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| To foreshadow vaguely (or to sketch out) |
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A story with a second distinct meaning partially hidden behind its literal or visible meaning; an extended metaphor in which objects and persons in a narrative are equated with meanings that lie outside the narrative itself.
EG: A Distant Episode? |
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the repetition of the initial consonant sounds of neighboring words
EG: Landscape-lover, lord of language (Tennyson) |
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discrepancy between the order in which the events of a story occur in chronological time and the order in which these events are presented to readers. (See modernism)
EG: Ch. 2 of Portrait; at the Whitsuntide play, Stephen has a flashback then returns to the present. |
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| unstressed, unstressed, stressed (a-na-PEST) |
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| repetition of a word/words at the start of a line, stanza, sentence, clause |
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A terse statement of truth or dogma; a pithy generalization, which may or may not be witty. A successful one exposes and condenses a part of the truth and is an insight.
EG: “Conscience is a cur that will let you get past it, but that you cannot keep from barking.” |
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when an inanimate, dead, or not-present thing is addressed as if present/capable of understanding
EG: Macbeth's chat with his dagger (wooaaahh there, lassie) |
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repetition of similar vowel sounds w/o rhyme in neighboring words
EG: Sweet dreams; hit or miss (but "sweet treat" is perfect rhyme) |
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a song or poem that is orally transmitted, tells local lore or a popular tale, usually simple and impersonal with vivid dialogue
EG: Rime of the Ancient Mariner (Coleridge) |
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| quatrains with even-numbered lines rhyming and alternating iambic tetrameter and iambic trimeter lines |
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formation novel - follows development of hero from childhood to adulthood through a troubled quest for identity
EG: Portrait, Lighthouse (also Kunstlerromans) |
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unrhymed lines of iambic pentameter
EG: most of Macbeth, Hamlet |
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| a work with a mixture of allusions, references, quotations, foreign expressions |
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interruption of a serious work, esp. a tragedy, by a short humorous episode, which can be relaxing or sinister and ironic.
EG: porter scene in Macbeth; gravedigger scene in Hamlet |
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an extended or elaborate metaphor or simile
EG: Inverness castle:Hell in Macbeth; humans:birds in Macbeth |
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| The tension in a situation between characters, or the actual opposition of characters: internal or external. |
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the repetition of similar consonant sounds in neighboring words whose vowel sounds are different
EG: "nothing that is not there and the nothing that is" (The Snow Man, Wallace Stevens)
"Roamed in the forest where our kind" (Luriana, Lurilee) |
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stressed, unstressed, unstressed
EG: Emily |
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the recipient of the action of a transitive verb (transitive verbs take direct objects).
EG: I threw the Jabberwocky. (Jabberwocky = direct object) |
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| Pretty much synonymous with syncope; the omission of sounds to make words easier to pronounce or fit into a metrical pattern. |
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| A line of verse that is brought to a punctuated pause coinciding with the end of the sentence or thought (punctuation of any kind - .,;: etc.) |
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| the running over of a thought from one line to the next in a poem, NO PUNCTUATION |
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A short, witty statement in verse or prose which may be complimentary, satiric, or aphoristic.
EG: Little strokes
Fell great oaks.
(Benjamin Franklin) |
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The quotation or motto placed at the beginning of a book, chapter, or poem as an indication of its theme.
EG: Portrait: Et ignotas animum dimittit in artes |
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sudden spiritual awareness, discovery for the reader but not necessarily for character involved
EG: every sentence in Portrait |
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a novel written in the form of a series of letters or journal entries, used in 18th century english lit
EG: Frankenstein, Dracula |
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| A struggle against some outside force: another character, society, fate, or a natural phenomenon. |
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A character who contrasts with another character (usually the protagonist) in order to highlight particular qualities of the other character.
EG: Banquo/Malcolm/Duncan - Macbeth; Laertes - Hamlet; Lily - Mrs. Ramsay; etc. |
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syllables forming a metric unit
EG: iamb, trochee, etc. |
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a "tale within a tale"
EG: Frankenstein (Walton's letters at the beginning and end frame Frankenstein's narrative of his experiences) |
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has grotesque/supernatural elements, usually set in a gloomy castle or monastery, written in britain from 1790s to 1820s
EG: Frankenstein |
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| A figure of speech containing an exaggeration for emphasis EG: “I haven’t seen you in ages!” |
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unstressed, stressed
i AM(B) a real boy! |
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A form of expression, a construction or phrase peculiar to a language and often possessing a meaning other than its grammatical or logical one.
EG: “follow suit,” “flat broke,” “on the wagon” |
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| 19th century; tried to capture transitory mental impressions as felt by the observer rather than their external causes. (Probably influenced Woolf?) |
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| when the story begins in the exciting middle and uses flashbacks (or "analepses") to set the stage |
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something that is affected by the action of a transitive verb but is NOT the direct object, nor the object of a preposition.
EG: I threw the Hatter the Vorpal sword. (the Hatter = indirect object)
OBJECT OF A PREPOSITION: I threw the Vorpal sword to the Hatter. (the Hatter = object of "to") |
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A struggle between opposing needs, desires, or emotions within a single character.
EG: Hamlet’s predicament of wishing to avenge his father and yet not knowing when and how to do it. |
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two or more words that rhyme within a line or verse
EG: "In mist or cloud, on mast or shroud" (Rime, Coleridge)
Also lots of stuff in Edgar Allan Poe's "The Raven" |
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A Bildungsroman about an artist - "Kunstlerroman" means "Artist novel" in German.
