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| a character who opposed the protagonist in a narrative work |
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| the primary time period in a work of fiction or a play from which a flash-forward departs |
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| a pause or complete break in the rhythm of a lone of a verse, frequently occurring in the middle. particularly noticeable in old english alliterative verse such as beowulf. |
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| a seemingly minor even or line of dialogue in fiction or drama that nonetheless reveals some aspect of the theme or advances the plot in some significant way. sometimes a minor character unwittingly serves as one of these. |
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| the technique of creating a fictional character in fiction or drama. basic elements: consistency , complexity, and individuality. simple ***** stresses consistency at the expense of complexity and often results in a stock character or a stereotype, a form of simple writing. |
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| the turning point in a tragedy in which the fortunes of a protagonist being to decline |
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| the reader's sense that a story, novel, or poem has come to a natural or appropriate end. lack of ****** results in the reader's confusion or, in fiction, disbelief. |
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| a one- paragraph, factual description of the basic play and characters in a play or film script. not to be confused with theme. |
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| an image used to repeatedly throughout the length of a poem that determines that nature or form of that work. also known as a controlling metaphor or controlling simile of the work. it is often but not always a symbol |
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| a poetic stanza with two lines |
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| factual prose in which there is some degree of personal involvement on the part of the writer and heightened concerned for language. it includes reminiscence, travel, nonacademic history, and informal biography. it is more persona and imaginative than journalism and formal essays and is distinguished from fiction primarily because it is faithful to actual events, places, and people. |
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| the writing of poetry, fiction, drama, and creative nonfiction. although all forms of writing require some degree of creativity, ******* ****** implies a high commitment to artistic merit, drawing on literary techniques including style, as opposed to more utilitarian factual writing |
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| dialogue that echoes a regional or ethnic speech pattern. often it is achieved by word choice and word order rather than the obtrusive use of phonetic spelling |
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| any world, phrase, or passage that quotes a characters speech directly. in fiction it normally appears in quotation marks. |
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| the phrase that identifies that speaker in fiction such as "he said" of "she said". in contemporary fiction the repeated use of "said" is preferred to finding alternatives such as "responded", "complained", "cried out", or "expostulated" |
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| the choice of words in any piece of writing. ****** is a significant factor in determining style |
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| a narrative acted by performers on a stage. ***** is generally dramatic, visual, and auditory. in contrast to written script, **** is presented physically on a stage, moves continuously in production, and is designed for spectators not readers. |
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| irony in which a character unwittingly reveals something that the audience and, in some cases, other characters realize is important |
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| a poem that is presented in the first person as if it were speech or thoughts of a particular character or persona. the speaker often unwittingly reveals aspects of his or her character or attitudes |
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| the series of emotional questions in a play of work of fiction that serve to hold attention of an audience or readers. they arouse curiosity or generate suspense. an initial dramatic ***** is called a hook. when dramatic *****s are stressed at the expense of theme or characterization, the result is usually melodrama |
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| lines in verse in with the grammatical construction, the meaning, or both are continued from the end of one line to the next. it is often used to ute the rhythmical effect of meter a/o rhyme. it is contrasted with end-stopping lines |
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| usually terminated with a period or a semicolon. |
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| a moment of awaking of discovery on the part of a fictional character, the reader, or both. originally suggested by James Joyce, this term is generally limited to fiction |
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| in drama, a comic or strikingly dramatic line of dialogue used to conclude a scene |
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| a narrative in prose in which the authors primary commitment is to an artistic creation that may or may not draw on actual events, places, or people. |
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| traditional verse forms that follow certain conventions in meter, rhythm scheme, or syllabics. (i.e. ballad, sonnet, and haiku) |
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| a scene in fiction or drama that occurs previous to the primary plot period known as base time |
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| a not fully developed character |
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| the technique in fiction or drama of preparing the reader or audience for a shift in tone or for some turn of play. informally referred to as a pre-echo |
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| verse that is written without meter, relying instead on rhythmical patters derived from typography, syntactical elements, repetition of words and phrases, syllabics, or so-called breath units. **** ***** contains no regular rhyme, depending instead on the sound devices such as assonance, consonance, and alliteration |
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| the most popular type of meter in english (ta-TUM) |
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| an item that cn be perceived by one of the five senses. the most common are visual details. images are called concrete words as opposed to those that are abstract. |
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| also called figurative language, uses an image in a stated or implied comparison. other ***** of ***** include similes, puns, hyperboles, and synecdoche |
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| directly quoted thoughts in fiction or poetry, usually written without quotation marks |
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| a unit of verse that when printed usually appears without being broken, the length of which is determined by the poet alone. the inclusion of the line as part of the art form rather than merely a printers concerns one of the fundamental distinctions between verse and prose |
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| a relatively short poem expressing a strongly felt personal emotions. thus poems of love, deep feeling, observation, and contemplation are lyrics in contrast with ballads and other types of narrative poetry. |
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| a figure of speech in which one item is compared with another that is different in all but a few way significant respects. the comparison uses like or as. |
