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| "confusing a work of literature with its effects on the reader" - doesn't talk about the text itself, but focuses on how the text makes a reader feel or respond. |
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| A Fault in style; use of vague or equicoval expression |
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| unstressed-stressed-unstressed |
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| stressed-unstressed-stressed |
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| unstressed syllable at the start of a line of poetry that does not contribute to the meter. Like a musical grace note |
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| means to double back; repeats word or phrase that appears at then end of a sentence or clause at the beginning of the next one. "fear leads to anger. Anger leads to hate. Hate leads to suffering"- yoda star wars |
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| the repetition of words in successive clauses, but in transposed grammatical order (ex: "I know what I like, and like what I know"). Ask not what your country can do for you- ask what you can do for your country |
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| Part of ode sung by chorus in Greek tragedy in returning movement from West to East in response to strophe |
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| Classical, refined, controlled, calm, formal |
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| Addresses something inhuman, dead, or absent |
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| Also slant, imperfect, near or oblique rhyme-almost rhymes by not quite, as in "push" and "rush" |
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| All elements of a piece work together to achieve a central purpose |
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| "ludicrous decent from the elevated to the commonplace, anticlimax" |
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| Symbol for an unstressed syllable (looks like a U) |
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| Pause in speech, usually in the midst of alliteration |
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| The absence of a syllable in the last metrical foot of a line or verse |
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| Aristotelian term meaning relase experienced by audience at end of tragedy |
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| Figure of sppeche in which two clauses are related to each other through a reversal of structures in order to make a larger point; that is, the two clauses display inverted parallelism. An example of a parallel sentence is "he knowingly lied and we blindly followed" (ABAB). inverting into chiasmus: "He knowingly lied and we followed blindly" (ABBA) |
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| The form of a poem in which lines are not formally grouped and break according to rules, just meaning |
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| "god from the machine"-improbably rescue froman impossible situation on stage |
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| Repetition after an intervening word or phrase (In times like these, it helps to recall that there have always been times like these. Paul Harvey) |
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| Opposites on the same spectrum, like good/evil |
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| Veering off topic; can contribute to understanding of a work in some cases |
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| Free, less structured, irrational, exuberant, musical |
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| A rhyme in which the repeated vowel is in the penultimate syllable, like rightly, sprightly, Mr. Knightly, politely. A form of feminine rhyme. |
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| Any device in a play that isn't realistic but is accepted by audience and author as realistic or necessary |
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| The situation that the author creates for the characters to reveal his theme |
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| Short descriptive poem of pastoral life |
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| Inspired by another work of art, usually visual art |
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| Poem celebrating a dead person |
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| Rhymes that occur at the ends of lines |
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| A line that ends in natural speech pause- usually punctuated |
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| "When once line ends without a pause and continues into the next line for its meaning. This is also called a run-on line." |
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| Short, witty poem or saying expressing a single thought or observation (Here lies my wife: Here let her lie! Now she's at rest-- and so am I. -John Dryden) |
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| Also epiphora; counterpart of anaphora; repetition of ends of 2+ successive sentences (of the people, by the people, for the people) |
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| What is written on a tombstone |
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| Poem celebrating marriage |
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| Defamatory or abusive word or phrase, also glorified nickname |
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| Repetition of a word for emphasis (and yes I said yes I will Yes- last line of Joyce's Ulysses) |
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| Agreeable, pleasant sounds, usually vowel-heavy |
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| The basic meter of the poem-it sets you up to think the whole thing will be, say, iambic pentameter, so you notice metrical variations |
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| a figure of speech sustained throughout several lines |
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| unaccented syllables at the beginnings or ends of lines |
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| rhyme between ending unstressed syllables (longing/yearning) |
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| Minor character whose situation parallels a major chracter and thus contrasts or distinguishes the major chracter |
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| ciminal act committed in ignorance |
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| Symbol to mark a stressed syllable. Looks like the Frech accent aigu |
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| Short poem depicting peaceful, idealized country life |
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| starting in the middle of things, an epic convention |
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| leavges the central conflict unresolved |
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| guessing the author's intent in writing based on evidence external to the writing |
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| rhymin words occur withing th eline of poetry, not at the ends |
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| spiteful, negative sppech; denunciation of a person usually using epithets |
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| Understatement in which affirmative is expressed as negative (this is no small problem) |
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| Expresses speaker's personal thoughts and feelings (ode, elegy, sonnet) |
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| the last syllable rhymes, most common- dance pants; rhyme between ending, stressed syllables |
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| drama about drama. Also metafiction. Figure in the Carpet, Portrait of the Artist, 6 characters |
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| Fiction about a fiction (novel about a novelist etc.) |
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| overblown comparison, fairly unrealistic but clear, as in comparing woman to a rose |
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| the use of a related bject to represent something |
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| the way that the author conveys the mood of the piece. Focuses on style and genre. |
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| Song with continuous accompaniment |
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| assigning emotions to inanimate things- more than just personification, this is almost an abuse of the object and/or the reader (Cheerios is an example) |
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| A sentence in which the main clause or predicate is withheld until the end. Despite heave winds and nearly impenetrable ground fog, the plane landed safely. |
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| A word whose sound, by an obscure process, to some degree suggests its meaning. As differentiated from onomatopoeic words, the meanings of phonetic intensives do not refer explicity to sounds |
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| Involves clever rogues or adveturers (picaros) who are usually lower class and live by their wits in a corrupt society. Usually humorous |
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| The total meaning of the poem- appears when you paraphrase it |
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| Technically written as prose, looks like a paragraphm but language is clearly poetic, often makes use of figurative language and even meter. compact, rhythmic, use poetic devices but written in sentences without line breaks. |
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| Aritificially elegant language, too "high-flown" and thus unrealistic |
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| Emphasizes meaning- metrical variations do not always do this, but often do |
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| Elements creators of text use to put forth their arguments |
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| The rhyme royal stanza consists of seven lines, usually in iambic pentameter. The rhyme scheme is a-b-a-b-b-c-c-. In practice, the stanza can be constructed either as a tercet and two couplets (a-b-a, b-b, c-c) or a quatrain and a tercet (a-b-a-b, b-c-c) |
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| Novel in which actual people/places/events are depictred in fictional story |
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| Quich dialogue that goes back and forth (staccato)- usually short but very meaningful |
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| In iambic pentameter, for example, if you throw in a trochee, usually to emphasize something or draw out meaning |
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| Logical argument (if A and B, then C) |
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| The use of the part for the whole |
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| Presentation of one sensory experience in terms of another one, like saying that the beach looks warm |
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| Terza rima is a three-line stanza using chain rhyme in the pattern a-b-a, b-c-b, c-d-c, d-e-d. There is no limit to the number of lines, but poems or sections of poems written in terza rima end with either a single line or couplet repeating the rhyme of the middle line of the final tercet. The two possible endings for the example above are d-e-d, e or d-e-d, e-e. There is no set rhythm for terza rima, but in English, iambic pentameters are generally preferred. |
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| only what one character thinks and feels |
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| ode or song of lamentation, a type of dirge |
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| turn, shift in focus or meaning in a sonnet usually after line 8 |
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| "time ghost"- the spirit of time |
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