EG: Portrait |
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a frequently repeated phrase, image, symbol etc. in a single work, the recurrence of which indicates a theme
EG: "Gabriel coloured" (the Dead); basically every word in Portrait |
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| pattern of stressed and unstressed syllables in a line |
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substituting the name of a thing for the thing itself
EG: "I heard Beethoven on the radio" |
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Artistic/literary movement in first half of 20th century. Important characteristics:
1. conscious break with literary tradition
2. radical experimentation in style and form
3. tendency to distort chronological time
4. intentional aesthetic of difficulty (think Portrait and its many endnotes)
Important people: James Joyce, Virginia Woolf, William Faulkner, Ezra Pound |
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| A type of situation, incident, idea, image, or character-type that is found in many different literary works, folktales, or myths; or any element of a work that is elaborated into a more general theme |
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Basically: things/events that prepare you for a certain emotion.
Eliot: "a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." |
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words that imitate the sounds they are referring to
EG: buzz ("Buzz, buzz"); hiccup; BOOM!; splat; etc. |
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combines two usually contradictory terms in a compressed paradox
EG: "bittersweet"; "smart student" |
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An apparently self-contradictory (even absurd) statement which, on closer inspection, is found to contain a truth reconciling the conflicting opposites.
EG: “I must be cruel only to be kind.” (Hamlet) |
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The arrangement of similarly constructed clauses, sentences, or verse lines in a pairing or other sequence suggesting some correspondence between them.
I’ll give my jewels for a set of beads,
My gorgeous palace for a hermitage,
My gay apparel for an almsman’s gown,
My figured goblets for a dish of wood...
(Richard II, Shakespeare) |
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A mocking imitation of the style of a literary work, ridiculing the stylistic habits of an author or school by exaggerated mimicry.
EG: Politics and the English Language, Orwell |
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| patchwork of words, sentences, or complete phrases from various authors or one author. Basically synonymous with "collage." |
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a poetic convention whereby natural phenomenon which cannot feel as humans do are described as if they could.
EG: weeping rainclouds, happy flowers |
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"many-voiced," a work wherein several different voices interact on equal terms
EG: To the Lighthouse |
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| the study of versification (covering meter, rhythm, rhyme, and stanza forms.) |
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a phrase or line repeated at intervals during a poem
EG: "Rode the six hundred" (The Charge of the Light Brigade - Tennyson) |
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| (Jacobean) revenge tragedy |
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Definition
| A kind of tragedy popular in England from the 1590s-1630s, sparked by Thomas Kyd's "The Spanish Tragedy." Action centers upon a leading character's attempt to avenge the murder of a loved one, sometimes prompted by the victim's ghost; involves complex intrigues, disguises, exploitation of the morality of revenge. |
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| style that dominated european culture in the first half of the 19th century; emphasized freedom of individual self-expression, spontaneity, originality, sincerity; turned to emotional directness of personal experience and human imagination; included principle of natural growth and development |
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| the analysis of a metrical pattern of verse, includes arrangement of stressed/unstressed syllables into feet and grouping of feet |
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| a lyric poem comprising 14 rhyming lines of equal length (iambic pentameter in english, alexandrines in french), english sonnet has a rhyme scheme of ababcdcdefefgg (three quatrains and a final couplet), the turn (volta) comes before the final couplet |
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stressed, stressed
EG: heartbreak |
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A literary style in which a character's thoughts, feelings, and reactions are depicted in a continuous, uninterrupted flow
EG: James Joyce (Portrait)
Virginia Woolf (To the Lighthouse) |
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Definition
| a specific way of using language characteristic of an author, school, period, or genre; can be defined by diction, syntax, etc. |
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verbal contraction in which a letter/syllable is removed from a word
EG: o'er, heav'n, ne'er |
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substitution of part for a whole/whole for a part (essentially metonymy)
EG: wheels. |
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the mixture of sensations; the concurrent appeal to more than one sense.
EG: "Skittles: taste the rainbow." |
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| the reflections of a writer's attitude, manner, mood, and moral outlook in the work |
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| a serious play/novel that depicts the tragic downfall of the protagonist, or tragic hero; depends on our awareness of the admirable traits of the hero, which are wasted in the disaster |
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three-syllable rhyme, used for comic purposes in baudy verse
EG: hickory dickory |
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| stressed, unstressed (the word "trochee" is a trochee) |
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qualities of truth/reality in a work; it must be something that an author CONSCIOUSLY DID.
EG: Dates on letters in Frankenstein; maps in books. |
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| 1840s to 1900, period of prolific activity in literature, most of the writing was concerned with social problems like the effect of the industrial revolution, theory of evolution, and effects of political reform |
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Definition
uneven number of tercets with a final quatrain; first and third lines of the opening tercet are repeated alternately as the third lines of the succeeding tercets and together as the final couplet of the poem
EG: Stephen Dedalus's poem in book V of Portrait ("Are you not weary of ardent ways...") |
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a pause in a verse line (that may or may not be indicated typographically)
EG: "No! I am not Prince Hamlet, nor was meant to be" - caesura after "No!" (The Love Song of J. Alfred Prufrock, T.S. Eliot) |
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