Term
|
Definition
| A novel where exciting events predominate over characterization and sometimes theme |
|
|
Term
|
Definition
| A form of extended metaphor in which objects and persons in a narrative, either in prose or verse, are equated with meanings that lie outside the narrative itself. Many works contain allegories or are allegorical in part, but not many are entirely allegorical |
|
|
Term
|
Definition
| The recurrence of initial consonant sounds. The repetition is usually limited to two words |
|
|
Term
|
Definition
| A causal and brief reference to a famous historical or literary figure or event |
|
|
Term
|
Definition
| A rhetorical trope formed by repeating the last word of one phrase, clause, or sentence at or very near the beginning of the next. It can be generated in series for the sake of beauty or to give a sense of logical progression |
|
|
Term
|
Definition
| The comparison of two things, which are alike in several respects, for the purpose of explaining or clarifying some unfamiliar or difficult idea or object by showing how the idea or object is similar to some familiar one. While simile and analogy often overlap, the simile is generally a more artistic likening, done briefly for effect and emphasis, while analogy serves the more practical purpose of explaining a thought process or a line of reasoning or the abstract in terms of the concrete, and may therefore be more extended |
|
|
Term
|
Definition
| The repetition of the same word or words at the beginning of successive phrases, clauses, or sentences, commonly in conjunction with climax and with parallelism |
|
|
Term
|
Definition
| Reversal of the order of repeated words or phrases (a loosely chiastic structure, AB-BA) to intensify the final formulation, to present alternatives, or to show contrast (ask not what you can...) |
|
|
Term
|
Definition
| stablishing a clear, contrasting relationship between two ideas by joining them together or juxtaposing them, often in parallel structure. Human beings are inveterate systematizers and categorizers, so the mind has a natural love for antithesis, which creates a definite and systematic relationship between ideas |
|
|
Term
|
Definition
| The direct address of a person or personified thing, either present or absent. Its most common purpose in prose is to give vent to or display intense emotion, which can no longer be held back. Thus an apostrophe often interrupts the discussion |
|
|
Term
|
Definition
| The use of similar vowel sounds repeated in successive or proximate words containing different consonants |
|
|
Term
|
Definition
| Unrhymed iambic pentameter |
|
|
Term
|
Definition
| A work designed to ridicule a style, literary form, or subject matter either by treating the exalted in a trivial way or by discussing the trivial in exalted terms (that is, with mock dignity). Burlesque concentrates on derisive imitation, usually in exaggerated terms. Literary genres (like the tragic drama) can be burlesqued, as can styles of sculpture, philosophical movements, schools of art, and so forth |
|
|
Term
|
Definition
| A pause, metrical or rhetorical, occurring somewhere in a line of poetry. The pause may or may not be typographically indicated |
|
|
Term
|
Definition
| A crossing parallelism, where the second part of a grammatical construction is balanced or paralleled by the first part, only in reverse order. Instead of an A,B structure (e.g., "learned unwillingly") paralleled by another A,B structure ("forgotten gladly"), the A,B will be followed by B,A ("gladly forgotten"). So instead of writing "What is learned unwillingly is forgotten gladly," you could write, "What is learned unwillingly is gladly forgotten." Similarly, the parallel sentence, "What is now great was at first little," could be written chiastically as, "What is now great was little at first |
|
|
Term
|
Definition
| A type of novel where the protagonist is initiated into adulthood through knowledge, experience, or both, often by a process of disillusionment. Understanding comes after the dropping of preconceptions, a destruction of a false sense of security, or in some way the loss of innocence. Some of the shifts that take place are these |
|
|
Term
|
Definition
| An elaborate, usually intellectually ingenious poetic comparison or image, such as an analogy or metaphor in which, say a beloved is compared to a ship, planet, etc. The comparison may be brief or extended. See Petrarchan Conceit |
|
|
Term
|
Definition
| Repetition of a word or phrase after an intervening word or phrase |
|
|
Term
|
Definition
| A line that has a natural pause at the end (period, comma, etc.). For example, these lines are end stopped |
|
|
Term
|
Definition
| The running over of a sentence or thought into the next couplet or line without a pause at the end of the line; a run-on line. For example, the first two lines here are enjambed |
|
|
Term
|
Definition
| The repetition of the same word or words at the end of successive phrases, clauses or sentences. Epistrophe (also called antistrophe) is thus the counterpart to anaphora |
|
|
Term
|
Definition