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| implies rather than states a similar comparison without using like or as. |
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| a system of stressed and unstressed syllables that creates rhythm in certain types of verse. the conventionalized units of stressed and unstressed syllables are known as feet. |
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| describes relatively lengthy and uninterrupted speeches |
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| verse that tells a story. it may take the form of ballad, the epic, or a take in verse such as "lizards and snakes" |
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| a character in fiction or a narrative poem who appears to be telling the story. he or she may be clearly identified as in first person writing or implied as in most third person writing. often but not always the protagonist. |
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| an eight lined stanza in metered verse. also the first eight lines in a sonnet |
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| the means of perception in which the author enters the minds of all major characters. usually limited to a single character in fiction |
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| a similarity between the sounds of a word and the object or action that it describes |
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| an apparent contradiction presented either as a figure of speech or as a simple phrase such as "a silent scream" or "cruel kindness" |
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| work that evokes feelings of sympathy or pity. unsuccessful, excessive, of insincere **** produces bathos. |
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| a line of verse with five feet. the most commonly used line length in english |
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| the narrator, implied or identified, in a work of fiction or a poem. it distinguishes the fictional character from the author or the poet. |
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| attributing human characteristics to inanimate objects |
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| the sequence of events in fiction, drama, or narrative poetry. it may be chronological or it may be non chronological in any of four ways: by flashback, multiple flashbacks, flash forward, or by using a frame. base time is the primary *** time period. a sub**** is a secondary plot that echoes or amplifies the main one or provides comic relief. |
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| writing in which the length of the lines is not determined by the writer and so is not part of the art form. as a result, sentences, not lines are the basic organizing unit. **** also tends to be less concerned with rhythm, sound devises, and compression of statement than is verse |
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| the main character in a work of fiction, a play, or a narrative poem. this character is often opposed by an antagonist. the term is broader than hero. |
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| a poetic stanza with four lines |
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| a phrase, line, or stanza that is repeated periodically in a poem. |
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| two or more words in poetry in which the final syllables are identical or similar |
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| a recurring pattern of rhymed endings repeated regularly in each stanza of metered verse |
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| a systematic variation in the flow of sound. traditional **** include established patterns such as meter, alliterative verse, and syllabic patterns. |
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| the increasing complications in tragedies |
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| a fully developed character in fiction or drama. opposite of a flat character usually designed to serve some minor function |
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| in drama (1) a formal subdivision of an act marked in the script and indicated to the audience by lowering the curtain or dimming the lights or (2) a more subtle subdivision of the plot suggested by the exit or the entrance of a character. |
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| the written text of a play, including the dialogue and brief notations on the action. the ***** is not to be confused with a performance |
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| a six line stanza in metered verse. also the last six lines of the sonnet |
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| in drama everything the audience sees except the actors themselves. three basic types: realistic, symbolic, and the bare stage |
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| a metered and rhymed poem of 14 lines usually in iambic pentameter. |
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| similar consonantal sounds |
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| the technique of linking two or more words |
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| in metered poetry a regularly recurring group of lines usually separated by spaces and unified by line length, metrical system, and often by a rhyme scheme |
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| a situation in fiction or drama that is too familiar to have freshness or impact |
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| any detail such as an object, action, or state in a work of literature that has a range of meaning beyond and usually larger than itself. (public- the flag, the cross, uncle sam) |
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| a force and a counterforce within a work of literature. in fiction, drama, and narrative poetry, in can be created through conflict between a character and another character and another character, a group, an aspect of nature, or an inner struggle. it can also be generated when the writer withholds information to arouse the readers curiosity or a sense of suspense |
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| same as triplet, a poetic stanza with three lines |
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| the portion of a literary work that comments on the human condition. it is primary statement, suggestion, or implication of the work. the term is used interchangeably with central concern. it does not have the moral implications of message or the didactic elements of a thesis |
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| the emotional quality of a literary work itself and of the author's implicit attitude toward the work as well. some critics prefer to separate the two aspects of this definition by most writers tend to think of them as two forms of the same quality. **** is described with adjectives like "exciting" "sad" "merry" "eerie" |
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| drama that is generally serious in tone and focuses on a protagonist who in most cases faces a climax and eventual downfall, often but not always death |
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| same as tercet, a poetic stanza with three lines |
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| literary writing that, in contrast with prose, used line length as an aspect of the art form and is typically concerned with sound, rhythm, and compression of language. although ***** is often used as a general synonym for poetry, many prefer to limit the word poetry to sophisticated ****** |
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| a french verse form of 19 lines in iambic pentameter divided into five tercets and a final four-line stanza. the poen has only two rhymes. they are arranged in this pattern: aba aba aba aba abaa |
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