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| In poetry: the stressed portion of a word. |
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| Derived from Greek, "misplaced in time." When there are elements of one time period in another time period where that element cannot be possible. |
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| The word, phrase, or clause that determines what a pronoun refers to. ex: "The principal asked the children where they were going." "They" is a pronoun and "children" is the antecedent. |
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| When inanimate objects are given human characteristics. NOT personification, which is when an inanimate object takes on human shape. |
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| When an action produces far smaller results than one had been led to expect. |
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| A short and witty saying. |
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| A figure of speech wherein the speaker talks directly to something that is nonhuman or absent. |
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| A speech (usually short) made by an actor to the audience, as if stepping outside the action on the stage. |
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| The repeated use of vowel sounds. ex: "Old king Cole was a merry old soul" |
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| When writing strains for grandeur it can't support and tries to jerk tears from every little hiccup. |
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| When the writing of a scene evokes feelings of dignified pity and sympathy. |
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| Pretentious, exaggeratedly learned language. When one tries to be eloquent by using the largest most uncommon words. |
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| The beat or rythym of poetry in a general sense. |
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| Drawn from Aristotle's writings on tradgedy. Refers to the "cleansing" of emotion an audience member experiences, having 'lived' through the experiences on stage |
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| A new word, usually made up on the spot. Neologism is the technical word. |
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| A word or phrase used in everyday conversation that isn't a part of "school book" English. |
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| Conceit, Controlling Image |
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| Conceit: in poetry, a startling or unusual metaphor, or a metaphor to be developed and expanded over several lines. Controlling image: when the conceit dominates and shapes the entire work. |
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| When the audience knows something that the characters in the drama do not. |
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| A type of poem that meditates on death or mortality in a serious, thoughtful manner. Can use the recent death of a person as a starting point or can memorialize specific dead people. |
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| The continuation of a syntatic unit from one line or couplet of a poem to the next with no pause. |
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| A word/phrase that takes the place of a harsh, unpleasant, or impolite reality. |
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| Lines rhymed by their final syllables. ex: Running and gunning. The pentultimate syllables are stressed and the final syllables are unstressed. |
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| A basic rythmic unit of a line of poetry. A foot is formed by the combination of two or three syllables, either stressed or unstressed. |
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| Latin for "in the midst of things." |
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| For novels and poety, not dramatic literature. The mental talking that goes on inside a character's mind. Tends to be coherent, unlike stream of consciousness. |
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| A word that is used to stand for something else that it has attributes of or is associated with. ex: "All hands on deck" where "hands" represents the sailors. |
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| Repeated syntatical similarities used for effect. |
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| A phrase set off by commas that interrupts the flow of a sentence with some commentary or added detail. |
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| The narrator in a non-first person novel. The invisible 3rd person narrator, in some cases. |
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| A poem or speech expressing sorrow. |
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| A speech spoken by a character alone on stage. Meant to convey the impression that the audience is listening to the character's thoughts. Unlike an ASIDE, a soliloquy is not meant to imply that the character acknowledges the audiences presence. |
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| The use of a word to modify two or more words, but used for different meanings. ex: He closed the door and his heart on his lost love. |
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