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| a prose or poetic narrative in which the characters, behavior, and even the setting demonstrates multiple levels of meaning an significance |
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| the sequential repetition of a similar initial sound, usually applied to consonants, usually heard in closely proximate stressed syllables |
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| a reference to a literary or historical event, person, or place |
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| a metrical foot in poetry that consists of two unstressed syllables followed by one stressed |
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| regular repetition of the same word or phrase at the beginning of successive phrases or clauses |
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| a brief story or tale told by a character in a piece of literature |
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| any force that is in opposition to the main character, or protagonist |
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| juxtaposition of sharply contrasting ideas in balanced or parallel words, phrases, grammatical structure, or ideas |
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| an address or invocation to something that is inanimate |
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| an address or invocation to something that is inanimate |
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| recurrent designs, patterns of action, character types, themes or images which are identifiable in a wide range of literature |
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| a repetition of identical or similar vowel sounds, usually those found in stressed syllables of close proximity |
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| Style where conjunctions are omitted, usually having a more fast paced, more rapid prose |
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| sense expressed by the tone of the voice and or the mood of a piece of writing |
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| narrative poem that is meant to be sung |
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| common stanza form, consist of quatrain, that alternates four-beat and three-beat lines. one and three are unrhymed iambic tetrameter, and two and four are rhymed iambic trimer |
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| the verse form that most resembles common speech, blank verse consist of unrhymed lines in iambic pentameter |
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| pause in a line of verse, indicated by natural speech patterns rather than due to specific metrical patterns |
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| exaggerated depictions of character's personality or features |
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| a figure of speech by which the order of the terms in the first of two parallel clauses is reversed in the second. "pleasures a sin, and sometimes sin's a pleasure" |
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| ordinary language. vernacular |
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| comparing two unlikely things that is drawn out within a piece of literature. extended metaphor within a poem |
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| what's suggested by a word, apart from what it means |
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| repeting sequence of two or more consonants, but with a change in intervening vowels. such as pitter-patter, pish-posh, clinging and clanging |
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| two rhyming lines of iambic pentameter that together presents a single idea/connection |
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| metrical foot in poetry that has two stressed syllables followed by one unstressed |
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| language and speech idiosynacrasies of a specific area, region, or group of people |
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| specific word choice an author use to persuade or convey tone, purpose, or effect |
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| monologue set in specific situation and spoken to an imagery audience. ALSO soliloquy. |
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| poetic lament upon the death of a particular person. usually ending in consolation |
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| continuation of a sentence from one line or couplet of a poem to the next |
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| poem that celebrates, in a continuous narrative, the achievements of mighty heroes and heroines. |
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| that part of the structure that sets the scene, introduces, and identifies characters, and establish the situation at the beginning of story or play |
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| legend or short moral story often using animals as characters |
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| part of plot structure in which the complications of the rising action are untangled. ALSO denouement |
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| play or scene in a play or book that is characterized by broad humor, wild antics, and often slapstick and physical humor |
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| hint at or to present an indication of the future before |
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| language that is lofty, dignified, and impersonal |
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| retrospection, where are earlier event is inserted into the normal chronology or the narrative |
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| poetry that is characterized by varying line lengths, lack of tradition meter, and nonrhyming lines |
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| type of class of literature such as epic or narrative |
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| overstatement characterized by exaggerated language |
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| metrical foot in poetry that has unstressed syllable followed by stressed |
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| broadly defined, any sensory detail or evocation in a word |
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| language that is not lofty or impersonal. everyday speech |
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| refers to opening a story in the middle of the action |
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| situation or statement characterized by significant difference between what is expected or understood and what actually happens or is meant |
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| specialized or technical language of a trade, profession, or similar group |
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| location of one thing as being adjacent or juxtaposed with another. placing two items side by side creates a certain effect, reveals an attitude, or accomplishes some purpose of the writer |
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| perspective confined to a single character, whether a first person or a third peron |
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| figure of speech that emphasizes its subject by conscious understateent |
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| sentence grammatically completely, and usually stating its main idea before the end |
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| originally designated poems meant to be sung to the accompaniament of a lyre. now any short poem in which the speaker expresses intense personal emotion rather than describing |
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| misleading term for theme. central idea or statement of a story, or area of inquiry or explanation. misleading because it suggests a simple, packaged statement that pre-exists |
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| one thing pictured as if it were something else. suggesting likeness or analogy between them. |
