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| an image (explicit or implicit) that appeals to the sense of movement |
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| having to do with myths and fables (real or imagined) |
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| deliberate side-by-side placement of ideas, words, motifs to emphasize a point by highlighting the connotations between them |
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| the skill or art of using language effectively |
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| a figure of speech in when a pair of contradictory words or phrases are used to a rhetorical purrpose: a concise paradox |
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| a way of viewing the world; a mindset |
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| expression of contrasting ideas, often a parallel structure |
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| a sound device that is a form of parallelism and which relies on deliberate repetition of carefully chosen words, phrases at the beginning of a series of sentences to intesify the impact of the rhetorical message |
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| repeating the last word of a clause at the beginning of the next |
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| A figure of addition that occurs when a concluding sentence, clause, or phrase is added to a statement which purposely diminishes the effect of what has been previously stated |
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| a device or combination of devices used by authors to evoke pity in the audience |
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| the gradual but sustained increase in volume, intensity, or emphasis in a speech, passage or work |
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| the action following the climax of the plot revealing the outcome or unraveling of the main dramatic complications in a play, novel, or other work of literature; also called falling action or resolution |
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| repeating words at both the beginning and the ending of a phrase |
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| breaking off as if unable to continue |
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| a figure of speech related to hyperbole that emphasizes the inexpressibility of some thing, idea, or feeling, either by stating that words cannot describe it, or by comparing it with something the dimensions of which cannot be grasped |
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| a ludicrous descent from the exalted or lofty to the commonplace |
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| repetition in reverse order |
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| placing one noun or noun-equivalent beside another in a sentence to add a description or explanation. The noun (or equivalent) must be equal in function and bear the same relation to the rest of the sentence as the original |
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| omission of connectives between a series of clauses |
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| Latin for "seize the day"; a theme or montra often associated with the romantics and the transcendentalist movement |
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| figure of repetition in which the key word(s), phrase, clause, or sentence is/are repeated at or very near the beginning of successive sentences, clauses, or phrases |
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| the repetition of the intial word(s) at the end |
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| rhetorical counterpart of anaphora; it is the repetition of the same word(s) at the end of successive phrases, clauses, or sentences. it is an extremely emphatic device because of the emphasis placed on the last word in a phrase/sentence |
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| judicial sentence or "act of faith", especially the public burning of a heretic |
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| alternatives presented in a balanced manner |
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| a mark or serries of marks that indicate an omission of a word |
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| Greek word for discovery (usually by the protagonist - and usually too late) |
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| an emotional experience with literature that brings about emotional or spiritual renewal and/or relief from unhealthy emotions. catharsis is essential to Greek tragedy |
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| Latin for "in the middle of", usually a construct utilized when an audience comes into a story in the middle of the action |
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| the dramatic reversal of circumstances, the change by which actions veer around |
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| obvious exaggeration to make a point |
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| Greek meaning "lessening"; it is also called litotes, and it is any deliberate understatement of the severity of a situation or truth |
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| using a part to represent the whole (concrete) |
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| sounds, usually in poetry that read smoothly and are pleasing to the ear |
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| a figure of speech in which the speaker expresses or purports to be in doubt about a question |
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| a forced pause in the middle of a line of poetry, often indicated by a space, a colon, a period, or a dash |
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