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| A word that imitates the sound it represents. |
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Reveals a kind of truth which at first seems contradictory.
i.e. Stone walls do not a prison make,/Nor iron bars a cage. |
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A comparison of two unlike things, using the verb "to be" and not using like or as, as in a simile.
i.e. He is a pig. Thou art sunshine. |
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The repetition of initial consonant sounds in neighboring words.
i.e. sweet smell of success, a dime a dozen, bigger and better, jump for joy...
and
And sings a solitary song/That whistles in the wind. (William Wordsworth) |
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When an absent person, an abstract concept, or an important object is directly addressed.
i.e. With how sad steps, O moon, thou climbest the skies. Busy old fool, unruly sun. |
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a narrative poem, often of folk origin and intended to be sung, consisting of simple stanzas and usually having a refrain. Also, the music for such a poem. Also, a popular song especially of a romantic or sentimental nature.
i.e. It was in and about the Martinmas time,/When the green leaves were a falling,/That Sir John Graeme, in the West Country,/Fell in love with Barbara Allan. -- From "Bonny Barbara Allan" |
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| when an audience perceives something that a character in the literature does not know. |
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| when an author says one thing, but means something entirely different. |
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| a discrepancy between the expected results and the actual results. |
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| an ingenious or witty turn of phrase or thought. Also, a fanciful poetic image, especially an elaborate or exaggerated comparison. Also, a poem or passage consisting of such an image. Also a thought, or an opinion. Also, an extravagant, fanciful, and elaborate construction or structure: "An eccentric addition to the lobby is a life-size wooden horse, a 19th century conceit." (Mimi Sheraton) |
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| Of or relating to metaphysics. Also, based on speculative or abstract reasoning. Also, highly abstract or theoretical; abstruse. Also, immaterial, incorporeal, supernatural. Also, of or relating to the poetry of a group of 17th -century poets whose verse is characterized by an intellectually challenging style and extended metaphors comparing very dissimilar things. |
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a dramatic sololiquy. Also, a literary composition in the form of a soliloquy. Also, a continuous series of jokes or comic stories delivered by one comedian. Also, a long speech made by one person, often monopolizing a conversation. Also, a dramatic monologue is a lyric poem in which one person speaks, reporting to a silent listener what other characters do and say, while providing insight into his own character.
i.e. T.S. Eliot's "Love Song of J. Alfred Prufrock." |
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a narrative technique meant to reproduce a character's thoughts, feelings, and associations in the untidy fashion in which they flow through the mind.
i.e. the Molly Bloom section at the end of James Joyce's Ulysses is the most frequently cited example of perfect use of this device. |
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exaggeration
i.e. I'm so hungry I could eat a horse.
or
He's as big as a house. |
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a cutting, often ironic remark intended to wound. Also, a form of wit that is marked by the use of sarcastic language and is intended to make its victim the butt of contempt or ridicule.
i.e. a sarcastic remark directed at a person who is consistently fifteen minutes late for appointments might be, "Oh! You've arrived exactly on time!" |
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a literary tone used to ridicule or make fun of human vice or weakness, often with the intent of correcting, or changing, the subject of the satiric attack. Often the object of satire is social change. In ancient times, satirists shared a common aim: to expose foolishness in all its guises -- vanity, hypocrisy, pedantry, idolatry, bigotry, sentimentality -- and to effect reform through such exposure.
i.e. In Gulliver's Travels by Jonathan Swift, (1726), Swift exposes humanity in all its baseness and cruelty. Throughout his encounters with the inhabitants of imaginary lands, starting with the Liliputians and ending with the Houyhnhms -- the latter are horses endowed with noble attributes, while their servants are bestial, filthy humanoids called Yahoos -- Gulliver's (and Swift's) misanthropy grows, culminating in his refusal, once he is reunited with his family, to eat with creatures so closely resembling Yahoos. |
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the quality or condition of being parallel, such as a parallel relationship. Also, likeness, correspondence, or similiarity in aspect, course, or tendency. Also, the use of identical or equivalent syntactic constructions in corresponding clauses or phrases. Also, the doctrine that to every mental change their corresponds a concomitant but causally unconnected physical alteration.