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| more of less regular pattern of stressed and unstressed syllables in a line of poetry |
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| figure of speech in which an attribute or commonly associated feature is used to name or designate something |
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| feeling or ambiance resulting from the tone of a piece as well as the writer/narrator's attitude and point of view |
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| recurrent device, formula, or situation that often serves as a signal for the appearence of a character or event. great gatsby, motif was green |
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| textual organization based on sequences of connected events, usually presented in straightforward, chronological framework |
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| person who tells the story |
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| poem writing about or for a specific occasion, public or private |
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| lyric poem that is somewhat serious in subject and treatment, elevated in style and sometimes uses elaborate stanza structure |
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| also called unlimited focus. perspective that can be seen from one character's view, then another's. or move in and out of character's mind |
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| word capturing or approximating the sound of what it describes. BUZZ. |
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| figure of speech that combines two apparently contradictory elements. TIGHT SLACKS. JUMBO SHRIMP. DEAFENING SILENCE. |
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| short fiction that illustrates an explicit moral lession through using analogy |
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| statement that seems contradictory but may actually be true. FIGHT FOR PEACE. |
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| using similar forms in writing for nouns, verbs, or phrases, or thoughts. EX: "jane likes reading, writing, and skiing" |
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| work that imitates another for comic effect by exaggerating the style and changing the content of the original |
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| a work that describes the simple life of country folk |
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| sentence not grammatically complete until the end. |
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| voice of figure of the author who tells and structures the story and who may or may not share the values of the actual author. NICK CARRAWAY of great gatsby |
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| treating an abstraction or nonhuman object as if it were a person by giving it humane qualities |
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| also ITALIAN SONNET. sonnet that divides the poem into one section of 8 lines, and a second section of 6 lines. usually following ABBA ABBA CDE CDE rhyme scheme |
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| arrangement of the narration based on the cause-effect relationship of the events |
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| main character in a work, who may or may not be heroic |
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| poetic stanza of four lines |
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| practice in literature of attempting to describe nature and life without idealization and with attetion to detail |
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| repeated stanza or lines in a poem or song |
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| development of action in a work, usually at beginning |
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| a question that is asked simply for stylistic effect and is not expected to be answered |
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| repeting the same/similar sounds, most often at the end of he lines |
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| modulation of weak and strong elements to the flow of speech |
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| form of verbal irony in which apparent praise is actually harshly or bitterly critical |
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| literary work that holds up to human failings to ridicule and censure |
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| analysis of verse to show its meter |
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| time and place of the action in a story, poem, or play |
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| also ENGLISH SONNET. sonnet that divide poem into three units of four lines each and a final unit of two lines, usually ABAB CDCD EFEF GG |
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| another name for concrete poetry. poetry that is shaped to look like an object |
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| direct, explicit comparison of one thing to another, usually using words LIKE or AS to draw connection |
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| monologue in which the character in a play is alone and speaking only to himself or herself |
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| person, not necessarily the author, who is the voice of a poem |
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| section of a poem demarcated by extra line spacing. |
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| charcterization based on conscious or unconscious assumptions that some one aspect, such as gender, age, ethnic or national identity, religion, occupation, marital status, and so on, are predictably accompanied by certain character trains, actions, even values |
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| one who appears in a number of stores of plays such as the cruel stepmother, the femme fatale, etc. |
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| organization of arrangement of the various elements ina work |
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| distinctive manner of expression |
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| person, place, or thing, event, or pattern in a literary work that designates itself and at the same time figuratively represents or stands for something else |
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| when a part is used to signify a whole |
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| way words are put together to form phrases, clauses and sentences. sentence structure |
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| verse form consisting of three-line stanzas in which the second line of each rhymes with the first and third of the next |
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| generalized, abstract paraphrase of the inferred central of dominant idea or concern of the work |
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| attitude a literary work takes toward its subject and theme. |
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| drama in which a character, usually a high and good noble rank is brought to a disastrous end in his or her confrontation with a superior force |
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| metrical foot in poetry that is the opposite of iambic. first syllable is stressed, the second isn't |
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| third part of plot structure, point at which the action stops rising and begins falling or reversing |
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| verse form has 19 lines, divided into six stanzas. five three line stanzas, and one quatrain. first and third line of the first three line stanza rhyme and the rhyme is repeated through each of the next four three line stanzas |
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| the acknowledged or unacknowledged source of words of the story. the speaker, the person telling the story of the poem |
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