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| A work in which related symbols work together to produce a moral lesson or indication of progress. Usually, characters, events, and settings will represent certain moral qualitites or will personify certain abstractions. |
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| A comparison that uses a recognizable concept or image to explain something unfamiliar. |
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| The counterforce or opponet who provides conflict in the play or story, confronting or attempting to complicate the life of the central character, or protagonist. |
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| A recurrent image that emergaes from deep-seated associations that are anchored in universal patterns or structures of experience. Usually, a common, universal role assumed by a character (e.g., the prodigal son, damsel in distress, or knoght-errant.) |
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| From the Italian meaning "exaggeration," Term used to describe characters who are comically distorted by the exaggeration of key traits that make them seem ridiculous or worthy of parody. |
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| Person in a literary work, sometimes referred to as flat or round. |
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| the way in which an author represents or portrays a character for the reader. This can be revealed through the author's description or the character or through the character's speech, actions, and thoughts |
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| The culmination of vents in the story, novel, or play. The highest point of interest or intensity. the point at which the events take an important and irrevocable turn. |
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| The central tension and point of suspense in a literary work. For example, the central character may be in conflict with another character or characters or may be confronting a certain belief system or institution, In addition, it is possible that a character may be in conflict with himselfor herself, struggling with a decision or attempting to work with divided loyalities or internal motivations that are pullling him or her in different directions. |
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| Any association or attitude that is embedded in a word's meaning or is brought to mind by the mention of a workd or phrase. For example, the workd "odor" might mean the same thing a "scent," but "odor" would never be used to market cologne because of its negative connotation. |
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| A sardonic, sarcastic, paradoxical form of humor that allows readers or audiences to observe and find comedy in disastrous or sobering events such as death, illness, misfortune, or other events that normally sadden and disturb. |
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| The literal definttion of a word, devoid of contextual or emotional issues or connotations. |
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| The conclusion, ir untying and unraveling of events in a story. |
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| Regional variations in the speech of a common language. Writers often employ vernacular wtiting to denote dialext(e.g., writing in a Southern dialect by depicting the Southern drawl). Dialect can help place characters by race, place of birth, gender, or backround. |
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| A verbal exchange between two or more people. |
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| The writer's choice of words. |
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| A kind of sympathy that allows us to identify with the experiances, emotions, situations, and motives of another person or character. |
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| A moment of sudden realization or understanding in which the true meaning of certain events id revealed. |
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| That part of a play, story, or novel in which the author establishes setting, situations, and often central characters and themes. |
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| Actiontha is usually composed of the characters' immediate reactions and responses to the climatic events of a story. The character have not yet resolved their conflicts, but the events are heading towar a conclusion. |
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| A narrative in which one of the characters narrates the story knowing only information that he or she can observe based on his or her limited perspective. |
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| A reversion back to events that have previoulsy taken palce. This allows the writer to interrupt normal chronological order in the narrative. |
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| A character who is easily describable or represented with a one-track personality or who is representative of a sterotype. |
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| A prediction within the text. Usually occurring toward the beginning of the narrative, this is often a hint at some event or situation that will develop later in the story. This may take the form of a particular mood created by the setting, such as a sense of foreboding or a doom experinced by the character, or it may occur as the author focuses repeatedly on an object or symbol that seems to acquire certain significance or importance. |
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| A type of writing. Differnt kinds of genres include drama, short stories, essays, poems, novels, ect. |
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| A disparity between what is said and what is meant, what is expected and the actual outcome, or what a character understands andwhat the reader or audience understands. |
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| From the Latin for "mirror." This refers to the author's means of representing or mirroring reality in fiction. |
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| The overriding, dominant emotional quality present in a literary work, created by the author's description of themem, setting, or character. |
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| In a story, the person speaking to the reader or telling the reader a story. |
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| All knowing or able to see everything at once. Usually used in reference to an omniscient narrative voice. |
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| The way an author represents a chain of events within a literary work. The plot may be tightly structured witha chain of cause and effect that leads to a certain conclusion, or it may be used to suprise readers with unexpected or unforseen twists and turns. |
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| The perspective or vantage point by which the reader is able to see or experince certain events within a story or poem. There are several different kinds of point of view: first person, second person, third person limited, third person omniscient, and third person objective. |
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| Language tha is not obvioulsy musical in beat or rhyme and that is prined from the left to the right margin. |
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| The central character in a piece of drama or fiction. The root of this work, "agon," is Greek and means "contest," the protagonist is the hero, the main character in contest or conflict with his or her situation or another character (the antagonist). |
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| The increasing conflict or struggle within a story, the culmiation of which will result in the climax. This is also the means by which the suspense in a story is established. |
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| A character who is more developed or complicate, exhibiting a range of responses, emotions, and loyalties. |
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| The use of humor, wit, and ridicule to criticize,attack, or hold up for scorn. Often, satires are meant to expose some folly in human behavior for the purpose of social change, reform or awareness. |
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| Considerably more rare than first or third person. To identify this point of view, look for the subjective pronoun "you" as the subject or primary character of the piece. |
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| the place where a story occurs. (May refer to the time as well as the place of a story.) |
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| A narraative technique that attempts to stimulate the complete flow of a character's thoughts. In this form of wrting, ideas, thoughts, memories, dreams, sensory impressions, and conversations may combine or intermingle with out clear transition or conventions. |
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| The way an author expresses or presents his/her subject matter, including diction (word order), figurative language, dialougue, and all of the decisons an author makes. |
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| A second plot, usually one that involves minor characters. This plot is subordinate to the main plot but often affects or is resolved by certain events that occur in the primary plot. |
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| Anything that represents more than itself or is inversted with meaning. An object, action, or even a person may serve as a symbol. Symbols may be contextual, deriving from certain events within the story or poem, or they may be public symbols that refer to objects, actions, or person that history, religion, myth,or legend has infused with meaning. |
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| Aunifying, central subject or idea that provides a literary work with its stance or approach. The theme may be a theory or an answer provided by the story based on the qusetions it raises (what the work seems to say about a particular subject). In a story, themes can be overt and fairly obvious, or they may provoke the reader into evaluating implied or suggested meanings. |
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| third person limited narrative |
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| a narrative in whic the narrator focuses on the actions and thoughts of one or more of the characters. There will be no first person pronoun "I" to refer to the narrator. Instead, look for third person pronouns like "he" "she" or proper names. |
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| third person objective narrative |
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| A narrative in which the writer uses an allseeing or all knowing narrator whis is aware of all of the private thoughts, emotions, and behaviors of each character. |
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| the emotional approach or attitude that the writer chooses to use to color the work. The tone of a piece may be on of the bitterness, sorrow, anger, irony,joy, etc. |
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| the point in a story at which things change irrevocably for the characters. |
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