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| a symbolic narrative in which the surface details imply a secondary meaning |
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| The repetition of initial identical consonant sounds or any vowel sounds |
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| A reference to a person, place, thing, event, or idea assumed by the author to be sufficiently familiar to be recognized by the reader. |
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| The deliberate repetition of a word or phrase at the beginning of several successive verses, clauses, or paragraphs. |
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| A direct address to an absent person, an abstract concept or an important object. |
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| slant rhyme - includes words with any kind of sound similarity, from close to fairly remote. |
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| either initiation, journey, or fall |
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| The rhyming of a word with another in one or more of their accented vowels, but not in their consonants |
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| The prevailing tone or mood of a literary work, particularly when that mood is established in part by setting or landscape. |
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| An imaginary person that lives in a literary work. |
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| fully-developed, with many traits--bad and good--shown in the story. |
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| one who exhibits some kind of change-attitude, purpose, or behavior-as the story progresses. |
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| one who remains the same from the beginning of a work to the end. |
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| the central character (person, animal, or personified object) in the plot's conflict. |
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| the force in conflict with the protagonist. |
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| a character whose traits are in direct contrast to those of the principal character. |
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| characterization (character development) |
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| The creation of imaginary persons so that they seem lifelike. |
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| a verbal or pictorial representation in which the subject’s distinctive features or peculiarities are deliberately exaggerated or distorted to produce a comic or grotesque effect. |
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| Contrasting light and shade for atmospheric and artistic effect. |
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| A struggle between opposing forces that drives the action of a story and is usually resolved by the end of the work. |
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| a resemblance in consonental sound between two words |
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| The final unravelling of a plot |
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| The belief that all ostensible acts of the will are actually the result of an unbroken chain of prior causes and occurrences. |
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| A mysterious double person who mirrors or shadows another character; this doubling or shadowing is a common literary motif. |
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| Rhymes that occur at the end of a line of poetry. |
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| The totality of impression or the emotion impact of a story. |
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| the quality or set of emotions/traits that a speaker or writer enacts in order to affect an audience. |
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| an inoffensive term substituted for one considered offensively blunt, coarse, or explicit |
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| the doctrine that all events are subject to fate or inevitable predetermination. |
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| a literary style popular during the end of the 18th century and the beginning of the 19th. |
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| Rhyme that occurs between identically sounding words |
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| Rhyme that occurs at some place before the last syllables in a line. |
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| Generally, the use of words to convey the opposite of their literal meaning. |
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| when circumstances turn out to be the reverse of what was expected. |
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| when a character’s words are understood by the reader or audience but not in the fullest to the character himself. |
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| when the attitude of the speaker is the opposite of his literal statement. |
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| an appeal to the reader’s reason and rationality. |
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| A comparison between two essentially unlike things without using “like” or “as.” |
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| the idea being expressed or the subject of the comparison. |
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| the image by which this idea is conveyed or the subject is communicated. |
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| The substitution of the name of an object closely associated with a word for the word itself. |
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| a recurring object, word, concept, or structure in a work of literature. |
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| A group of eight lines of verse; often the first eight lines of a sonnet. Also called an octave. |
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| Phrases, clauses, parts of speech all need to remain consistent and parallel. |
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| the quality in art and literature that stimulates pity, tenderness, or sorrow. |
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| conventionally share all sounds following the word's last stressed syllable. |
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| A figure of speech that endows animals, ideas, abstractions, and inanimate objects with human form. |
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| A chronicle, usually autobiographical, presenting the life story of a rascal of low degree engaged in menial tasks and making his living more through his wits than his industry. |
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| the outlook from which the events of the story are narrated |
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| seeing all and knowing all |
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| the author limits his observations to the field of vision, experience, and knowledge to one character only |
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| one of the characters tells the story |
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| A first person narrator who doesn’t understand the implications of the action |
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| One who distorts the truth of the narrative |
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| the action of a work of literature |
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| The belief that before creation, God, in his omniscience and omnipotence, knew and determined the fate of the universe through all space and time. |
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| a literary and philosophical theory that tends to see the individual at the center of all life |
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| A work or manner that blends a critical attitude with humor and wit for improving human institutions or humanity |
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| The background against which action takes place |
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| A figure of speech in which a part signifies the whole or the whole signifies the part ("wheels" for car) |
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| Something that suggests more than its actual, literal meaning |
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| the quality in art and literature that stimulates pity, tenderness, or sorrow. |
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