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| The language and speech idiosyncrasies of a specific area, region, or group of people. For example, Minnesotans say "you betcha"; Southerners say "you all". |
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| The specific word choice an author uses to persuade or convey tone, purpose, or effect. |
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| A monologue set in a specific situation and spoken to an imaginary audience (also known as soliloquy) |
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| A poetic lament upon the death of a particular person, usually ending in consolation. |
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| The continuation of a sentence from one line or couplet of a poem to the next. |
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| Apoem that celebrates, in a continuous narrative, the achievements of mighty heroes and heroines, often concerned with the founding of a nation or developing of a culture; it uses elevated language and grand, high style. |
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| The part of the structure that sets the scene, introduces and identifies characters, and establistes the situation that the beginning of a story or play. |
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| A detailes and complex metaphor that extends over a long section of a work, also known as a conceit. |
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| The part of plot structure in which the complications of the rising action are untangle. Also known as the denoument |
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| A play or scene in a play or book that is characterized by broad humor, wild antics, and often slapstick and physical humor. |
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| To hint of present an indication of the future beforehand. |
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| Language that is lofty, dignified, and impersonal. Such diction is often used in narrative poetry. |
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| Retrospection, where an earlier event is inserted into the normal chronology of the narrative. |
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| Poetry that is characterized by varying line lengths, lack of traditional meter, and nonrhyming lines. |
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| A type of class of literature such as epic or narrative or poetry or belles letters. |
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| Overstatement characterized by exaggerated language |
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| A metrical form in which each foot consists of an unstressed syllable follows by a stressed one. (For give, re morse, com pare, re peat) |
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| Broadly defined, any sensory detail or evocation in a work; More narrowly, the use of figurative language to evoke a feeling, to call to mind an idea, or to descrive an object. |
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| Language that is not as lofty of impresonal as formal diction; similar to everyday speech. |
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| "In the midst of things"; refers to opening a story in the middle of the action, necessitating filling in past details by exposition or flashback. |
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| A situation or statement characterized by significant difference between what is expected or understood and what actually happens or is meant. |
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| Specialized or technical language of a trade, profession, or similar group. |
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| The location of one thing as being adjacent or juxtaposed with another. This placing of two items side by side creates a certain effect, reveals an attitude or accomplishes some purpose of the writer. |
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| A perspective confined to a single character, wheter a first person or a third person; the reader can not know for sure what is going on in the minds of other characters. |
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| A figure of speech that emphasized its subject by conscious understatement. For example, the understated "not bad" as a comment abou something especially well done. |
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