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| a character who contrasts with another character (usually the protagonist) in order to highlight particular qualities of the other character |
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| Type of drama that developed in the 19th century to deal with controversial social issues in a realistic manner, expose social ills, and stimulate thought and discussion. |
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| A style and theory of representation based on the accurate depiction of detail. Realism on steroids |
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| a technique of indicating, as through character or plot development, an intention or attitude opposite to that which is actually or ostensibly stated. |
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| A remark by a character in a play intended to be heard by the audience but not by the other characters. |
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The final part of a play, movie, or narrative in which the strands of the plot are drawn together and matters are resolved.
The climax of a chain of events, usually when something is decided or made clear. |
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| A long speech by one actor in a play or movie, or as part of a theatrical or broadcast program. |
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| A quality that evokes pity or sadness. |
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Unity of action: single plotline, limited characters
Unity of time: play in real time, or at least in 24 hours
Unity of space: single setting or location. |
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| story begins in the middle of the action |
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| A play dealing with tragic events and having an unhappy ending, esp. one concerning the downfall of the main character. |
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| A tragic hero is the main character in a tragedy |
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| the character flaw or error of a tragic hero that leads to his downfall. |
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| conversion into dramatic form; "the play was a dramatization of a short story". |
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| The relationship between texts, esp. literary ones. |
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| A pause near the middle of a line, punctuation to make you stop |
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| continues from one line to another without punctuation or pause |
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| same letter or sound at the beginning of words |
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| repetition of the sound of a vowel |
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| Poetry that does not rhyme or have a regular meter. |
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| A role or character adopted by an author or an actor. |
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| John Donne, Less concerned with expressing feeling than with analyzing it, inventive use of conceits, and by speculation about topics such as love or religion |
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| A poetic catalogue of a woman’s admirable physical features. |
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| An unusually far—fetched or elaborate metaphor or simile presenting a striking parallel between two very dissimilar things or situations. |
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| basic rhythmic structure of a verse or lines in verse. |
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| A similarity between words in spelling but not in pronunciation, e.g., love and move. |
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| poem with uneven number (usually 5) of tercets with rhyme scheme aba and final quatrain abaa. First and third line of opening tercet are repeated alternately in the last line of each tercet and together in the last couplet of the quatrain. |
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| six line stanzas and a three line tercet, the last words stay the same between stanzas, just mix line numbers. the last tercet has every word from the last words in it. Pick which word to end with be apple picking ABCDEF, FAEBDC, CFDABE, ECBFAD |
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short short long
ex: interrupt |
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long short short
ex:overcast, finally |
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| A line lacking a syllable in the last foot. |
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| genre of poetry that describes, and often praises, a landscape or place. |
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| A poem appropriate to the dawn or early morning. |
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| fourteen lines, iambic pentameter, "the poem of love", 13th century Sicilian court |
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Italian
One Octave (8 lines) that introduces and states problem, rhyme scheme abbaabba
One Sestet (6 lines) resolves problem, relieves tensio
Volta at the beginning of the sestet
no set rhyme scheme cdecde, cdccde, cdedce |
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Three quatrains and a couplet
abab cdcd efef gg
quatrains develop them/issue, third quatrain introduces volta (except shakespeare who does it in couplet), couplet must summarize past quatrains in two lines |
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| A stanza of four lines, esp. one having alternate rhymes |
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| A group of eight lines of poetry, especially the first eight lines of a Petrarchan sonnet |
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| The last six lines of a sonnet. |
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| A turning point or point of change in a poem, most commonly a sonnet |
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| often dramatic description of a visual work of art |
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| a novel about the moral and psychological growth of the main character, coming of age story |
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| reader that a work is addressed to, whose thoughts, attitudes, etc, may differ from an actual reader's |
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| Post-colonial literature addresses the problems and consequences of the de-colonization of a country and of a nation, |
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| narrator whose credibility has been seriously compromised |
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| A narrative technique that gives the impression of a mind at work, jumping from one observation, sensation, or reflection to the next |
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| stressing the irrational or illogical aspects of life, usually to show that modern life is pointless; |
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| Brought low in condition or status |
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| that entertains or fascinates by shocking or frightening, especially by an emphasis on bloodshed or supernatural forces. |
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| popular fiction, written in an attempt to fit in with a pre-established genre |
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a huge amount of creative writing available to the American public in the early nineteen-hundreds
fiction dealing with lurid or sensational subjects |
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| an omniscient narrator who not only reports but freely comments on and evaluates the actions and motives of the characters. |
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| the property of written material to form a coherent whole; the nature or identifying quality of a text |
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| A writer's attitude toward subject, audience, and self. |
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| story is narrated by one character at a time, speaking for and about themselves |
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| narrator relates all action in third person, using third person pronouns such as " he" |
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a diversity of voices, languages, styles of discourse, or points of view in a literary work and especially a novel
characters speak many languages/vernaculars |
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