i.e. For instance, the repetition of syntactical similarities in passages closely connected for rhetorical effect. The repetitive structure lends wit or emphasis to the meanings of the separate clauses, thus being particularly effective in antithesis. |
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| the branch of theology that is concerned with the end of the world or of humankind. Also, a belief or doctrine concerning the ultimate or final things, such as death, the destiny of humanity, the Second Coming, or the Last Judgment. |
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putting together two contradictory words
i.e. jumbo shrimp, act naturally, found missing, military intelligence, genuine imitation, resident alien, good grief, same difference, almost exactly, sanitary landfill, alone together, living dead, business ethics, butt head, small crowd, silent scream, new classic, passive aggressive, etc. |
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the comparison of two unlike things, using like or as.
i.e. He eats like a pig.
or
Vines like golden prisons... |
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| a brief reference to a person, event, or place, real or ficticious, or to a work of art. Casual reference to a famous historical or literary figure or event. An allusion may be drawn from history, geography, literature, or religion. |
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| the attitude a writer takes toward a subject or character: serious, humorous, satirical, ironic, tongue-in-cheek, solemn, objective, etc. |
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| of, involving, or depending upon a context |
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| a short, usually descriptive literary sketch. Also, a short scene or incident, as from a movie. Also, a decorative design placed at the beginning or end of a book or chapter of a book, or along the border of a page. Also, an unbordered picture, often a portrait, that shades off into the surrounding color at the edges. |
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| the act or instance of juxtaposing, or the state of being placed or situated side by side. In literature, it occurs when two images that are otherwise not commonly brought together appear side by side or structurally close together, thereby leading the reader to stop and reconsider the meaning of the text through the contrasting images/ideas/motifs. Modernist poetry played extensively with juxtaposing images, inserting unrelated fragments together in order to create wonder and interest in readers. |
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| a self-evident truth, similar to a cliché. Also, a trite expression or idea. Also, a claim that is so obvious as to be hardly worth mentioning, except as a reminder or as a rhetorical device. |
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substituting a word for another word closely associated with it.
i.e. bowing to the sceptered isle. (Great Britain) |
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giving human qualities to animals or objects.
i.e. a smiling, jovial moon
or in "Mirror" by Sylvia Plath...
I am silver and exact./I have no preconceptions./Whatever I see I swallow immediately/Just as it is, unmisted by love or dislike./I am not cruel, only truthful -- |
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is used with God or gods. The act of attributing human forms or qualities to entities which are not human. Specifically, anthropomorphism is the describing of gods and goddesses in human forms and possessing human characteristics such as jealousy, hatred, or love.
i.e. by Mark Twain
God created man in his image, and man, being a gentleman, returned the compliment. |
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| using an object or action that means someething more than its literal meaning. Also, the practice of representing things by means of symbols or of attributing symbolic meanings or significance to objects, events, or relationships. |
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| a form of extended metaphor, in which objects, persons, and actions in a narrative, are equated with the meanings that lie outside the narrative itself. The underlying meaning has moral, social, religious, or political significance, and characters are often personifications of abstract ideas as charity, greed, or envy. Thus, an allegory is a story with two meanings, a literal meaning and a symbolic meaning. |
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use of an older or obsolete form
i.e. by T.S.Eliot, "A Cooking Egg"
Pipit sate upright in her chair/Some distance from where I was sitting. |
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opposition, or contrast of ideas or words in a balanced or parallel construction
i.e. Extremism in defense of liberty is no vice, moderation in the pursuit of justice is no virtue. Barry Goldwater
or
Brutus: Not that I loved Caesar less, but that I loved Rome more. Shakespeare, Julius Caesar |
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the relatively close juxtaposition of the same or similar vowel sounds, but with different end consonants in a line or passage, thus a vowel rhyme, as in the words, date and fade.
