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| resemblance or similarity in sound between vowels followed by different consonants in two or more stressed syllables; its effect is more subtle than alliteration ex: "We h-a-iled it in God's n-a-me." |
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| the prevailing tone or mood of a literary work, particularly-but not exclusively- when that mood is established in part by setting or landscape |
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| a poem about dawn; a morning love song; a poem about the parting of lovers at dawn |
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| new writings which show striking innovations in style, form, and subject matter; it makes a frontal and organized attack upon established literary traditions |
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| A simple poem which deals with a dramatic situation usually created for singing. Folk: an early literary form of unknown authorship, such as "Lord Randal" Literary: a conscious imitation, by a known author, of the folk ballad in subject, spirit, and style. |
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unrhymed iambic pentameter "O what a rogue and peasant slave am I." |
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| literary banality demonstrates a lack of effectiveness, seems tasteless or offensive, and expresses hackneyed, stale, trite, stereotyped images or ideas |
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| a harsh, unpleasant combination of sounds or tones. the hard c 0r k, the hard g, and the t and d, for example, when occurring close together are liable to produce a discordant effect. |
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| a pause or break in the rhythmical progress of a line of poetry |
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| "seize the day"; a motif in poetry which advises the reader to enjoy the pleasant pleasures because of the brevity and finality of death. ex: "eat, drink, and be merry, for tomorrow we die!" |
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| the creation of imaginary persons so credible that they exist for the reader as real within the limits of the fiction; may be accomplished through direct exposition, presentation of the character in action, or representation from within a character. |
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| an overused phrase which has lost its freshness or an overused situation |
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| the turning point in the action, the place at which the rising action reverses and becomes the falling action. The point in the plot of greatest excitement, intensity, or impressiveness. |
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| a humorous scene, incident, or speech in the course of a serious fiction or drama. Its purpose is to relieve the tension and thereby heighten the tragic emotion by contrast |
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| The struggle which grows out of the interplay of the two opposing forces in the plot. Conflict may be internal (man v himself) or external (man v man, man v nature, man v fate) No conflict = no plot. |
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