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a shortened version of a literary work |
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a brief statement or summary of the essential thoughts of a book, article, etc. an adjective which denotes qualities that exist only as attributes of particular persons or things |
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a symbolic narrative created to parallel and illuminate a separate set of moral, philosophical, political, religious, or social situations |
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the repetition of consonant sounds in a sequence of nearby words Our souls have sight of that immortal sea. |
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a reference, explicit or indirect, to a well-known person, place, event, literary work, or work of art |
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the use of a single word or expression to signify two or more distinct references, or to express two or more diverse attitudes or feelings (poetic term); ordinarily, the term is applied to a fault in style |
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a point by point comparison made between two things for the purpose of clarifying the less familiar of the two subjects |
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action, scene, object or character placed where it does not belong in time |
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in poetry, a foot with two weak stresses followed by one strong stress, as in the word “disembárk” |
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a very brief account of an incident, usually personal or biographical |
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a character or force in conflict with the main character, or protagonist, in a literary work |
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the word a pronoun stands for, usually used before or in close proximity to that pronoun |
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a protagonist who is petty, ineffectual, passive or dishonest; displaying few or none of the characteristics of the traditional hero |
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the pithy and pointed statement of a serious maxim, opinion, or general truth------ “Art is long; life is short” |
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a direct and explicit address to an absent person or non-human entity O solitude! Where are the charms That sages have seen in thy face? |
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recurrent narrative designs, patterns of action, character types, or images identifiable in a wide variety of works of literature; archetypes are often to reflect a set of universal, primitive, and elemental mental forms or patterns in the human psyche; if used effectively, archetypes evoke a profound response from the reader; |
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a statement delivered by an actor to an audience in such a way that other characters on stage are presumed not to hear what is said |
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the repetition of vowel sounds in stressed syllables containing dissimilar consonant sounds I bequeath you that clean sheet and an empty throne. |
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a mental position or feeling with regard to a fact or statement; attitude is usually discussed in terms of author, character, objects, ideas, etc. |
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the person or persons who are intended to read a piece of writing. The intended audience determines the form, tone, style, and details included in a piece. |
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a narrative of one’s own life |
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a poem or song that tells a story, a narrative species of folk songs which originate, and are communicated orally, among illiterate or only partly literate people; a literary ballad is composed in imitation of an old folk ballad |
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novel dealing with the development of the protagonist’s mind and character, in the passage from childhood to adulthood, the character’s identity formation |
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a narrative of the life of an historical figure |
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poetry written in unrhymed iambic pentameter lines |
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(dissonance) language which seems harsh, rough, and unmusical; the discordance is the combined effect of meaning and difficulty of pronunciation, as well as sound |
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a pause in the middle of a line of poetry dictated by sense or natural rhythm |
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free from bias, very honest and frank in one’s writing |
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the academically “accepted” body of great literature and art; one’s collected work |
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in verbal description, the distortion or exaggeration, for comic effect of a person’s physical features or other characteristics |
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(purgation or purification) emotional purging of yourself after an emotional event Crying after a play |
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analysis of a subject by examining the reasons for specific actions or events or the consequences or the results of certain causes |
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a person or animal who takes part in the action of a literary work |
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a multidimensional character changes/develops in the course of the story |
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character does not change much or at all |
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character whose values are at odds with the other characters |
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character type that occurs repeatedly in a literary genre –the clever servant of Elizabethan comedies, for example |
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fixed character with little individuality, often based on racial, social, sexist, or ethnic prejudices--- the ditzy blond, dumb jock, rich Texan, rude New Yorker |
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a group of words containing a subject and complete verb and forming part of a compound or complex sentence |
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the high point of interest or suspense in a literary work |
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the principles or styles of literature or art of ancient Greece and Rome |
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colloquial/ colloquialism |
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informal speech, characteristic of spoken language or writing that seeks the effect of everyday speech |
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a work in which the materials are selected and managed primarily in order to interest, involve, and amuse us |
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a figure of speech which establishes a striking parallel, usually elaborate, sometimes far-fetched, between two very dissimilar things or situation |
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(1) able to be perceived by the five senses; (2) a pattern poem in which the visual form or shape of the poem reflects the poem’s theme or content |
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a struggle between opposing forces external conflict: a struggle between the character and some outside force internal conflict: a struggle within a character |
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an association that a word calls to mind in addition to its dictionary meaning; the emotional, psychological or social overtones or implications that words carry; such as, in the difference between the synonyms childish and childlike |
