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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): Hamlet's soliloquy begins with “To be or not to be" |
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| on or to one side; to or at a short distance apart; away from some position or direction: to turn aside; to move the chair aside. |
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| a metaphor introduced and then further developed throughout all or part of a literary work, especially a poem: Robert Frost uses two roads as an extended metaphor in “The Road Not Taken.” |
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| the formation of mental images, figures, or likenesses of things, or of such images collectively: the dim imagery of a dream. |
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| to prevent the success of; frustrate; balk: Loyal troops foiled his attempt to overthrow the government. |
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| obvious and intentional exaggeration. |
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| obvious and intentional exaggeration. |
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| an act or instance of connoting. |
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| the explicit or direct meaning or set of meanings of a word or expression, as distinguished from the ideas or meanings associated with it or suggested by it; the association or set of associations that a word usually elicits for most speakers of a language, as distinguished from those elicited for any individual speaker because of personal experience. Compare connotation. |
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| a figure of speech by which a locution produces an incongruous, seemingly self-contradictory effect, as in “cruel kindness” or “to make haste slowly.” |
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