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| speed of the progress of something; deal with quickly and efficiently |
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| expressed with brevity and clarity, with no wasted words; brief and to the point |
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| complicating result; a usually unintended consequence of an action, decision, or judgment |
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| acting impulsively; acting on the spur of the moment, without considering the consequences |
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| trickery, cheating, or deception, especially by the clever manipulation of language |
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| intended to be humorous, but often silly or inappropriate |
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| intended to be humorous, but often silly or inappropriate |
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| total rejection of social conventions and beliefs, especially of morality |
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| excessively eager to please or obey; submissive |
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| typical example of something; an example that serves as a model or pattern for |
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| able to recover quickly from setbacks |
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| a natural liking for or identification with somebody or something |
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| expressing or feeling regret or sorrow for having committed sins or misdeeds |
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a tendency to demonstrate particular
behavior |
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to try to equal or surpass somebody or
something that is successful or admired |
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existing at an elementary or basic
level; undeveloped |
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| unlikely to offend; harmless in effect |
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a tendency toward or actual exercise of
strong autocratic or dictatorial control |
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reverting to an earlier, less developed
condition or way of behaving; returning to a previous
condition |
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slowly and subtly harmful or
destructive |
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lacking restraint or inhibition,
especially in sexual behavior |
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intense scorn; extreme disgust for
something or somebody |
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looking for revenge or done through
a desire to hurt somebody |
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present everywhere at once, or
seeming to be; existing everywhere |
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abrupt; brief and unfriendly, often
conveying annoyance |
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involving a lot of sitting and
correspondingly little exercise |
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made commonplace and stale by
overuse |
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irregularity; something that deviates
from the norm or from expectations |
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to set something alight; to ignite
emotion or interest |
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adj. highly unacceptable and
deserving censure (disapproval) |
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n. something required or necessary for a
particular purpose, position |
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n. a mystery; something or somebody that
is not easily explained or understood |
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adj. having a harmful or damaging
effect on somebody or something |
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adj. having no practical effect or useful
result; pointless |
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| adj. unnecessary or unjustifiable |
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| adj. unceasing; continuing for a long time without stopping |
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| adj. living apart from others; solitary and withdrawn |
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| adj. joking; humorous; intended to be funny |
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adj. tending to provoke, excite, or
stimulate |
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Embodying a fallacy; misleading,
deceptive |
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Deviating from a usual or accepted
pattern; unconventional |
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Arrogantly assertive of unproven
ideas |
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Given to investigation or
examination; curious |
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Extremely careful in attending to
details |
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Adj.: not readily understood, vague
V.: to conceal or hide |
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| Pretentious or excessive display |
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Early in development, especially
mental development |
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| To deviate from the truth |
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generous; kind; doing good
deeds |
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| to reconcile; to make peace |
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having some connection to the
matter at hand; relevant; to the point |
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| seemingly true; acceptable |
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the act or practice of violently
destroying; destruction |
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plentiful; abundant; wealthy;
prosperous |
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| ill tempered; gloomy; sullen |
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to refuse to have anything to
do with; disown |
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| The figure of coyness ("Oh, you shouldn't have."). |
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| The character attack. Logicians and the argument-averse consider it a bad thing. |
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| The figure of hidden meaning ("Im sure you want to do this in the worst way.") |
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| If something is true, something less likely is bound to be true(i.e.: if you accomplish something, it is likely that you can accomplish someting more difficult). |
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| figure that builds one thought on top of another by taking the last word of a clause and using it to begin the next sentence |
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| figure that repeats the first word in a succeding phrases or clauses. It works best in an emotional address before a crowd. |
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| a logical fallacy-it attributes human traits to a non-human creature or object |
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| The fallacy of circular argument |
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| The crisscross figure. "Ask not what your country can do for you,ask what you can do for your country." |
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| Talks around an issue to avoid getting to the point. |
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| You seem to agree with your opponents point, only to use it then to your advantage. |
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| Converse accident fallacy |
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| A logical foul tht uses a bad example to make a generalization |
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| Deals with argument about choices. Often about what is best for the future/family/children, etc. |
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| Persuasion dealing with values that bring a group together. Often used in a right vs.wrong situation. |
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| The dialogue figure. You quote a conversation as an example. |
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| The "This-not-that" figure. I.e.:"Don't buy the shoes, buy the colors" figure. |