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--repetition of consonant sounds within a line of verse, similar to alliteration but not limited to the beginning letter of a word “But such a tide as moving seems asleep” ---also--- --the repetition of a sequence of two or more consonants, but with a change in the intervening vowel: live - love, lean - lone, pitter-patter black - block slip - slop creak - croak feat - fit slick - slack |
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the part of discourse surrounding a passage which gives it more meaning; context can be social, historical, racial, etc. |
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(1) necessary, or at least convenient, devices accepted by tacit agreement between author and audience, for solving the problems in the representation of reality that are posed by a particular artistic medium; (2) conspicuous features of subject matter, form, or technique which occur repeatedly in works of literature; (3) “codes” of genre, plot, etc. constituting all literary works |
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a pair of rhyming lines written in the same meter |
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the point of uncertainty and tension, the turning point, that results from the conflicts and difficulties brought about through the complications of the plot |
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a three-syllable metrical foot consisting of a heavy stress followed by two lights, as in might-i-est |
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a word’s exact, specific meaning, independent of other associations the word calls to mind |
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“untying” or resolution--the final stage of plot development in which mysteries are explained, characters find their destinies, and the work is completed |
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regional speech, vocabulary and pronunciation particular to a certain geographic area |
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a conversation between characters |
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word choice--the kinds of words, phrases, sentence structures, and figurative language that constitute any work of literature; also see syntax |
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work of literature which has a moral or teaches a lesson |
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the turning aside from the main subject in writing or speaking i.e., a tangent in a discussion |
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situation where a person must choose between two equal alternatives |
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a line of verse consisting of two metrical feet |
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a type of lyric poem or dramatic speech where a single person, who is patently not the poet, utters the entire poem in a specific situation at a critical moment |
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the way in which the author uses dramatic elements or drama |
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the cast of characters in a play |
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a formal and sustained poetic lament (and usually consolation) for the death of a particular person |
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omission from an expression of a word or phrase clearly implied; marks (... or ***) used to indicate omission |
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poetic line in which the pause in the reading, naturally occurring, coincides with the end of the line |
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run-on lines-- the continuation of a sentence or phrase from one verse line to the next without end-stopped punctuation |
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long narrative poem on a great or serious subject told in an elevated style and centered on a heroic or quasi-divine figure on whose actions depends the fate of a tribe or nation |
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any short poem which is polished, terse, and pointed, which often ends with a surprising or witty turn of thought |
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an inscription on a statue, stone or building; a quotation on the title page of a book |
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a short addition or concluding section at the end of a literary work, often dealing with the future of its characters |
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a sudden manifestation of the essence or meaning of something a comprehension or perception by means of a sudden intuitive realization |
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a novel which is conveyed entirely by an exchange of letters |
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understood only by a select few, intended for an inner circle of disciples or scholars |
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an inoffensive expression used in place of a blunt one felt to be disagreeable or harsh “to pass away” vs. “to die” |
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language which is smooth, pleasant, and musical to the ear |
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a type of sentence that makes a statement or exclaims something: |
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in plot structure, background or explanatory information that furthers the reader’s understanding of the characters and conflicts; often it occurs before the main plot begins, but can occur elsewhere in the novel |
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writing that explains or shows and tells by giving information about a specific topic; term papers, textbooks and reports are typical examples of expository writing |
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a brief story, usually with animal characters, that teaches a lesson or moral |
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a simple children’s story about fairies; a magical tale Grimm Brothers |
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an element of the plot which follows the climax or crisis and leads into resolution |
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highly imaginative writing that contains elements not found in real life |
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a play full of ridiculous happenings, absurd actions, and unreal situations; meant to be very funny |
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writing or speech not meant to be interpreted literally |
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literary devices that communicate ideas beyond the literal meaning of the words; common types include hyperbole, metaphor, personification, and simile |
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interruption of the sequence of events to relate an event of an earlier time |
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a character in a work who, by sharp contrast, serves to stress and highlight the distinctive temperament of the protagonist |
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a story composed orally and then passed from person to person by word of mouth |
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a measured combination of heavy and light stresses |
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the use, in a literary work, of clues that suggest events that have yet to occur |
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(1) genre or literary type; (2) patterns of meters, lines, and rhymes; (3) central critical concept; (4) the principle that determines a work’s organization; (5) structure |
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mood, an arrangement of structural (literal) parts that gives form to the work |
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poetry not written a regular, rhythmical pattern, or meter |
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“literary form”--a recurring type of literature |
