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a work that functions on a symbolic level
examples: Plato's "Allegory of the Cave" or possily The Crucible or Lord of the Flies |
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repetition of initial sounds
example: Peter Piper picked a peck of pickled peppers |
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reference contained in a work
examples: in literature, allusions are often to Shakespeare, the Bible, or Greek mythology |
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force or character that opposes the main character, the protagonist
example: Iago in the play Othello |
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Direct address to an inanimate object or imaginary person/idea
example: Oh, love, why do you torment me? |
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words spoken by an actor intended to be heard by the audience, but not by other characters on stage
example: Iago's comments to the audience that Othello does not hear |
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a simple narrative poem, often incorporating dialogue that is written in quatrains
example: ballads are often written about folk heroes, like Robin Hood |
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unrhymed iambic pentameter
example: most of Shakespeare's plays are written in this form |
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harsh and discordant sounds in a line or passage of a literary work
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a break or pause within a line of poetry indicated by puncutation and used to emphasize meaning
example: Where, where was Eloise? || her voice, her hand, Her poniard, || had opposed the dire command.
(double line indicates caesura) |
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According to Aristotle, the release of emotion that the audience of a tragedy experiences
example: after hearing John Proctor's story in The Crucible, we experience a release of emotions |
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one who carries out the action of the plot.
Types of characters: major, minor, static, and dynamic. |
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turning point of action or character, usually the highest point of tension |
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The interpretive level of a word based on its associated images/ideas rather than its literal meaning. |
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A traditional aspect of a literary work, such as a soliloquy in a Shakespeare play or a tragic hero in a Greek tragedy. |
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Two lines of rhyming poetry; often used by Shakespeare to conclude a scene or an important passage. |
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A foot of poetry consisting of a stressed syllable followed by two unstressed syllables. |
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The literal or dictionary definition of a word. |
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The conclusion or tying up of loose ends in a literary work; the resolution of the conflict and plot. |
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A Greek invention, literally "the god from the machine" who appears at the last moment and resolves the loose ends of a play. |
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The author's choice of words (and their effect). |
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A type of poem that presents a conversation between a speaker and an implied listener. |
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A poem that laments the dead or a loss. |
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A technique in poetry that involves the running on of a line or stanza (into the next one). It enables the poem to move and to develop coherence as well as directing the reader with regard to form and meaning. |
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A lengthy, elevated poem that celebrates the exploits of a hero. |
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A brief witty poem, sometimes used for satiric commentary. |
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The pleasant, melifluous presentation of sounds in a literary work. (Opposite = cacophony.) |
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Background information presented in a literary work - often the setting and important characters established at the beginning. |
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A simple, symbolic story, usually employing animals as characters.
Example: Aesop's fables that have animal characters, often with a lesson at the end. |
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The body of devices (symbolism, hyperbole, metaphors, etc.) that enables the writer to operate on a level other than a literal one. ~Creative use of language. |
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A device that enables a writer to refer to past thoughts, events, episodes. |
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The shape or structure of a literary work. |
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Poetry without a defined form, meter, or rhyme scheme. |
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Exaggeration used for effect. |
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A metrical foot consisting of an unaccented syllable followed by an accented one (common in English language). |
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A type of lyric poem which extols the virtues of an ideal place or time. |
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The total effect of related sensory impression, concept, or emotion. ~Use of sensory detail. |
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An unexpected twist or contrast between what happens and what was intended or expected to happen. (The *opposite* of what we expect.) |
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A type of poetry characterized by emotion, personal feelings, and brevity; a large and inclusive category of poetry that exhibits rhyme, meter, and reflective thought. |
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A type of literature that explores narratives by and about characters who inhabit and experience their reality differently from what we term the objective world.
Examples: Chronicle of a Death Foretold by G.G. Marquez |
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A direct comparison between dissimilar things.
Example: Your eyes are stars. |
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Refers to works that are highly complex, and philosophical. |
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A pattern of beats in poetry. |
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A figure of speech in which a representative term is used for a larger idea.
Example: The pen is mightier than the sword. |
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A speech given by one character. |
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A repetition or variations of an image or idea in a work which is used to develop theme or characters.
Example: the color red in The Scarlet Letter |
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A poem that tells a story. |
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The speaker in a literary work (usually novel or short story). |
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A formal, lengthy poem that celebrates a particular subject. |
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Words that sound like the sound they represent.
Example: hiss, gurgle, bang. |
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An image of contradictory terms.
Example: bittersweet, pretty ugly |
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A story that operates on more than one level and usually teaches a moral lesson. |
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A secondary plot line that mimics and reinforces the main plot.
Example: Candy loses his dog; George loses Lennie. |
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A comic imitation of a work that ridicules the original. |
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Aspects of a literary work that elicit pity from the audience. |
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Assigning human qualities to inanimate objects. |
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Sequence of events in a literary work. Usually: exposition, rising action, climax, falling action, resolution. |
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The method of narration in a work.
Often 1st (I) or 3rd person (s/he). |
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The hero or main character of a literary work; usually the one the audience sympathizes with. |
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The denoument, or tying up of loose ends, in a literary work. |
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A question that does not expect an explicit answer. |
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The pattern of the rhyme. |
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A mode of writing based on ridicule, which criticizes the foibles and follies of society without necessarily offering a solution. |
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Analysis of a poem's rhyme and meter. |
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A highly structured poetic form of 39 lines; repeats six words from first and each of the next six stanzas. |
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The time and place of a literary work. |
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An indirect comparison that uses 'like' or 'as'. |
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A speech in a play which is used to reveal the character's inner thoughts to the audience. |
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A unit of a poem, similar in rhyme, meter, and length to other units in the poem. |
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The organization and form of a work. |
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A secondary plot that explores ideas different from the main storyline. |
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Implied meaning of a work or section of a work. |
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Something in a literary work that stands for something else - a literal and greater meaning. |
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A figure of speech that utilizes a part as representative of a whole.
Example: all hands on deck. |
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The grammatical structure of prose and poetry; word order. |
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The underlying ideas that the author illustrates through characterization, motifs, language, plot, etc. |
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According to Aristotle, a person of nobel birth, who has a fatal flaw that leads to his/her downfall. |
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Also called 'litote'; opposite of exaggeration. Develops irony or humor.
Example: referring to a huge gash as a small papercut. |
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A highly structured poetic form: six stanzas - repeats first and third lines throughout. |
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The basic unit of measurement ofaccentual-syllabic meter. A foot usually contains one stressed syllable and at least one unstressed syllable. The standard types of feet in English poetry are theiamb,trochee,dactyl,anapest,spondee, and pyrrhic (two unstressed syllables) |
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A metricalfootconsisting of an accented syllable followed by an unaccented syllable. Examples of trochaic words include “garden” and “highway.” William Blake opens“The Tyger” with a predominantly trochaic line: “Tyger! Tyger! Burning bright.” Edgar Allan Poe’s“The Raven” is mainly trochaic. |
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A metrical foot consisting of an accented syllable followed by two unaccented syllables; the words “poetry” and “basketball” are both dactylic. |
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A metricalfoot consisting of two unaccented syllables followed by an accented syllable. The words “underfoot” and “overcome” are anapestic. |
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