i.e. Thy kingdom come, thy will be done.
or |
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understatement, for intensification, by denying the contrary of the thing being affirmed.
i.e. A few unannounced quizzes are not inconceivable.
or
War is not healthy for children and other living things.
or
One nuclear bomb can ruin your whole day.
or
It would appear to me that General Ripper exceeded his authority.
or
Well, you can't scrap the whole program because of one slip-up. |
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understanding one thing with another; the use of a part for the whole, or the whole for the part (a form of metonymy).
i.e. Give us this day our daily bread. Matthew 6
or
I should have been a pair of ragged claws/Scuttling across the floors of silent seas. T.S. Eliot, "The Love Song of J. Alfred Prufrock"
or
The US won three gold medals. (Instead of, The members of the US boxing team won three gold medals.) |
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repetition of an idea in a different word, phrase, or sentence.
i.e. With malice toward none, with charity for all. Lincoln, Second Inaugural |
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substitution of an agreeable or at least non-offensive expression for one whose plainer meaning might be harsh or unpleasant.
i.e. When the final news came, there would be a ring at the front door -- a wife in this situation finds herself staring at the front door as if she no longer owns it or controls it -- and outside the door would be a man... come to inform her that unfortunately something has happened out there, and her husband's body now lies incinerated in the swamps or the pines or the palmetto grass, "burned beyond recognition," which anyone who had been around an air base very long (fortunately Jane had not)realized was quite an artful euphemism to describe a human body that now looked like an enormous fowl that has burned up in a stove, burned a blackish brown all over, greasy and blistered, fried, in a word, with not only the entire face and all the hair and the ears burned off, not to mention all the clothing, but also the hands and feet, with what remains of the arms and legs bent at the knees adn elbows and burned into absolutely rigid angles, burned a greasy blackish brown like the bursting body itself, so that this husband, father, officer, gentleman, this ornamentum of some mother's eye, His Majesty the Baby of just twenty-odd years back, has been reduced to a charred hulk with wings and shanks sticking out of it. Tom Wolfe, The Right Stuff |
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arrangement of words, phrases, or clauses in an order of ascending power. Often the last emphatic word in one phrase or clause is repeated as the first emphatic word of the next.
i.e. One equal temper of heroic hearts,/Made weak by time and fate, but strong in will/To strive, to seek, to find, and not to yield. Tennyson, Ulysses |
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harsh joining of sounds
i.e. We want no parlay with you and your grisly gang who work your wicked will. Winston Churchill
or
He heard a cacophony of horns during the traffic jam. |
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repetition of the same word or phrase at the end of successive clauses.
i.e. In 1931, ten years ago, Japan invaded Manchukuo -- without warning. In 1935, Italy invaded Ethiopia -- without warning. In 1938, Hitler occupied Austria -- without warning. In 1939, Hitler invaded Czechoslovakia -- without warning. Later in 1939, Hitler invaded Poland -- without warning. and now Japan has attacked Malaya and Thailand -- and the United States -- without warning. Franklin D. Roosevelt |
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the repetition of a word or phrase at the beginning of successive phrases, clauses or lines.
i.e. We shall not flag or fail. We shall go on to the end. We shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills. We shall never surrender. Winston Churchill |
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| the method used by a writer to develop a character. The method includes showing the character's appearance, displaying the character's actions, revealing the character's thoughts, letting the speaker speak, and getting the reactions of others. |
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the appearance of truth; the quality of seeming to be true or real.
i.e. For those plays, Ms. Smith interviewed hundreds of people of different races and ages, somehow managing to internalize their expressions, anger and quirks enough to be able to portray them with astonishing verisimilitude. Sarah Boxer, "An Experiment in Artistic Democracy" |
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the literal meaning of the word, the dictionary meaning. The opposite of connotation.
i.e. Good night, sweet prince, and flights of angels sing thee to thy rest. |
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the implied meaning of a word. The opposite of denotation.