| An adjective or adjective phrase appropriately qualifying a subject (noun) by naming a key or important characteristic of the subject, as in "laughing happiness," "sneering contempt," "untroubled sleep," "peaceful dawn," and "life-giving water." Sometimes a metaphorical epithet will be good to use, as in "lazy road," "tired landscape," "smirking billboards," "anxious apple." Aptness and brilliant effectiveness are the key considerations in choosing epithets. Be fresh, seek striking images, pay attention to connotative value |
|
|
Term
|
Definition
| an adjective modifying a noun which it cannot logically modify, yet which works because the metaphorical meaning remains clear |
|
|
Term
|
Definition
|
|
Term
|
Definition
| The substitution of a mild or less negative word or phrase for a harsh or blunt one, as in the use of "pass away" instead of "die." The basic psychology of euphemistic language is the desire to put something bad or embarrassing in a positive (or at least neutral light). Thus many terms referring to death, sex, crime, and excremental functions are euphemisms. Since the euphemism is often chosen to disguise something horrifying, it can be exploited |
|
|
Term
|
Definition
| device that allows the writer to present events that happened before the time of the current narration or the current events in the fiction. Various methods can be used, including memories, dream sequences, stories or narration by characters, or even authorial sovereignty |
|
|
Term
|
Definition
| The basic unit of meter consisting of a group of two or three syllables. Scanning or scansion is the process of determining the prevailing foot in a line of poetry, of determining the types and sequence of different feet |
|
|
Term
|
Definition
| A narrative structure that provides a setting and exposition for the main narrative in a novel. Often, a narrator will describe where he found the manuscript of the novel or where he heard someone tell the story he is about to relate. The frame helps control the reader's perception of the work, and has been used in the past to help give credibility to the main section of the novel |
|
|
Term
|
Definition
| Verse that has neither regular rhyme nor regular meter. Free verse often uses cadences rather than uniform metrical feet |
|
|
Term
|
Definition
| Two lines of rhyming iambic pentameter. Most of Alexander Pope's verse is written in heroic couplets. In fact, it is the most favored verse form of the eighteenth century |
|
|
Term
|
Definition
| The new emphasis in the Renaissance on human culture, education and reason, sparked by a revival of interest in classical Greek and Roman literature, culture, and language. Human nature and the dignity of man were exalted and emphasis was placed on the present life as a worthy event in itself (as opposed to the medieval emphasis on the present life merely as preparation for a future life) |
|
|
Term
|
Definition
| n medieval physiology, four liquids in the human body affecting behavior. Each humour was associated with one of the four elements of nature. In a balanced personality, no humour predominated. When a humour did predominate, it caused a particular personality. Here is a chart of the humours, the corresponding elements and personality characteristics |
|
|
Term
|
Definition
| Exaggeration used for emphasis. Hyperbole can be used to heighten effect, to catalyze recognition, or to create a humorous perception |
|
|
Term
|
Definition
| Speech or writing that abuses, denounces, or vituperates against. It can be directed against a person, cause, idea, or system. It employs a heavy use of negative emotive language |
|
|
Term
|
Definition
| A mode of expression, through words (verbal irony) or events (irony of situation), conveying a reality different from and usually opposite to appearance or expectation. A writer may say the opposite of what he means, create a reversal between expectation and its fulfillment, or give the audience knowledge that a character lacks, making the character's words have meaning to the audience not perceived by the character. In verbal irony, the writer's meaning or even his attitude may be different from what he says: "Why, no one would dare argue that there could be anything more important in choosing a college than its proximity to the beach." An example of situational irony would occur if a professional pickpocket had his own pocket picked just as he was in the act of picking someone else's pocket. The irony is generated by the surprise recognition by the audience of a reality in contrast with expectation or appearance, while another audience, victim, or character puts confidence in the appearance as reality (in this case, the pickpocket doesn't expect his own pocket to be picked). The surprise recognition by the audience often produces a comic effect, making irony often funny |
|
|
Term
|
Definition
| Harsher, more pointed, perhaps intolerant satire typified by the writings of Juvenal. Juvenalian satire often attacks particular people, sometimes thinly disguised as fictional characters. While laughter and ridicule are still weapons as with Horatian satire, the Juvenalian satirist also uses withering invective and a slashing attack. Swift is a Juvenalian satirist |
|
|
