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| repitition of consonant sounds at the beginning of words |
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| Repetition of an opening word or phrase in a series of lines |
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| Reference to a statement, person, place, that's it, we're safe from literature, history, religion, mythology, politics, sports, science, or pop-culture |
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| Figure of speech in which a speaker directly addresses and absent or dead person, abstract quality, something nonhuman as if he were president and capable of responding |
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| Repetition of similar vowel sounds and words of accented syllables or important words close together |
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| What a word suggest beyond its basic dictionary definition; a word's overtones of meaning |
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| A harsh, discordant, unpleasant-sounding choice and arrangement of words |
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| Repetition of final consonant sounds of accented syllables or important words |
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| Two successive lines, usually in the same meter, linked by rhyme |
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| The basic definition or dictionary meaning of a word |
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| Rhymes that occur at the end of lines |
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| A smooth, pleasant-sounding choice and arrangement of sounds |
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| Extended figure (or sustained figure) |
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| Figure of speech (usually a metaphor, simile, personification, or apostrophe) sustained or developed through a considerable number of lines or through an entire poem |
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A rhyme in which the repeated accented vowel is in either the second or third last syllable of the words involved Example: ceiling & appealing |
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| Language employing figures of speech; language that cannot be taken literally or only literally |
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| Figure of speech that uses exaggeration or overstatement to express strong promotion or create comic effect |
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| Language that appeals to the senses |
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| A situation or use of language and involving some kind of incongruity or discrepancy |
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| What are the three types of irony? |
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| Verbal, dramatic, and situational |
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A rhyme in which the repeated accented vowel sound is in the final syllable of the words involved Examples: 1) dance & pants 2) scald & recalled |
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| Figure of speech in which an implicit comparison is made between two things essentially unalike |
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| Irregular patterns of accent that underlie metrical verse; the measurable repetition of accented and unaccented syllables in poetry |
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| Figure of speech in which some significant aspect for detail of an experience is used to represent the whole experience; the use of something closely related for the thing actually meant |
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| The use of words that supposedly mimic their meaning in their sound |
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| Statement or situation containing apparently contradictory or incompatible elements |
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| Figure of speech in which human attributes are given to an animal, an object, or a concept |
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| The repetition of the accented vowel sound and all succeeding sounds important or importantly positioned words |
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| A four-line stanza; a four-line division of a sonnet marked off by his rhyme scheme |
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| Any fixed pattern of rhymes characterizing an entire poem or its stanzas |
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| Alternation of stressed and unstressed syllables in language |
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| A fixed form of 14 lines, normally iambic pentameter, with a specific rhyme scheme |
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| Figure of speech in which an explicit comparison is made between two dissimilar things |
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| A group of lines and symmetrical pattern (and usually it's rhyme scheme as well) is repeated throughout a poem |
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| Something that means more than what it is; an object, person, situation, or action that in addition to its literal meaning suggest other meanings as well |
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| Figure of speech in which a part is used for the whole |
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| Presentation of one sense experience in terms usually associated with another sensation |
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| Central idea or insight of a work of literature |
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| Attitude a writer takes toward the reader, a subject, or a character; the emotional coloring, or emotional meaning, of a work |
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| The total experience communicate about the phone; it includes all those dimensions of experience by which a plump communicates - sensuous, emotional, imaginative, and intellectual - and it can be communicated in no other words than those of the poem itself |
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| Figure of speech that consists of saying less than one meanings, or of saying what one means with less force than the occasion warrants |
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| Metrical language; the opposite of prose |
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| One unaccented syllable followed by one accented syllable |
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| A figure of speech in which what is said is the opposite of what is meant |
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| One accented syllable followed by one unaccented syllable |
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| And incongruity or discrepancy between what a character says or thinks and what the reader knows to be true (or between what a character perceives and what the author intends the reader to percieve) |
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| A situation in which there is an incongruity between a parent and reality, or between expectation and fulfillment, or between the actual situation and what would seem appropriate |
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| The various literary means by which characters are presented |
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| seize the day; enjoy the present, as opposed to placing all hope in the future |
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| a recurring subject, theme, idea, etc., esp. in a literary, artistic, or musical work |
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| A speech in which a character, alone on the stage, addresses himself or herself; it is a "thinking out loud," a dramatic means of letting an audience know a character's thoughts and feelings |
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| A type of drama, opposed to comedy, which depicts the casually related events that lead to the downfall and suffering of the protagonist, a person of unusual moral or intellectual stature or outstanding abilities |
