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| 1) an overindulgence in emotion, especially the conscious effort to induce emotion in order to enjoy it; 2) an optimistic overemphasis of goodness of humanity |
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| a central idea. Nonfiction it may be thought of as the general topic of dicsussion, the subject of the discourse, the thesis |
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| a comeback; a quick, ingenious response or rejoinder |
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| a composition imitating another, usually serious, piece. Designed to ridicule a work or its style or authro |
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| a figure in which a similarity between two objects is directly expressed |
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| a figure that allows animals, ideas, abstractions, and inanimate objects with human form |
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| a movement of those who wished to purify the Church of England; Calvinism |
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| a play that employs a plot suitable to tragedy but ends happily: seems to lead to a catastrophe but does not, often due to Deus ex machina |
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| a recurrent grouping of two or more verse lines in terms of length, metrical form, and often, rhyme scheme. |
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| a reliance on the intuition and the conscience, a form of idealism |
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| a speech delivered while the speaker is alone, calculated to inform the audience of what is passing in the character's mind. |
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| a statement that, although seemingly contradictory or absurd may actually be well founded or true. (Virgin Birth; when I am weak, I am strong; happy sadness) |
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| a subordinate or minor story in a piece of fiction. |
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| a trope in which a part signifies the whole or the whole signifies the part: "wheels" for "car," "foot" as "infantry" |
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| an accidental interchange of sounds, usually the initial consonants, in two or more words, such as blushing crow for crushing blow |
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| an introduction most frequently associated with drama and especially common in england and the plays of the restoration and 18th century |
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| any false emotionalism resulting in a too impassioned description of nature; "the cruel, crawling foam." |
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| conventional character type |
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| fidelity to actuality in its representation; loosely synonymous with Verisimilitude |
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| ideal judgment that rewards virtue and punishes vice |
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| literally a mask; as second self created by an author and through whom the story is told. |
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| presenting the life story of a rascal of low degree engaged in menial tasks and making his living more through his its than his industry--tends to be episodic and structureless |
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| privilege of departing from normal order, diction, rhyme, or pronunciation. |
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| systems of thought that rely on reason rather than sense-perceptions, revelation, tradition, or authority |
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| tending to exalt mind over matter; also, in criticism, finding value of a work in its usefulness for ulterior, nonartistic purposes. |
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| the attitudes towards the subject and toward the audience implied in a literary work. Formal, informal, etc. |
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| the concept that a work shall have in it some organizing principle to which all its parts are related so that the work is n organic whole. |
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| the events following the climax; falling action |
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| the part of a dramatic plot that has to do with the complication of the action. |
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| the passage of regular or approximately equivalent time intervals between definite events or the recurrence of specific sounds or kinds of sound. |
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| the principles of versification, particularly as they refer to rhyme, meter, rhytm, and stanza |
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| the reversal of fortune for a protagonist--possibly either a fall or a success. |
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| the theory that there is a flaw in the tragic hero that causes his or her downfall |
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| when an object-taking word (preposition or transitive verb) has two or more objects on different levels, such as concrete and abstract; when two different words that sound exactly alike are yoked together as in "he bolted the door and his dinner"; a grammatical irregularity that arises when a conjunction yokes together forms that cannot all be reconciled with other material in the sentence, as in "either you or he as responsible," where you cannot be reconciled with the verb "was." |
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