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a story of horror or suspense set in the medieval period or in a gloomy old castle or monastery –hence the name ‘gothic’ which is an architectural term-- gothic has been extended to a type of fiction developing a brooding atmosphere, representing events which are uncanny or macabre or melodramatically violent, and often dealing with aberrant psychological states |
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fanciful, bizarre, eccentric, or absurdly incongruous |
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tragic flaw--”error of judgement” of a tragic hero which leads him to a mistaken act (Aristotle) |
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verse composed in lines of seven metrical feet |
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a character whose actions are inspiring or noble; the protagonist |
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lines of iambic pentameter which rhyme in pairs (aa, bb, cc, etc.) |
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pride or overwhelming self-confidence which leads a protagonist to disregard a divine warning or to violate an important moral law; hubris is a common form of hamartia in Greek tragedies |
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a comic utterance; a comic appearance or mode of behavior |
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hyperbole a deliberate exaggeration or overstatement as a means of emphasis, e.g., “I’d give my arm for a slice of pizza.” Figurative language not meant literally |
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in poetry, a foot with one weak stress followed by one strong stress, as in the word---afráid |
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an expression peculiar to a given language whose meaning cannot be derived from its literal meaning or by someone unfamiliar with the phrase, e.g., “keep an eye peeled, kick the bucket, eat crow.” |
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a reference that triggers the mind to fuse together memories of sights, sounds, tastes, smells, and sensations of touch; a single mental creation; literary or metaphorical |
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the descriptive language used in literature to recreate sensory experiences |
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a sentence that gives an order or command---“Wash your hands before dinner.” |
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that which is discovered by reasoning, conclusions |
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the explication of a literary work for its purpose and meaning through analysis of theme, structure, elements, language, effects, etc. |
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a sentence that asks a question---”Why do I have to wash my hands?” |
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changing/reversing the natural word order; sometimes this is an artificial way for the poet to achieve a rhyme and rhythm |
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the general name given to literary techniques that involve surprising, interesting, or amusing contradictions; an event or outcome that is the opposite of what would be naturally expected. |
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language that states the opposite of what is intended |
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placement of characters in situations where the audience understands the implications and meaning of an event on stage, but the character does not |
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unpredictable and surprising developments, results differ from the results that were expected |
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(1) confused unintelligible language; (2) special vocabulary of a particular group or activity; (3) obscure and often pretentious language |
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“artist novel” - a subtype of bildungsroman about the formation of an artist’s personality and talents |
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a widely told story about the past, one that may or may not have a foundation in fact |
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adhering to fact or to the ordinary or usual meaning of a word--descriptive or pictoral |
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a form of understatement that asserts something is true by denying its opposite, |
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the detailed representation in fiction of the setting, dialect, customs, dress, and ways of thinking and feeling which are distinctive of a particular region, e.g., |
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a poem that expresses the observations and subjective feelings of a single speaker |
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having the qualities of a lyric poem; songlike, musical |
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the great world or universe, a representation of a smaller unit or entity by a larger one, presumably of similar structure |
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the mingling and juxtaposition of primarily realistic elements with the fantastic and bizarre. Magical realism expands the category of realism to include myth, magic, and other marvels of the natural world, while using humor and irony. |
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used by the author to place characters and events in exactly the situations desired |
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(see persona) a fictional self created by an author--a self through whom the narrative of a poem or story is told |
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originally all musical plays, including opera; currently, a debased form of tragedy with a happy ending, flat characters, and exaggerated emotions |
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a form of autobiography in which the emphasis is not on the author’s life, but on the people and events the author has known or witnessed |
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a figure of speech in which one thing is spoken of as though it were something else |
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a metaphor that has been so overused that its original metaphorical impact has been lost , e.g., “foot of the bed, toe the line” |
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metaphor that is developed at length and that involves several points of comparison |
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a metaphor that does not necessarily develop in meaning but is referred to several times in a literary work |
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related to the philosophical studies of the ultimate causes and underlying nature of things |
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the rhythmical pattern of a poem, determined by the number and types of stresses, or beats, in each line |
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the literal term for one thing is applied to another with which it is closely associated e.g., referring to the king as ”the crown” or the President as “the White House” |
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a little world, a world in miniature; a representation of a larger entity by a smaller one of similar structure. |
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the term used to identify new and distinctive features in the subjects, forms, concepts, and styles of literature and other arts in early decades of the 20th century, particularly after World War I |
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grammatically, to change somewhat the form or qualities of another word, as an adjective modifies the meaning of a noun |
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a lengthy speech by a single person |
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consisting of a single syllable |
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(or atmosphere) the feeling created in the reader by a literary work or passage |
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an element--a type of incident, device, reference, or formula--which recurs frequently in literature. The “loathly lady” who turns out to be a beautiful princess is a common motif in folklore. |