i.e. Good night sweet prince, and flights of angels sing thee to thy rest (burial). |
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| an approach to literature which suggests that literary works do not yield fixed, single meanings, because language can never say exactly what we intend it to mean. Deconstructionism seeks to destabilize meaning by examining the gaps and ambiguities of the language of a text. Deconstructionists pay close attention to language in order to discover and describe how a variety of possible readings are generated by the elements of a text. Meyer |
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Tragedy tells of the fall of a worthwhile, usually noble, character. Greek and Elizabethan tragedies relied on a protagonist...who was of high station, but modern tragedies also use protagoniss of low or middle station as a means of exploring their worthiness. Traditionally, tragic heroes or heroines faced an unexpected fate. Fate, or destiny, dominates tragedy, and the plot reveals the protagonist resisting fate before finally yielding to it. Fate in classical tragedy was determined by the will of the gods; in modern tragedy it is sometimes determined by the inherent characteristics of the heroes, by the force of the environment, or by both. Tragic heroes and heroines face their fate with determination, courage and bravery. Thus, they are worthy of our respect....Tragedy is, above all, serious in tone and importance. It focuses on a hero or heroine whose potential is great but whose efforts to realize that potential are thwarted by fate: circumstances beyond his or her control. Jacobus
and
Tragedies also need to invoke the emotions of pity and terror. |
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| Tragedy usually ends with exile, death, or a similar resolution. Comedy usually ends with a new beginning: a marriage or another chance of some sort. But tragicomedy often ends with no clear resolution: the circumstances are so complex that the audience may feel perplexed at the ending....Tragicomedy cannot be described in terms of nameable emotions such as pity and fear or ridicule and contempt. Every tragicomedy explores a range of emotions that may include all these and more. Thus the audience response to tragicomedy is usually complex and upsetting....Clear resolutions are often not possible in tragicomedy. Jacobus |
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| first person narrator (point of view) |
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| The story is told from the point of view of 'I,' as in Charles Boxter's "Gryphon." The I-narrator may be part of the action or an observer. As readers, we cannot know or witness anything the narrator does not tell us. We therefore share all the limitations of the narrator. This technique has the advantage of a sharp and precise focus. Moreover, you feel part of the story because the narrator's 'I' echoes the 'I' already in your own mind. Jacobus. |
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| second-person narrator (point of view) |
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| This narrator speaks directly to the reader: "You walk in the room and what do you see? It's Mullins again, and you say, 'Out. I've done with him.'" This point of view is rare primarily because it is artificial and self-conscious. It seems to invite identification on the part of the reader with the narrator, but it often fails. Jacobus |
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| third-person narrator (point of view) |
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| This is the most common narrative style, illustrated by John Cheever's "The Swimmer": "His life was not confining and the delight he took in this observation could not be explained by its suggestion of escape." Third-person narration permits the author to be omniscient (all-knowing)when necessary but also to bring the focus tightly in on the central character by limiting observation only to what that character could possibly witness or recall. One emotional effect of the technique is the acceptance of the authority of the narrator. In essence, the narrator sounds like the author." Jacobus |
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| a writer's choice of words, phrases, sentence structures, and figurative language, which combine to help create meaning. Formal diction consists of a dignified, impersonal, and elevated use of language; it follows the rules of syntax exactly and is often characterized by complex words and lofty tone. Middle diction maintains correct language usage, but is less elevated than formal diction; it reflects the way most educated people speak. Informal diction represents the plain language of everyday use, and often includes idiomatic expressions, slang, contractions, and many simple, common words. Poetic diction refers to the way poets sometimes employ an elevated diction that deviates significantly from the common speech and writing of their time, choosing words for their supposedly inherent poetic qualities. Since the eighteenth century, however, poets have been incorporating all kinds of diction in their work and so there is no longer an automatic distinction between the language of a poet and the language of everyday speech. Meyer |
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Definition
| type of informational diction. Dialects are spoken by definable groups of people from a particular geographic region, economic group, or social class. Writers use dialect to contrast and express differences in educational, class, social, and regional backgrounds of their characters. |
