifically for poetry.[92][93] Registers in poetry can range from strict employment of ordinary speech patterns, as favoured in much late-20th-century prosody,[94] through to highly ornate uses of language, as in medieval and Renaissance poetry.[95] Poetic diction can include rhetorical devices such as simile and metaphor, as well as tones of voice, such as irony. Aristotle wrote in the Poetics that "the greatest thing by far is to be a master of metaphor."[96] Since the rise of Modernism, some poets have opted for a poetic diction that de-emphasizes rhetorical devices, attempting instead the direct presentation of things and experiences and the exploration of tone.[97] On the other hand, Surrealists have pushed rhetorical devices to their limits, making frequent use of catachresis.[98] Allegorical stories are central to the poetic diction of many cultures, and were prominent in the West during classical times, the late Middle Ages and the Renaissance. Aesop's Fables, repeatedly rendered in both verse and prose since first being recorded about 500 BCE, are perhaps the richest single source of allegorical poetry through the ages.[99] Other notables examples include the Roman de la Rose, a 13th-century French poem, William Langland's Piers Ploughman in the 14th century, and Jean de la Fontaine's Fables (influenced by Aesop's) in the 17th century. Rather than being fully allegorical, however, a poem may contain symbols or allusions that deepen the meaning or effect of its words without constructing a full allegory.[100] Another element of poetic diction can be the use of vivid imagery for effect. The juxtaposition of unexpected or impossible images is, for example, a particularly strong element in surrealist poetry and haiku.[101] Vivid images are often endowed with symbolism or metaphor. Many poetic dictions use repetitive phrases for effect, either a short phrase (such as Homer's "rosy-fingered dawn" or "the wine-dark sea") or a longer refrain. Such repetition can add a somber tone to a poem, or can be laced with irony as the context of the words changes.[102] Forms See also: Category: Poetic form Specific poetic forms have been developed by many cultures. In more developed, closed or "received" poetic forms, the rhyming scheme, meter and other elements of a poem are based on sets of rules, ranging from the relatively loose rules that govern the construction of an elegy to the highly formalized structure of the ghazal or villanelle.[103] Described below are some common forms of poetry widely used across a number of languages. Additional forms of poetry may be found in the discussions of the poetry of particular cultures or periods and in the glossary. Sonnet Shakespeare Main article: Sonnet Among the most common forms of poetry, popular from the Late Middle Ages on, is the sonnet, which by the 13th century had become standardized as fourteen lines following a set rhyme scheme and logical structure. By the 14th century and the Italian Renaissance, the form had further crystallized under the pen of Petrarch, whose sonnets were translated in the 16th century by Sir Thomas Wyatt, who is credited with introducing the sonnet form into English literature.[104] A traditional Italian or Petrarchan sonnet follows the rhyme scheme ABBA, ABBA, CDECDE, though some variation, perhaps the most common being CDCDCD, especially within the final six lines (or sestet), is common.[105] The English (or Shakespearean) sonnet follows the rhyme scheme ABAB, CDCD, EFEF, GG, introducing a third quatrain (grouping of four lines), a final couplet, and a greater amount of variety with regard to rhyme than is usually found in its Italian predecessors. By convention, sonnets in English typically use iambic pentameter, while in the Romance languages, the hendecasyllable and Alexandrine are the most widely used meters. Sonnets of all types often make use of a volta, or "turn," a point in the poem at which an idea is turned on its head, a question is answered (or introduced), or the subject matter is further complicated. This volta can often take the form of a "but" statement contradicting or complicating the content of the earlier lines. In the Petrarchan sonnet, the turn tends to fall around the division between the first two quatrains and the sestet, while English sonnets usually place it at or near the beginning of the closing couplet. Carol Ann Duffy Sonnets are particularly associated with high poetic diction, vivid imagery, and romantic love, largely due to the influence of Petrarch as well as of early English practitioners such as Edmund Spenser (who gave his name to the Spenserian sonnet), Michael Drayton, and Shakespeare, whose sonnets are among the most famous in English poetry, with twenty being included in the Oxford Book of English Verse.