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a story that deals with the relationships of gods to humans, or with battles among heroes; a set of beliefs or assumptions among societies |
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the act or process of storytelling |
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a literary work that tells a story |
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the way in which one narrates |
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the speaker in a literary work |
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grew out of realism and like realism attempted to depict life truthfully and accurately, but naturalists believed that a person’s fate was determined by heredity, chance and the elements of his or her environment; by forces of nature and society a person could not control or understand |
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a long work of prose fiction |
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a stanza of eight lines; first part of an Italian or Petrarchan sonnet, rhyming abbaabba |
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a long lyric poem that is serious in subject and treatment, elevated in style, and elaborate in its stanzaic structure |
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having infinite awareness, understanding, and insight; in point of view, the narrator has all-knowing qualities and is free to move around in space and time-- “godlike”point of view |
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the use of words that imitate sounds, as in buzz, hiss, murmur, rustle |
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the paradoxical utterance conjoining two terms that in ordinary usage are contraries: |
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a brief story that allegorically answers a question or expresses a moral or truth |
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a statement that seems to be contradictory but that actually presents the truth |
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the repetition of a grammatical pattern |
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Definition
a brief restatement, in one’s own words, of all or part of a literary work |
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Definition
imitation of the words, style and ideas of an author in such an exaggerated way as to make them ridiculous. |
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an imitation of an author’s style, syntax, diction and themes |
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an elaborately conventional poem expressing an urban poet’s nostalgic image of the peace and simplicity of the life of shepherds and other rural folk in an idealized natural setting |
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pathos that quality in a work of art which evokes feelings of tenderness, pity or sorrow |
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verse written in lines of five metrical feet |
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see mask) a fictional self created by an author--a self through whom the narrative of a poem or story is told |
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a type of figurative language in which a non-human subject is given human characteristics |
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the point of view, or vantage point, from which a story is told |
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a word whose sound, by an obscure process, to some degree suggests its meaning flicker, slippery, glisten |
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a word group, without a complete subject or verb, that is used as a part of speech in a sentence |
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the sequence of events in a literary work |
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the distribution, at the end of a literary work, of earthly rewards and punishments in proportion to the virtue or vice of the various characters |
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the perspective, or vantage point, from which a story is told |
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when a character from within the story tells the story |
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when a voice from outside the story tells the story |
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author is outside the story but tells it through a single character’s thoughts and actions |
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author is outside the story but seems to know what goes on the minds of all the characters, godlike perspective |
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a general term used to refer to changes, developments and tendancies which have taken place in literature, art, music, architecture, philosophy, etc. since the 1940’s and 1950’s. |
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an abstract or concise summary that maintains the tone of the longer piece |
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Definition
a direct, unadorned form of language, written or spoken in ordinary usage. It is not restricted in rhythm, measure or rhyme. |
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the central character and focus of interest in a narrative or drama |
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a play on words that are either identical in sound (homonyms) or very similar sound, but are sharply diverse in meaning |
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a foot composed of two successive syllables with approximately equal light stresses |
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four-line stanza; the most common in English versification, and is employed with various meters and rhyme schemes |
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an adventurous expedition undertaken by a hero to secure or achieve something, or to perform a prescribed feat |
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1) a nineteenth-century movement in writing of novels; (2) a recurrent mode, in various eras and literary forms of representing human life and experience in literature—‘life as it really is’ |
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a phrase, verse or group of verses repeated at intervals throughout a song or poem, especially at the end of each stanza |
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the tone, diction and syntax appropriate for the subject matter and audience of a specific form of writing. Improper register is the use of words and expressions inappropriate to a specific form of written or spoken expression. |
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dependability of the speaker, narrator, etc. |
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act of recalling past persons, events or places |
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the act or instance of repeating a certain literary element, word or phrase |
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the part of a literary work in which the complications of the plot are resolved and loose ends are tied up; dénouement |
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use of language for persuasion in speaking or writing; especially in oratory |
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a sentence in the grammatical form of a question which is not asked in order to receive a reply, but to achieve an expressive force, different from, and usually more effective than a direct assertion |
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Definition
the varying speed, intensity, elevation, pitch, loudness, and expressiveness of speech, especially prevalent in poetry |
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Definition
the repetition of identical or closely related sounds in the syllables of different words, most often in concluding syllables at ends of lines |
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the pattern of a poem’s rhyme, usually indicated by assigning a letter of the alphabet to each rhyming sound |
