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| A Greek word for discovery. (Aristotelian Poetics) |
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| The dramatic reversal of circumstances, the change by which the actions veers around. (Aristotelian Poetics) |
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| Arrogance or pride that causes a heroic character problems. (Aristotelian Poetics) |
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| Expression of Doubt (Aristotelian Poetics) |
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| An emotional experience with literature that brings about emotional or spiritual renewal and/or relief from unhealthy emotions. (Aristotelian Poetics) |
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| a ludicrous descent from the exalted or lofty to the commonplace; anticlimax (Figurative Tropes) |
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| Obvious exaggeration to make a point.(Figurative Tropes) |
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| Using a part to represent the whole. (Figurative Tropes) |
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| Deliberate side by side placement of ideas, words, motifs to emphasize a point by highlighting the contrasts between them (Figurative Tropes) |
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| A figure of speech in which a pair of contradictory words or phrases are used to a rhetorical purpose. (Figurative Tropes) |
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| Expression of contrasting ideas, often in a parallel structure. (Figurative Tropes) |
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| a form of parallelism that relies on deliberate repetition of words, phrases at beginning of a series of sentences. (Figurative Tropes) |
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| Breaking off as if unable to continue. (Rhetorical schemes) |
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| Repeating the last word of a clause at the beginning of the next. (Rhetorical schemes) |
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| repetition in reverse order (Rhetorical schemes) |
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| placing one noun or noun-equivalent beside another in a sentence to add description or explanation. |
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| omission of connectives between a series of clauses |
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| figure of repetition in which the key word or words in one phrase, clause, or sentence is/are repeated at or very near the beginning of successive sentences, clauses, or phrases; repetition of a key word over successive phrases or clauses. |
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| the repetition of the initial word or words of a clause or sentence at the end. The beginning and the end are the two positions of stronger emphasis in a sentence; so, by having the same phrase in both places, the speaker calls special attention to it; “The King is dead, long live the King” |
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| rhetorical counterpart of anaphora; it is the repetition of the same word or words 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 or sentence. |
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| alternatives presented in a balanced manner, e.g. “You can smoke now and die sooner or quit now and live longer.” |
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| deliberate omission of a word |
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| Repetition of a word with one or more between, usually to express deep feeling. |
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| also called an inexpressibility topos: 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 (e.g. the heavens, the oceans) the dimensions of which cannot be grasped. |
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| Latin for “seize the day”; a theme or mantra often associated with the romantics and American transcendentalist movements. |
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| judicial sentence or “act of the faith," especially the public burning of a heretic; in a modern sense it is any situation containing the sentencing to death, or the public execution of a “criminal”. |
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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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| the gradual but sustained increase in volume, intensity, or emphasis in a speech, passage, or work. |
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