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| Marked by an emphasis on decorum, and use of the unities |
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| Three different kinds: unity of time, unity of place, unity of action |
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| Aspect of Neoclassicism: The appearance of being true or real; likeness or resemblance of the truth, reality or a fact's probability. |
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| Secondary action/plot that can support or contrast the main plot |
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| Any artificial or improbable device resolving the difficulties of a plot |
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| When the dialogue of the character gives some clue as to what will occur next in the play |
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| Difference between what is expected and what actually occurs |
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| Poetic foot consisting of a stressed syllable followed by an unstressed syllable |
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| Unit of stressed/unstressed syllables |
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| Unrhymed, metric verse; usually iambic |
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| structure of the sequence of events or actions |
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| Uses wit and sarcasm to attack vice, folly, human weakness (Example: Volpone) |
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| Uses stock characters, exaggerated situations (Examples: Lysistrata, A funny thing happened on the way to the wedding) |
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| Pokes fun/criticizes the social classes of the day (Examples: School for Scandal, The Misanthrope) |
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| Area on stage in front of the proscenium arch, closest to the audience |
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| Architectural feature which provides a large frame in front of the scenery |
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| voice of reason in the play; theorized to be the author’s voice within the play |
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| Someone who one of the main character can confide in; can reveal the true thoughts of the characters |
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| dramatic speech to be heard only by the audience, usually given when the character is alone on stage |
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| high point in the play; important conflicts are addressed |
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| contest of wills; can involve a protagonist and antagonist, protagonist and group, protagonist and himself |
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| main agent of action/central character |
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| utterance by a character that the other characters cannot hear |
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| force that opposes the antagonist |
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| Series of related incidents that don’t have a direct causal link (Example: Faustus) |
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| Series of dramatic incidents with a direct causal link (Example: Oedipus Rex) |
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| when the play begins to rate to the narrative |
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| actions that are cruel, conniving, manipulative, sly |
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| Specific type of literary form |
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