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| An extended metaphor; a story with both a literal and implied layer |
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| A reference in a work to something outside it |
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| The intended meaning differs from the literal meaning |
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| Overstatement (e.g. like a million degrees) |
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| An affirmation of something by denying the opposite (e.g. he’s not the smartest in town= he’s dumb) |
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| A sudden decline from the lofty to the ridiculous |
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| When knowledge is given to the audience but not the characters |
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| Something that gives an impression of a sense (e.g. taste, feel) |
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| Equivalence between two things |
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| A related thing for the thing itself (e.g. the pen, the sword) |
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| A part representing the whole (e.g. 100 head of cattle) |
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| Giving physical existence to an abstraction |
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| Giving human characteristics to an abstraction |
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| Giving animal characteristics to an abstraction |
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| Speaking to an abstraction |
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| Something with both a literal meaning plus a concept |
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| An anticipation of the outcome by hints |
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| The repetition of initial consonant sounds in nearby stressed syllables (e.g. brushing, bubbled, buzzings) |
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| The repetition of terminal consonant sounds in nearby stressed syllables (e.g. heard, behind) |
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| Words that sound like what they mean (e.g. bubbled, snip) |
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| Consists of two syllables, the second of which is accented (e.g. beWARE) |
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| Consists of two syllables, the first of which is accented (e.g. HAPpy) |
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| Consists of three syllables; two unaccented syllables followed by an accented syllable (e.g. underSTAND) |
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| Consists of three syllables; one accented syllable followed by one unaccented (e.g. LOVEliness) |
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| A pause in a line of poetry |
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| A line that flows into the following line |
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| Unrhymed iambic pentameter |
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| Pathetic (pathos) fallacy |
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| Projecting a character's emotions upon nature (e.g. when the river merchant's wife was sad she thought the monkeys were crying) |
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| Concepts repeated in reverse order |
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| The repetition of vowel sounds in nearby stressed syllables (e.g. brushed, buzzing) |
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