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| the unraveling or discovery of a plot; the catastrophe, especially of a drama or a romance. Also, the solution of a mystery; issue, outcome. Also, the final resolution of the main complication of a literary or dramatic work. |
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| a word which makes the reader see the object described in a clearer or sharper light. It is both exact and imaginative. Distinctive epithets are found in the ancient Greek classic, The Odyssey: wine-dark sea....wave-girdled island," blindfolding night." Our national flag is [an epithet the]star-spangled banner." Nellen |
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| a long narrative poem, told in a formal, elevated style, that focuses on a serious subject and chronicles heroic deeds and events important to a culture or nation. Milton's Paradise Lost, which attempts to "justify the ways of God to man," is an epic. |
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| In poetry, when one line ends without a pause and continues into the next line for its meaning. This is also called a run-on line. The transition between the first two lines of Wordsworth's poem "My Heart Leaps Up" demonstrates enjambment: My heart leaps up when I behold/a rainbow in the sky. Meyer |
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| a mournful, contemplative lyric poem written to commemorate someone who is dead, often ending in a consolation. Tennyson's In Memoriam, written on the death of Arthur Hallam, is an elegy. Elegy may also refer to a serious meditative poem produced to express the speaker's melancholy thoughts. Meyer |
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| a form of humor based on exaggerated, improbably incongruities. Farce involves rapid shifts in action and emotion, as well as slapstick comedy and extravagant dialogue. Malvolio, in Shakespeare's Twelfth Night, is a farcical character." Meyer. |
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| a term coined by Aristotle to describe "some error or frailty" that brings about misfortune for a tragic hero. The concept of hamartia is closely related to that of the tragic flaw: both lead to the downfall of the protagonist in a tragedy. Hamartia may be interpreted as an internal weakness in a character (like greed or passion or hubris); however, it may also refer to a mistake that a character makes that is based not on a personal failure, but on circumstances outside the protagonist's personality and control. Meyer. |
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Definition
| excessive pride or self-confidence that leads a protagonist to disregard a divine warning or to violate an important moral law. In tragedies, hubris is a very common form of hamartia. Meyer. |
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| a recurrent thematic element in an artistic or literary work. Also, a dominant theme or central idea. |
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Definition
| allows for two or more simultaneous interpretations of a word, phrase, action, or situation, all of which can be supported by the context of a work. Deliberate ambiguity can contribute to the effectiveness and richness of a work, for example, in the open-ended conclusion to Hawthorne's Young Goodman Brown. However, unintentional ambiguity obscures meaning and can confuse readers. Meyer. |
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Definition
a word or phrase made by transposing the letters.
i.e. cask to sack; weird to wired. Nellen. |
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| the character, force, or collection of forces in fiction or drama that opposes the protagonist and gives rise to the conflict of the story; an opponent of the protagonist, such as Claudius in Shakespeare's play Hamlet. Meyer. Although the antagonist often acts against the protagonist, they do not have to be a villain, they can simply just be the character acting against the protagonist. |
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| a term used to describe universal symbols that evoke deep and sometimes unconscious responses in a reader. In literature, characters, images, and themes that symbolically embody universal meanings and basic human experiences, regardless of when or where they live, are considered archetypes. Common literary archetypes include stories of quests, initiations, scapegoats, descents to the underworld, and ascents to heaven. Meyer. |
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Definition
| a derivative from a Greek word that implies rule or law, and is used in literature as the source which regulates which selection of authors or works, would be considered important pieces of literature. "Those works generally considered by scholars, critics, and teachers to be the most important to read and study, which collectively constitute the "masterpieces" of literature. Since the 1960s, the traditional English and American literary canon, consisting mostly of works by white male writers, has been rapidly expanding to include many female writers and writers of varying ethnic backgrounds. Meyer |
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Definition
essentially means 'seize the day,' and reminds people that they are not immortal, so one should live life to its fullest because tomorrow may never come. Robert Herrick's poem, "To the Virgins, To Make Much of Time," is a perfect example of expressing carpe diem.