[106] However, the twists and turns associated with the volta allow for a logical flexibility applicable to many subjects.[107] Poets from the earliest centuries of the sonnet to the present have utilized the form to address topics related to politics (John Milton, Percy Bysshe Shelley, Claude McKay), theology (John Donne, Gerard Manley Hopkins), war (Wilfred Owen, e.e. cummings), and gender and sexuality (Carol Ann Duffy). Further, postmodern authors such as Ted Berrigan and John Berryman have challenged the traditional definitions of the sonnet form, rendering entire sequences of "sonnets" that often lack rhyme, a clear logical progression, or even a consistent count of fourteen lines. Shi Du Fu, "On Visiting the Temple of Laozi" Main article: Shi (poetry) Shi (simplified Chinese: ?; traditional Chinese: ?; pinyin: shi; Wade–Giles: shih) Is the main type of Classical Chinese poetry.[108] Within this form of poetry the most important variations are "folk song" styled verse (yuefu), "old style" verse (gushi), "modern style" verse (jintishi). In all cases, rhyming is obligatory. The Yuefu is a folk ballad or a poem written in the folk ballad style, and the number of lines and the length of the lines could be irregular. For the other variations of shi poetry, generally either a four line (quatrain, or jueju) or else an eight-line poem is normal; either way with the even numbered lines rhyming. The line length is scanned by an according number of characters (according to the convention that one character equals one syllable), and are predominantly either five or seven characters long, with a caesura before the final three syllables. The lines are generally end-stopped, considered as a series of couplets, and exhibit verbal parallelism as a key poetic device.[109] The "old style" verse (Gushi) is less formally strict than the jintishi, or regulated verse, which, despite the name "new style" verse actually had its theoretical basis laid as far back as Shen Yue (441–513 CE), although not considered to have reached its full development until the time of Chen Zi'ang (661–702 CE).[110] A good example of a poet known for his Gushi poems is Li Bai (701–762 CE). Among its other rules, the jintishi rules regulate the tonal variations within a poem, including the use of set patterns of the four tones of Middle Chinese. The basic form of jintishi (sushi) has eight lines in four couplets, with parallelism between the lines in the second and third couplets. The couplets with parallel lines contain contrasting content but an identical grammatical relationship between words. Jintishi often have a rich poetic diction, full of allusion, and can have a wide range of subject, including history and politics.[111][112] One of the masters of the form was Du Fu (712–770 CE), who wrote during the Tang Dynasty (8th century).[113] Villanelle W. H. Auden Main article: Villanelle The villanelle is a nineteen-line poem made up of five triplets with a closing quatrain; the poem is characterized by having two refrains, initially used in the first and third lines of the first stanza, and then alternately used at the close of each subsequent stanza until the final quatrain, which is concluded by the two refrains. The remaining lines of the poem have an a-b alternating rhyme.[114] The villanelle has been used regularly in the English language since the late 19th century by such poets as Dylan Thomas,[115] W. H. Auden,[116] and Elizabeth Bishop.[117] Limerick Main article: Limerick (poetry) A limerick is a poem that consists of five lines and is often humorous. Rhythm is very important in limericks for the first, second and fifth lines must have seven to ten syllables. However, the third and fourth lines only need five to seven. All of the lines must rhyme and have the same rhythm. Tanka Kakinomoto no Hitomaro Main article: Tanka Tanka is a form of unrhymed Japanese poetry, with five sections totalling 31 on (phonological units identical to morae), structured in a 5-7-5-7-7 pattern.[118] There is generally a shift in tone and subject matter between the upper 5-7-5 phrase and the lower 7-7 phrase. Tanka were written as early as the Asuka period by such poets as Kakinomoto no Hitomaro (fl. late 7th century), at a time when Japan was emerging from a period where much of its poetry followed Chinese form.[119] Tanka was originally the shorter form of Japanese formal poetry (which was generally referred to as "waka"), and was used more heavily to explore personal rather than public themes. By the tenth century, tanka had become the dominant form of Japanese poetry, to the point where the originally general term waka ("Japanese poetry") came to be used

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