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| Generic mode of drama where human existence has no meaning, no purpose; in absurdist theater, constructions such as plot, setting, language break down and become illogical or incomprehensible (like human existence itself) |
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| a form of an extended metaphor in which objects, persons, and actions in a narrative are equated with meanings that lie outside the narrative itself |
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| Device of repetition in which the same word (or words) is repeated at the beginning of two or more lines, clauses, or sentences |
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| a figure of speech in which someone (usually but not always absent), some abstract quality, or a nonexistent personage is directly addressed as though present |
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| Instructiveness in a work, one purpose of which is to give guidance, particularly in moral, ethical, or religious matters; didactic works seek to have an ultimate effect, meaning, or result outside themselves |
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| A type of lyric poem that features the voice of a single person (who is not the poet) in a specific situation or at a critical moment. The main principle controlling the poet's choice and formulation of what the lyric speaker says is to reveal to the reader the speaker's temperament and character |
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| A sustained and formal poem setting forth meditations on death or another solemn theme. The meditation often is occasioned by the death of a particular person, but it may be a generalized observation or the expression of a solemn mood |
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| A dramatic piece intended to excite laughter and depending less on plot and character than on improbable situations, the humor arising from gross incongruities, coarse wit, or physical comedy |
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| A poetic foot consisting of an unaccented syllable and an accented syllable |
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| a discursive recording of the (unspoken) thoughts or feelings of an individual |
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| A term used to describe the ways in which a text self-consciously draws attention to its status as a work of art, usually to pose questions about the relationship between fiction and reality. A work like this is also sometimes called “self-reflexive.” |
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| a phrase invented by John Ruskin in 1856 to signify any representation of inanimate natural objects that ascribes to them human capabilities, sensations, and emotions |
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| A French verse form consisting of five three-line stanzas and a final quatrain, with the first and third lines of the first stanza repeating alternately in the following stanzas. |
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| D. Rosetti, Poem, Fallen women, Victorian |
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| C. Rosetti, Poem, Fallen women, Victorian |
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| "Porphyria's Lover", "My Last Duchess" |
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| R. Browning, Poem, Victorian, murder |
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| C. Rosetti, Poem, Victorian |
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| "The Lady of Shalott", "The Charge of the Light Brigade" |
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| Tennyson, Poem, Victorian/Cusp Modernist |
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| "The Second Coming", "Sailing to Byzantium" |
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| "Modern Fiction", "The Mark on the Wall" |
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| Woolf, Short Story, Modernism,Stream of Consciousness |
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| James Joyce, Short Story, Modernism, Stream of Consciousness |
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| Mansfield, Short Story, Modernism |
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| "The Love Song of J. Alfred Prufrock", "Tradition and the Individual Talent" |
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| “The Force . . . the Flower”, “Fern Hill,” “Do Not Go Gentle into That Good Night” |
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| Beckett, Play, Post-Modern |
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| Lessing, Short Story,Post-Modern |
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| Heaney, Poem, Post-Modern |
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| Rushdie, Short Story, Post-Modern |
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| McEwan, Novel, Post-Modern |
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