Gather ye rosebuds while ye may,/Old time is still a flying;/And this same flower that smile today/Tomorrow will be dying./The glorious lamp of heaven, the sun,/The higher he's a getting;/The sooner will his race be run,/And nearer he's to setting. |
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Definition
| meaning 'purgation," catharsis describes the release of the emotions of pity and fear by the audience at the end of a tragedy. In his Poetics, Aristotle discusses the importance of catharsis. The audience faces the misfortunes of the protagonist, which elicit pity and compassion. Simultaneously, the audience also confronts the failure of the protagonist, thus receiving a frightening reminder of human limitaitons and frailties. Ultimately, however, both these negative emotions are purged, because the tragic protagonist's suffering is an affirmation of human values rather than a despairing denial of them. Meyer. |
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Definition
| two consecutive lines of poetry that usually rhyme and have the same meter. A heroic couplet is a couplet written in rhymed iambic pentameter. Meyer. |
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Definition
| a metrical pattern in poetry which consists of five iambic feet per line. An iamb, or iambic foot, consists of one unstressed syllable followed by a stressed syllable. Meyer. |
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Definition
| a type of brief poem that expresses the personal emotions and thoughts of a single speaker. It is important to realize, however, that although the lyric is uttered in the first person, the speaker is not necessarily the poet. There are many varieties of lyric poetry, including the dramatic monologue, elegy, haiku, ode, and sonnet forms." Meyer. |
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Term
| Petrarchan Sonnet/Rhyme Scheme |
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Definition
Petrarch was an Italian poet in the 13th Century. His sonnet form was:
two quatrains (an octave) with the following rhyme scheme (abba.abba) and a sestet (six lines in various orders and the following rhyme scheme -- cde.cde OR cdc.dcd OR cde.dce |
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Definition
a noun or noun phrase that renames or clarifies the noun just before it, such as:
-- The insect, A COCKROACH, crawled across the table.
-- The insect, AN UGLY, HAIRY-LEGGED MONSTROSITY THAT HAD SPIED MY BOWL OF CORNFLAKES, crawled across the table.
-- Genette's bedroom desk, THE BIGGEST DISASTER AREA IN THE HOUSE, had papers and books lying in crumpled heaps, as if a bomb had gone off in the near vicinity. |
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| A figurative work in which a surface narrative carries a secondary meaning, such as in C.S. Lewis' Narnia books, which appear to be a children's adventure story, but which really tell the story of humanity's quest for spiritual truth. |
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| a moral fable, usually featuring personified animals or inanimate object that act like people in order to allow the author to comment on the human condition. Uaually highlights the irrationality of mankind. Aesop's fables are good examples of apologues. |
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Definition
| a pithy observation that contains a general truth, such as, "if it ain't broke, don't fix it;" a concise statement of a scientific principle, typically by an ancient classical author |
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Definition
| a pithy saying or remark expressing an idea in a clever and amusing way (see aphorism); a short poem, especially a satirical one, having a witty or ingenious ending; witticism, quip, jest, pun, bon mot, maxim, adage, apophthegm, epigraph,, wisecrack, chestnut |
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Definition
| verse without rhyme, especially that which uses iambic pentameter |
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Definition
| departing from a literal use of words; metaphorical, such as: gold, in the figurative language of the people, was "the tears wept by the sun;" nonliteral, symbolic, allegorical, representative, emblematic |
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Definition
| a short and amusing or interesting story about a real incident or person; an account regarded as unreliable or hearsay; the depiction of a minor narrative incident in a painting; narrative, tale, story, incident, urban myth, legend, yarn |
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Definition
| an exclamatory passage in a speech or poem addressed to a person (typically one who is dead or absent) or thing (typically one that is personified) |
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Definition
| knowing everything: the story is told by an omniscient narrator |
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