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| A word or phrase representing something that can be seen, touched, tasted, smelled, or felt. |
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| The choice of words in oral and written discourse. |
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| facts that are included as well as those that are omitted. |
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| the overall use of language |
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| The organization of language into meaningful structure; every sentence has a particular pattern of words. The way an author chooses to join words into phrases, clauses, and sentences. |
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| the emotional tone in a work of literature. |
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| The relation in which a narrator or speaker stands to the story or subject matter of a poem. |
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| the main idea or meaning, often an abstract idea upon which a work of literature is built. |
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| The author's attitude toward the subject begin written about; the characteristic emotion that pervades a work or part of a work—the spirit or quality that is the work's emotional essence. |
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| Real or assumed personality used by the writer or speaker. |
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| The central idea or message of a work, the insight it offers into life. |
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(1) An evaluation of the sum of the choices an author makes in blending diction, syntax, figurative language, and other literary devices.
(2) Classification of authors to a group and comparison of an author to similar authors. |
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| the branch of linguistics that studies the meaning of words, their historical and psychological development, their connotations, and their relation to one another. |
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a witty or ingenious thought; a diverting or highly fanciful idea, often stated in figurative language. A fanciful expression, usually in the form of an extended metaphor or surprising analogy between seemingly dissimilar
objects. Displays intellectual cleverness as a result of the unusual comparison being made. |
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| a generic name for a figure of speech such as image, symbol, simile, and metaphor. |
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| a figure of speech that compares unlike objects. An implied comparison achieved through a figurative use of words; the word is used not in its literal sense, but in one analogous to it. |
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| A series of comparisons between two unlike objects. |
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A similarity or comparison between two different things or the relationship between them. can explain
something unfamiliar by associating it with or pointing out its similarity to something more familiar. can also make writing more vivid, imaginative, or intellectually engaging. |
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| a harsh metaphor involving the use of a word beyond its strict sphere. |
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| Generally, anything that represents itself and stands for something else; usually something concrete—such as an object, action, character, or scene—that represents something more abstract but can be much more complex; usually classified into one of three categories. |
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| A figure of speech in which objects and animals are given human characteristics. |
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| A figure of speech that uses the name of one thing to represent something else with which it is associated; substitution of one word for another which it suggests. |
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| A figure of speech in which a part signifies the whole |
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| the rhetorical strategy of claiming the intent of silence on a subject and then naming the subject, often at length. |
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| form of understatement in which the negative of the contrary is used to achieve emphasis or intensity, by denying the contrary of the thing being affirmed; the opposite of hyperbole. |
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| Paradox (figure of speech) |
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| an assertion seemingly opposed to common sense, but that may yet have some truth in it. |
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| repetition of an idea in a different word, phrase, or sentence. |
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| when one kind of sensory stimulus evokes the subjective experience of another. |
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| The ancient art of finding the best available means of persuasion. Those means of persuasion can be generally divided among logos (the logical appeal, considered the strongest appeal by the Greeks), ethos (the ethical appeal, otherwise known as the credibility of the speaker or the moral claims of the argument), and pathos (the pathetic or emotional appeal, useful for moving the audience to action, but dangerous when used merely to manipulate the audience's actions or thoughts by use of its emotional vulnerabilities). |
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| This flexible term describes the variety, the conventions, and the purposes of the major kinds of writing. |
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| the use of insincere or overdone sentimentality. Compare to pathos, a higher form of emotional appeal. |
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| The role or façade that a character/speaker assumes or depicts to the reader, a viewer, or the world at large. It works hand in hand with ethos, the ethical attitude of this speaker. |
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| A circumstance in which the audience or reader knows more about a situation than a character. |
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| A statement that seems self-contradictory but is nevertheless true. |
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| Similar to the truth; the quality of realism in a work that persuades readers that they are getting a vision of life as it is. |
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| the quickness of intellect and the power and talent for saying brilliant things that surprise and delight by their unexpectedness; the power to comment subtly and pointedly on the foibles of the passing scene. |
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| Characterized by distortions or incongruities |
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| a direct verbal assault; a denunciation. An emotionally violent, verbal denunciation or attack using strong, abusive language. |
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| a mode of expression in which the intended meaning is the opposite of what is stated, often implying ridicule or light sarcasm. |
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| From the Greek meaning “to tear flesh,” involves bitter, caustic language that is meant to hurt or ridicule someone or something. |