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| Freedom from special interest. One of the three traits of ethos. |
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| Feigned doubt about your ability to speak well. |
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| The special effects figure. Makes an audience believe something is happening right before their eyes. |
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| A competitive argument for the sake of argument. In other words, almost any argument that takes place in period 5 APUSH. |
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| Argument that determines guilt or innocence. Focuses on the past. |
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| A figure that asks a rhetorical question, and then immediately answers it. |
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| Inseparable words with a single meaning. |
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| The fallacy of proving the wrong conclusion. |
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| The technique of planting negative ideas in an audience's head. |
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| The rhetorical art of seizing the occasion. Covers both the tight timing and the appropriate medium. |
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| The figure of ironic understatement, usu. negative. |
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| The self-editing figure. You stop to correct yourself with a stronger point. |
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| A figure that makes something represent something else. |
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| A figure of thought that skips over an awkward matter. "Traffic was horrible. I got into a little fender-bender, no big deal, but i got you that shit you wanted." |
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| A figure of swap. Makes a part stand for a whole, or vise versa. (I.e.: referring to the queen as "the throne" |
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| The figure of irrelevance, a point that doesn't follow its predecessor. |
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| A rule that rises from examples. "Look at those maples turning colors; we must be getting into fall!" |
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| A figure in which you mention something by saying you're not going to mention it. Makes you sound fair. |
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| The contrary figure. "We had to destroy the village in order to save it." |
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| A figure that attaches a surprise ending to a thought. |
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| Post hoc ergo propter hoc |
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| Since A followed B, A caused B. "The rooster's crowing made the sun come up." |
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| A figure of thought that anticipates an opponent or audience's objection. |
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| The figure of personification. |
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| The fallacy of distraction. |
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| The fallacy of dire consequences. Says that one choice will lead to a cascading series of bad choices. |
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| The figure of ignorance; a generic form for illogic, or bad grammar or syntax. |
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| argumentative; fond of argument |
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| Artistic; dealing with beauty or appreciation of the beautiful |
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| Endless; seeming to last forever |
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| Silly, senseless, empty, vacant |
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| Carelessly; unintentional; by oversight |
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| Difficult to please; squeamish |
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| cheerfully optimistic; confident |
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attempting to charm or convince
somebody in an unpleasantly suave, smug, or smooth way |
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compensation for a wrong, or something
that is done to achieve this |
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| tending to talk a great deal |
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somebody who likes the people, customs,
and culture of other countries, or things from abroad |
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lacking ideas or intelligence; having no
content or substance |
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to refer disapprovingly or
contemptuously to somebody or something; to criticize |
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| to declare officially that somebody is not to blame or is not guilty of wrongdoing |
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impossible or very difficult to correct
or reform; unruly and unmanageable |
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| A reference to a person, place, event from history, piece of literature, religion, or other source meant to create and effect or enrich the meaning of the idea |
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| The repetition of one or more initial sounds, usually consonants, in a group of words |
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| An author or actor's portrayal/description of a character |
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| a literary or dramatic character who undergoes little or no inner change; a character who does not grow or develop |
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| a literary or dramatic character who undergoes an important inner change, as a change in personality or attitude |
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| The suggestion, implication, or feelings associated with a word |
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| The expression of one's meaning by using language that normally signifies the opposite, typically for humorous or emphatic effect. 3 types: situational, dramatic, and verbal |
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| a minor character in a work of fiction who does not undergo substantial change or growth in the course of a story. |
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| usually either differs drastically or is extremely similar to, but WITH A KEY DIFFERENCE, from another character |
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| helps create a mental picture |
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| Comparison between two unlike things by saying that one IS the other - does not use like or as |
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| A figure of speech in which objects or animals are given human thoughts, feelings, and attitudes |
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| a character in fiction whose personality, background, motives, and other features are fully delineated by the author. |
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| Comparison using "like" or "as". |
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| The representation of things by means of symbols |
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| A topic of discussion in a piece of writing; an implicit or recurrent idea |
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| The writer's attitude toward subjects, characters, or audiences; focuses on the sound of the language |
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| A reoccurring theme that unifies a part of the main theme |
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| The language of a particular district, class, or group of persons; a major technique of characterization that reveals the social or geographic status of a character. |
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| Exaggeration for emphasis ("big as a house", &c.) |
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| A word that spells out a sound ("boom", "crash", &c.) |
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| A literary style used to make fun of or ridicule an idea or human foible, frequently with the intent of changing or altering the subject being attacked |
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| A statement that seems contradictory but reveals a kind of truth |
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