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variant spelling of rhyme |
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Aristotle’s complication--an element of plot following the exposition and before the climax. The events after the introduction of setting and characters that lead up to the turning point—or point of most interest---in the narrative. |
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a narrative form concerned with a courtly and chivalric age, often one of highly developed manners and civility; standard plot = a quest undertaken by a single knight in order to gain a lady’s favor |
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a literary movement (as in that of 19th century England--1785 to 1830), marked especially by emphasis on the imagination and the emotions. In Romanticism the emotional and intellectual freedom of the individual is elevated above the traditional norms and confines of society. Nature is often seen as a source of inspiration. |
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crude and taunting use of apparent praise for dispraise--”Oh, you’re God’s gift to women, are you!” A form of irony |
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the literary art ridiculing a subject by making it ridiculous and evoking attitudes of amusement or contempt |
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author clearly show that the work is a satire |
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the satire is not stated directly but implied |
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the act of determining the prevailing rhythm of a poem |
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detailed description that appeals to and utilizes the five senses |
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excess emotion to an occasion, especially to an overindulgence in the intended emotions of pathos or sympathy |
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the time, place and natural environment in which all characters live and move, including all artifacts they use in their lives |
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the social locale and circumstances in which a narrative’s actions occur |
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the period of historical time in which a narrative is set |
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an often intentional change in anything - point of view, scenery, mood, etc.; can often be intended as a device |
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a figure of comparison using “like” with nouns and “as” with clauses |
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a form of discourse in which a character reveals his or her thoughts when alone or unaware of the presence of other characters |
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a lyric poem consisting of a single stanza of fourteen iambic pentameter lines linked by an intricate rhyme scheme; Elizabethan and Petrarchan being the predominant forms |
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a foot of two successive syllables with approximately equal strong stresses Goód stróng thíck stúpefying incense smoke (Browning) |
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a grouping of the verse-lines in a poem, set off by a space in the printed text |
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a character who is so ordinary and unoriginal that he or she seems to have been cast in a mold; a representative character; see character definition |
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a narrative method using long passages of introspection; used to describe the unbroken flow of perceptions, thought, and feelings in the waking mind |
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the form or overall design and arrangement of material in a work; the organizing principles in a work of literature |
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the modes and devices of expression in prose or verse. Thus diction, grammatical constructions, figurative language, alliteration and other sound patterns all enter into style. |
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in double plots (of Elizabethan drama), a second story that is complete and interesting in its own right |
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a logical scheme of a formal argument consisting of a major and a minor premise and a conclusion which must logically be true if the premises are true |
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a specific word, idea, or object that may stand for ideas, values, persons, or ways of life |
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descriptions of one kind of sensation in terms of another; for example, description of sound in terms of color---"the scarlet horns and pastel strings” |
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a part of something is used to signify the whole or vice versa ‘ten hands’meaning ten workmen |
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1) the way that sequences of words are ordered into phrases, clauses, and sentences; (2) the study of the above |
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poetry written in tercets which are interlinked in that each is linked to the one following by a common rhyme: aba, bcb, cdc, and so on |
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a general concept or doctrine which an imaginative work is designed to incorporate and make persuasive to the reader; a significant idea in a literary text |
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the argument or proposition one attempts to prove or defend in a scholarly essay |
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the techniques and modes of presentation an author uses to reveal or create attitudes in a literary piece; the author's attitude toward his subject and audience |
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literary, particularly dramatic, representations of serious and important actions which culminate in a disastrous conclusion for the protagonist |
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the protagonist’s error of judgment--synonym for hamartia |
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a noble hero who suffers a change in fortune from happiness to misery because of a mistaken act, to which he is led by his hamartia. The tragic hero moves us to pity because his punishment is greater than he deserves, but he also moves us to fear because we see similar possibilities of error in our own selves |
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changes in thought or direction of an idea; transitional expressions connect ideas and show how they are related |
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a two-syllable foot consisting of a heavy stress followed by a light stress: as in néver gáther háppy |
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figures of speech, most of which are used to compare dissimilar objects to achieve effects beyond the range of literal language; tropes include simile, metaphor, hyperbole, personification, etc. |
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restraint or lack of emphasis in expression, as for rhetorical effect |
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the achievement of an illusion of reality in the audience |
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common everyday speech, slang |
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compositions written in meter, a line of poetry; can refer to poetry in general |
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a pervasive authorial presence, a determinate intelligence and moral sensibility, which has invented, ordered, rendered, and expressed literary characters and materials in just this way; usually discussed as a strong voice, absence of voice, etc. |
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expressions in which a single word stands in the same grammatical relation to two or more other words, but with an obvious shift in its significance. |
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