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| Stressed rhythmic structure of poetic lines. |
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| In Greek, meaning "struggle"; found in protagonist and antagonist; in comedy, a formal debate. |
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| A twelve-syllable line written in iambic hexameter. |
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| A narrative that is an extended metaphor; the elements of the narrator carry significance on a literal and a figurative level. |
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| Repetition of initial consonants in consecutive words or in words close to each other. |
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| In literary work, a reference to a person, place, or thing from another literary work or from history. |
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| Metrical foot used in poetry consisting of two short syllables followed by a long syllable. |
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| The one who struggles against or contends with the protagonist; the antagonist may be another individual or an obstacle or challenge, such as fear or death. |
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| Direct address to someone or something not present, such as an imaginary person or an abstract quality; often introduced by the exclamation, "O." |
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| Describes writing--usually an essay--that establishes a position and supports it with evidence. |
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| Repetition of vowel sounds; more common in verse than in prose. |
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| A morning love song; opposite of a serenade; literally, a song to a sleeping woman; also refers to a song-evoking daybreak. |
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| A narrative folk song or a narrative set to music. |
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| Four-line stanza (quatrain) consisting of alternating four- and three- stress lines; usually second and fourth lines rhyme (abcb). |
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| Aburpt change in style going to exalted to mundane, producing a ludicrous effect. |
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| Unrhymed iambic pentameter. |
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| A complete pause in a line of poetry. |
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| Final resolution in a poem or narrative that unravels the plot and concludes the work; misfortune experienced by tragic hero. |
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| From Greek, meaning "cleansing" or "purging"; in tragedy, a moment for purging or relieving of emotions for the audience. |
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| Turning point in a story; the point where the main character experiences a change, and the action stops building and begins falling. |
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| Poetry conforming to pre-specified requirements of rhyme, meter, line length, and number of lines; two examples are haiku and sonnet. |
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| Element introduced into the plot to alter its course. |
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| Extended metaphor governing an entire passage or poem. |
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| Final division of a discourse or literary work that brings the work to a close; fifth part of plot structure. |
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| Emotional association that accompanies a certain word or phrase; often described as positive or negative depending on the emotional connection. |
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| Repetition of a consonant in short succession. |
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| Following accepted standards; a well-understood interpretation; see stock. |
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| Two consecutive lines in poetry, usually with the same meter and often rhyming. |
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| Turning point in a story; culmination of the events of the plot. |
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| A foot in meter in poetry; in Greek or Latin verse, it is a long syllable followed by two short syllables; in English verse, it is a stressed syllable followed by two unstressed syllables. |
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| Literal meaning, found in dictionary. |
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| The conclusion of a story; includes the events between the falling action and the last scene of a narrative or drama. |
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| A line containing only two metrical feet. |
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| Derogatory term for verse with little literary value. |
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| Speech delivered by a single character who addresses the reader or an internal listener and reveals his or her innermost thoughts and feelings. |
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| A character whose personality changes over the course of the narrative or who has the ability for such change. |
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| A sorrowful, melancholic poem, such as a funeral song or lament for the dead. |
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| Performed by an actor or actors. |
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| Repetition of similar sounds in two or more words, found in the final syllable(s) of the lines of poetry. |
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| A line having no end punctuation so that the meaning continues uninterrupted to the next line(s). |
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| A long, narrative poem written in elevated language and style about the exploits of a hero or heroine. |
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| An inscription on a building or tomb or a short verse appearing at the beginning of a longer word (novel, chapter, or poem) to set mood or reveal theme. |
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| The author's explanation of background information about characters and setting at the beginning of the plot; writing with a primary purpose of informing, clarifying, or explaining. |
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| Writing or discourse with the primary purpose of informing, clarifying, or explaining; background information shared by the author. |
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| Subjective depiction of the real world through imagination, the abstract, and symbols. |
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| Moment following the climax where the conflict between the protagonist and the antagonist is resolved. |
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| Comedy that entertains the audience through absurdity, improbabilities, exaggeration, and verbal humor. |
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| Two or more syllables match in the rhyming words; the final syllable or syllables are unstressed. |
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| Imaginary narrative; the information or events are created by the author. |
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| Deviation from usual meaning of a word or group of words resulting in a specific effect or meaning. |
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| Picture painted by the writer, usually a poet. |
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| Any one of three fourteenth- and fifteenth-century French poetic forms: the ballad, the virelai, and rondeau. |
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| A character who highlights through contrast opposite characteristics in another character. |
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| Basic unit of meter consisting of a set number of stressed and unstressed syllables. |
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| Pattern or design of a poem; see open form and closed form. |
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| Poetry using natural rhythms of words and phrases instead of required metrical feet. |
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| A tragic flaw within a character; in Greek means "to miss the mark." |
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| Line with seven metrical feet. |
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| Two successive lines of iambic pentameter with the second lines usually ending with a stop. |
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| Line with six metrical feet. |
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| Comedy carried out by characters that are true to life, realistic. |
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| Author's style incorporating choices in diction, syntax, point of view, description, narration, and dialogue. |
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| Excessive pride adversely affecting the protagonist's judgment; most common tragic flaw. |
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| Exaggeration or overstatement. |
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| An unstressed syllable followed by a stressed syllable. |
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| Line of five feet, each with an unstressed syllable followed by a stressed syllable. |
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| Rising and falling rhythm in poetry from altering stressed and unstressed syllables. |
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| Word picture painted by the writer. |
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| To visualize the picture(s) evoked by the writer through the senses. |
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| Term coined by Ezra Pound for free imagery, open to many interpretations. |
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| Subjective or personal literary style that relies on associations; style adapted to writing from nineteenth-century school of painters, including Monet and Renoir. |
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| A word rhyming at the end of the line with a word in the middle of the line. |
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| First stage in plot in which the author establishes the situation and shares background information. |
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| Writing that attacks a person or idea through emotional language. |
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| Doing or saying the opposite or unexpected; used in irony. |
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| Discrepancy between what is said or done and what is meant. |
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| A five-line humorous or nonsensical poem in which the first two lines are anapestic trimeter, the next two are anapestic dimeter, and the last line is trimeter, rhyme scheme is aabba. |
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| The meaning of a word or phrase according to the dictionary; denotative. |
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| Four rhyming lines, abcb, with lines 1 and 3 having eight syllables and lines 2 and 4 having six. |
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| Humor with absurdities, horseplay, and exaggerations, depicting an unrefined life. |
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| A poem sharing personal emotions; in Classical poetry, accompanied by a lyre. |
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| A rhyme that matches just one syllable, often a stressed syllable found at the end of the lines. |
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| Comparison of two unlike items. |
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| Basic rhythmic structure for lines in poetic verse. |
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| A figure of speech in which an idea or a thing is referenced by a name closely associated with it; ; literally means "a change of name." |
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| In Greek, "imitation"; mimetic theory from Aristotle held that successful imitation in art portrayed reality as closely as possible. |
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| Satire or parody that mocks the Classical stereotype of a hero or heroic literature, usually through exaggeration or absurdity. |
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