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| the flaw or error of a tragic hero that leads to his downfall |
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| a literary character who makes an error of judgment or has a fatal flaw that, combined with fate and external forces, brings on a tragedy |
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| In a tragedy, a comic scene that follows a scene of seriousness and by contrast intensifies the emotions aroused by the serious scene |
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| A minor character in the situation or actions parallel those of a major character, and thus by contrast sets off or illuminates the major character; most often the contrast is complementary to the major character |
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| The act of substituting a mild, indirect, or vague term for one considered harsh, blunt, or offensive |
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A figure of speech consisting of an understatement in which an affirmative is expressed by negating its opposite Example: This is no small problem. |
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| A lyric poem of some length, usually of a serious or meditative nature and having an elevated style and formal stanzaic structure |
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A literary, usually verse composition in which a speaker reveals his or her character, often in relation to a critical situation or event, in a monologue addressed to the reader or to a presumed listener
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an Italian form of iambic verse consisting of eleven-syllable lines arranged in tercets, the middle line of each tercet rhyming with the first and last lines of the following tercet |
Example: a-b-a-b-c-b-c-d-c-, etc. |
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| elevated or lofty in thought, language, etc.; impressing the mind with a sense of grandeur or power; inspiring awe, veneration, etc. |
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A character whose distinguishing moral qualities or personal traits are summed up in one or two traits |
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| A character whose distinguishing moral qualities or personal traits are complex and many-sided |
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| A character who is the same sort of person at the end of the work as at the beginning |
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| Dynamic (or developing) character |
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| A character who during the course of the work undergoes a permanent change in some distinguishing moral qualities or personal traits or outlook |
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| Who is the author of the "Chimney Sweeper"? |
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| Who is the author of "The World Is Too Much with Us"? |
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| Who is the author of "Composed upon Westminister Bridge"? |
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| Who is the author of "There Was a Boy"? |
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| Who wrote "When I Have Fears"? |
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"Ode to the West Wind" was written by who? |
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| "Ulysses" was written by who? |
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| "My Last Duchess" was written by who? |
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| What period lasted from 1789-1832? |
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| Romanticism turned away from the 18th-century emphasis on what two things? |
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| The Romantics embraced what two things? |
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| imagination & naturalness |
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What three types of works did Romantic-era poets reject of the previous century? Hint: Looking for 3 descriptive words! |
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| Romantics preferred poetry that spoke of what kind experiences and emotions, often in simple, unadorned language? |
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What form of literature did Romantics feel was best suited to expressions of feelings, self-revelation, and the imagination? Hint: Think about songs! |
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| Who urged poets to adopt a democratic attitude toward their audiences; though endowed with a special sensibility, the poet was always "a man speaking to men"? |
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| Many Romantics turned to a past or what for inspiration? |
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| an inner dream world that they felt was more picturesque and magical than the ugly industrial age they lived in |
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| Most Romantics believed in what and sympathized with who? |
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| individual liberty; those who rebelled against tyranny |
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| The Romantics thought of nature as what? |
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| The Romantics were fascinated by the ways what two things "mirrored" the other's creative properties? |
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| An artistic and intellectual movement originating in Europe in the late 18th century and characterized by a heightened interest in nature, emphasis on the individual's expression of emotion and imagination, departure from the attitudes and forms of classicism, and rebellion against established social rules and conventions |
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| Whose Preface to the 2nd edition of Lyrical Ballads stated the new poetic theory of the age? |
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| In the Romantic Period, "the spontaneous overflow of powerful feelings," produced by the inner feelings of the poet is known as what? |
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| What was the primary interest to the Romantic poets? |
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| Give an example of how Romantic poetry was defined by contrast? |
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Any of these: 1) imagination vs reality 2) imagination vs reason 3) imagination vs science 4) imagination vs. the understanding 5) imagination vs religious truth |
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| What was popularized in 18th-century and flourished during the Romantic Period as well? |
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| Romantic poetry is often considered to be what kind of poetry, though it is not meant to be merely descriptive? |
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| Romantic poems often begin in _________ only to turn to ____________ on some other personal ______________ or _____________. |
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| nature; meditation; crisis; theme |
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| Romantic literature sought to __________ everyday _________________ and _____________, often related _________________ events, and promoted _______________________. |
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| glorify; language; supernatural; individualism |
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| Two new types of fiction were the ______________ novel, usually set in the past in some gloomy ___________, and the __________ of _________, written mainly to promote the ideals of the ________________ _____________________. |
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| Gothic; castle; novel of purpose; French Revolution |
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