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| Faulty reasoning that inappropriately ascribes human feelings to nature or non-human objects. |
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| A concise but ingenious, witty, and thoughtful statement. |
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| A short, pithy statement of a generally accepted truth or sentiment. |
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| Direct address, usually to someone or something that is not present; also, a sudden turn from the general audience to address a specific group or person or personified abstraction absent or present. A figure of speech that directly addresses an absent or imaginary person or a personified abstraction, such as liberty or love. It is an address to someone or something that cannot answer. The effect may add familiarity or emotional intensity. |
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| The use of an unnecessarily long or roundabout form of expression; circumlocution. |
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| expression of doubt (often feigned) by which a speaker appears uncertain as to what he should think, say, or do. |
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| A direct or indirect reference to something which is presumably commonly known, such as an event, book, myth, place, or work of art. |
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| The multiple meanings, either intentional or unintentional, of a word, phrase, sentence, or passage. |
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| A sentence that follows the customary word order of English sentences, i.e., subject-verb-object. The main idea of the sentence is presented first and is then followed by one or more subordinate clauses. |
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| A work that targets human vices and follies or social institutions and conventions for reform or ridicule. |
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| A sentence that departs from the usual word order of English sentences by expressing its main thought only at the end. In other words, the particulars in the sentence are presented before the idea they support. |
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| The mood of a verb that gives an order. |
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| A sentence containing a deliberate omission of words. |
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| The word, phrase, or clause referred to by a pronoun. |
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| A grammatical unit that contains both a subject and a verb. |
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| this word group contains both a subject and a verb (plus any accompanying phrases or modifiers), but cannot stand alone; it does not express a complete thought. |
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| the repetition of a word or phrase at the beginning of successive phrases, clauses or lines. |
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| repetition of the same word or phrase at the end of successive clauses. |
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| A heaping together and piling up of many words that have a similar meaning. |
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| The repetition of identical or similar syntactic elements (word, phrase, clause). |
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| opposition, or contrast of ideas or words in a balanced or parallel construction. |
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| A form of parallelism, the repetition of phrases or clauses of equal length and corresponding grammatical structure. |
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| One idea is repeatedly expressed through additional words, phrases, or sentences. |
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| lack of conjunctions between coordinate phrases, clauses, or words. |
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| the repetition of conjunctions in a series of coordinate words, phrases, or clauses. |
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| two corresponding pairs arranged not in parallels (a-b-a-b) but in inverted order (a-b-b-a) |
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| Clauses or phrases arranged independently (a coordinate, rather than a subordinate, construction). |
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| An arrangement of clauses or phrases in a dependent or subordinate relationship. |
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| The usual word order is rearranged, often for the effect of emphasis or to maintain the meter. |
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a deductive system of formal logic that presents two premises (the first one called “major” and the second called “minor”) that
inevitably lead to a sound conclusion. |
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| the telling of a story or an account of an event or series of events. |
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| a general category of fallacies in which a claim or argument is rejected on the basis of some irrelevant fact about the author of or the person presenting the claim or argument. |
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| a fallacy in which the premises include the claim that the conclusion is true or (directly or indirectly) assume that the conclusion is true. |
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| This is the most general fallacy of irrelevance. Any argument in which the premises are logically unrelated to the conclusion commits this fallacy. |
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| one of the best-named fallacies, because it is memorable and vividly illustrates the nature of the fallacy. Imagine a fight in which one of the combatants sets up a man of straw, attacks it, then proclaims victory. All the while, the real opponent stands by untouched. |
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| Saying such and such is natural, although this claim is most likely false |
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| A word or phrase with a secondary, evaluative meaning in addition to its primary, descriptive meaning. |
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| A question with a false, disputed, or question-begging presupposition. |
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| The repetition of identical or similar vowel sounds. |
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| The repetition of two or more consonant sounds in a group of words or a line of poetry. |
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| the sss sound produced through the pronunciation of the sibilants: s (as in hiss and his), c ( as in certain), z (as in buzz) and the blend sh (as in whoosh). |
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| The use of words whose sounds suggest their meaning. |
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| a consonant that can be imperfectly sounded without a vowel so that at the end of a syllable its sound may be protracted |
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| four of the semivowels: l, m, n, and r. |
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| A mute is a consonant that cannot be sounded at all without a vowel, and which at the end of a syllable suddenly stops that breath |
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| a consonant sound produced by stopping the airflow in the vocal tract. |
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