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mood, time, place established; characters and their relationships to one another are introduced.
(Act 1, scene 1 - Act 1, scene 4) |
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complication or initial incident to get things going.
(Act 1, scene 4) |
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involves more than one act en route to climax.
(Act 1, scene 5 - Act 3, scene 1, line 196) |
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the turning point of the play; from this point on, the Shakespearean hero moves to his inevitable end.
(Act 3, scene 1, line 196) |
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includes those events occurring from the time of the climax up to the hero's death; like the rising action, falling action will involve events in more than one act.
(Act 3, scene 1, line 198 - Act 5, scene 2) |
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Greek: exodus
French: denouement
Concerns the necessary consequences of the hero's previous actions which must be the hero's death; is simple and brief.
(Act 5, scene 3) |
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| A person who precipitates (brings about) an event or change |
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| Is an example of a catalyst in Juliet's plan to drink the poison |
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| Is an example of a catalyst in Juliet's decision to accept Friar Lawrence's plan |
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| Is an example of a catalyst to tragedy by agreeing to marry Romeo and Juliet |
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| Is an example of a catalyst when Mercutio dies in a duel with Tybalt (Romeo avenges death; is banished) |
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| Act 3, scene 2 is an example of... |
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| Act 2, scene 2 is an example of... |
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| Act 3, scene 5 is an example of... |
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| the repition of constant sounds generally at the beginning of words. Can be used to emphasize, reinforce meaning or create a musical effect |
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| a reference to a well known character, place or situation from history, music, art or another work of literature. |
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| a comparison that shows similarity between two things that ware otherwise dissimilar. |
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| the use of a word or phrase that imitates or suggests the sound of what it describes. |
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| obvious and intentional exaggeration. |
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| the act or an instance of stating something in restrained terms, or as less than it is |
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| any long speech by one person, esp when interfering with conversation |
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| an utterance or discourse by a person who is talking to himself or herself or is disregardful of or oblivious to any hearers present (often used as a device in drama to disclose a character's innermost thoughts) |
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| the actors who sang the chorus and commented on the action of the play |
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| a verse form of Italian origin consisting of 14 lines in iambic pentameter with rhymes arranged according to a fixed scheme, usually divided either into octave and sestet or, in the English form, into three quatrains and a couplet |
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| a common meter in poetry consisting of an unrhymed line with five feet or accents, each foot containing an unstressed syllable and a stressed syllable |
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| Stressed/Unstressed Syllables |
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| The stressed syllable or syllables in a word are the ones that get pronounced more forcefully. |
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| The unstressed syllable or syllables in a word are the ones that get pronounced less forcefully. |
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| a pair of successive lines of verse, esp. a pair that rhyme and are of the same length. |
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| characters that contrast with traits |
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| to place close together or side by side, esp. for comparison or contrast. |
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| rhetoric an epigrammatic effect, by which contradictory terms are used in conjunction: living death ; fiend angelical |
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