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| The repetition of a key word, especially the last one, at the beginning of the next sentence or clause |
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| A foot in poetry with two unstressed syllables followed by one stressed syllable |
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| The rhetorical devise of repeating a word or phrase at the beginning of successive clauses or sentences |
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| A thing or person accursed or damned; a thing or person greatly detested; any strong curse |
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| Repeating words in reverse order for surprise and emphasis |
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| A contrast or opposition of thoughts, usually in two clauses or sentences |
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| A terse statement of known authorship which expresses a general truth or a moral principle |
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| A figure of speech that directly addresses an absent or imaginary person or a personified abstraction. May add familiarity or emotional intensity |
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| The repeition of vowel sounds in a series of words |
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| The practice of leaving out the usual conjunctions between coordinate sentence elements |
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| An abrupt change from the lofty to the ordinary or trivial in writing or speech; anticlimax |
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| Poetry written in unrhymed iambic pentameter; weak stress-strong stress; five poetic feet |
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| A pause or break in the middle of a line of poetry |
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| Reversing the grammatical elements rather than just words for emphasis |
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| A fanciful expression, usually in the form of extended metaphor or surprising analogy between seemingly dissimilar objects |
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| The repetition of a consonant sound within a series of words to produce a harmonious effect |
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| A foot in poetry with one stressed syllable followed by two unstressed syllables |
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| Writer's word choices; correctness, clearness, effectiveness. Related to style |
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| Works that have the primary aim of teaching or instructing, especially moral or ethical principles |
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| The running on of a sentence from one line or couplet to the next, with little or no pause (poetry) |
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| The emmision of a word or words necessary for complete grammatical construction but understood in the context |
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| Opening and closing a sentence with the same word or phrase for surprise and emphasis |
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| A short poem with a witty or satirical point; any terse, witty, pointed statement, often antithetical |
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| A formal composition written in the form of a letter addressed to a distant person or group of people |
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| Polite substitute for an unpleasant word or concept |
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| A sermon or morally instructive lecture |
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| An overstatement or exaggerated way of saying something |
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| A rhetorical devise in which normally unassociated ideas, words, or phrases are placed next to one another, creating an effect of surprise and wit |
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| Understatement employed for the purpose of enhancing the effect of the ideas expressed. Contains a negative |
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| Loose/Cumulative sentence |
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| A sentence that begins with the main idea and adds additional information, usually for description |
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| The use of the name of one thing for that of anoter associated with or suggested by it |
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| The use of words that sound like what they mean |
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| A figure of speech in which opposite or contradictory ideas or terms are combined |
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| A statement that seems contradictory, unbelievable, or absurd but that may actually be true |
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1. Grammatical or structural similarity between sentences or parts of. Involves an arrangement of words, phrases, sentences, etc. so that elements of equal importance are equally developed and similarly phrased
2. The repeated use of phrases, clauses, sentences that are similar in structure and meaning |
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| An unnecessary display of scholarship lacking in judgment or sense of proportion |
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| A sentence that postpones the main idea to the end, adding information at the beginning to build interest or tension |
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| Play on words that are identical or similar in sound but have sharply diverse meanings |
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| Narrative, descriptive, expository, argumentative |
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| An argument or form of reasoning in which two statements or premises are made and a logical conclusion drawn from them |
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| A metaphor in which 1) a part of something is used to signify the whole, 2) the container representing the thing being contained, 3) the material from which an object is made stands for the object itself |
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| Sentence structure and word order, related to style |
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| Assuming something to be true that really needs proof |
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| A question that is set up so that argument is shifted to new ground, or an appeal that has nothing to do with the logic of the case |
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| Using the same term with different meanings |
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| The conclusion doesn't follow from the preceeding arguments |
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| The major premise presents a choice that doesn't exhaust the possibilities |
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| Post Hoc Ergo Propter Hoc |
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| An attempt to prove that because a second event followed a first event, the second event was the result of the first |
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| Turning from the issue to the character involved, usually as an attack |
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| Arguing that a group must have the same qualities or characteristics of its members |
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| Arguing that an individual must have the characteristics of the group |
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| An argument based on an unqualified generalization |
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| Too few instances are presented to reach an accurate conclusion |
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| An appeal to general authority |
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Reason, balance, clarity, ideal beauty, orderly form
(18c) |
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Fancy, imagination, emotion, nature, individuality, exotica
(19c) |
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Details of actual life. Actual as opposed to imagined or fanciful. Truthful and objective about the ordinary
(19c) |
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People are hapless victims of immutable natural laws
(late 19c-early 20c) |
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Intuition and individual conscience transcend experience: better guides to truth than the sense and reason. Respected individual spirit, believing that divinity was everywhere-nature and each person. Omnipresent divinity: Over-Soul
(19c) |
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Capture essence of modern life. Uncertainty, bewilderment, meaningless, fragmentation of life. Begins arbitarily and ends without resolution: possibilities, not solutions
(20c) |
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Different approaches: 1) essence of contemporary life, 2) works that stand apart from past literature. Fragmentary approach, omitting expositions, resolutions, transitions. Broken and distorted sequences of scenes. "Magical realism"-fiction of realism and fantasy.
(post WWII) |
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