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| Recurrence in poetry of a rhythmic pattern |
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| Pattern in the beat of stresses in the stream of sound |
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| The unit of rhythem in verse, accented and unaccented syllables |
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| One unaccented & then one accented syllable |
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| One accented & then one unaccented syllable |
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| Two unaccented & then one accented syllable |
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| One accented & then two unaccented syllabels |
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| Two accented syllables (usually a substitute foot) |
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| and indication of the number of feet per line |
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| most common meter in English |
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| A break or pause within a lineopoetry |
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| one line of poetry carries over to the next line in thought and punctuation |
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| The thought ends or pauses at the end of the line of poetry |
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| Identity in sound of the last vowel and all following sounds, with different preceeding consonants |
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| Pattern of rythmes at ends of lines, using letters to indicate same and different rhymes |
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| repetition of consonant sounds at beginnings of syllables |
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| Repition of vowel sounds in stressed syllabels |
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| A harsh, unpleasant combination of sounds |
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| words whose sounds suggest their meanings |
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| unrhymed iambic pentameter |
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| A pair of end-rhyming lines |
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| pairs of rhyming lines written in iambic pentameter |
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| Non-traditional metrical composition in which the cadence of recurring words and images, rather than traditional meter, produces rhythm |
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| A fourteen-line lyric, usually written in iambic pentameter |
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| Petrachan (Italian) Sonnet |
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| consist of an octave (8 lines abba abba)and a sestet (6 lines using son combination of cderhymes) often presents a problem-solution in the two parts |
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| Shakespearean (English) Sonnet |
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| Consist of 3 quatrains and a couplet (abab cdcd efef gg) |
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| A brief refernece to an earlier writing of a historical event |
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| vilation od expectations that occurs when something unimortant appears fo occures where something important is expected |
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| speaking to something or someone that cannot hear or relpy as though it could |
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| inverted parallelism (A-B;B-A) two balanced parts with the second part having reversed order |
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| A striking or elaborate comparison of dissimilar things; an ingeniously formulated (often extended) metaphor |
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| Deliberate exageration for effect; overstatement |
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| Concrete presentation of a sense experience |
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| Differnce between appearence and reality |
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| A type of verbal irony in which one says the opposite of what he means |
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| Occures when the reader knows things the characters do not |
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| Occures when the expectations of the reader or the character or both are violated |
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| an implied comparison; referring to one thing in terms of another |
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| refering to oner thing in terms of an associated object |
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| an apparent contradiction |
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| Giving human characteristics to something nonhuman |
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| The repetition in close proximity of words that have the same roots; may involve the same word used as a different part of speech or words that are related but not the same |
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| an explicit comparison using 'like' or 'as' |
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| A figurative expression that means something in addition to itself |
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| using part of something to refer to the whole thing |
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| saying less than you mean |
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| A type of understatement in which we affirm something by denying it's opposite |
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| Type or category of literature |
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| Account in prose or poetry of a real or imagined event (story) |
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| Story drawn from its writer 's imagination |
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| Extended prose fictional narrative |
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| An early form of the novel, usualy a first person narrative, relating the adventures of a rouge or low-born adventure as he drifts from place to place and from one social milieu to another in his effort to survive |
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| Extended fictional work allowing the free play of the author's immagination |
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| Extended prose fictional narrative with a medieval of other past setting, an atmosphere of mystery and terror, and possible supernatural events |
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| Brief fictional prose narrative |
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| Verse expressing personal feelings |
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| A formal poetic Meditation on death or another solemn topic |
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| A story with at least two sustained and carefully correlated levels of meaning |
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| Correvtive ridicule; uses wit or humor to point out himan waskenss |
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| The movement to purify existing church institutions... Didactic, functional, spiritally realisic, and sometimes metaphysical |
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| Highly inellectual poetry including unusual imagery, paradox, rough diction, and conceit |
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| 18th C. attitude of respect for classical form and learning and for human reason... tends to be rationalistic |
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| Rationalistic religion accepting God's natural law, but insisting upon man's autonomy in practical affairs |
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| Language appropiate only for poetry, a neoclassical concept |
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| Favoring the development of an indigenous literary tradition |
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| 19th C movement favoring emotion, intuition, nature, symbolism, primitivism, and organic form |
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| Belief that uncultured man is capable of greater purity than civilized man |
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| Unsing mystical, bizarre, supernatural elements to create an atmosphere of horror, frequently including Gothic architecture |
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| Belief that truth is attainable from sources above reason (intuition), a romantic development |
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| Anti-Trinitarian religion, a ramification of rationalism, but popular during the romantic era |
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| Expression of exessive emotion |
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| Tending to teach; especially instruction in moral, ethical, or religious matters |
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| Expressing an idea in language that gives more than one possible meaning |
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| The main character, center of interest |
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| The opposite to the main character |
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| Point of highest interest or excitement |
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| Turning point in the plot |
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| Untying the final outcome of the main dramatic complication, follows crisis |
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| The appearance to truth or actuality |
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| Vantage point from which an author tells his story |
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| The author's attitude toward his audience and subject as envinced in his writing |
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| Predominant emotion that a work produces, feeling reader shares with the characters |
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| Central or dominating idea in a literary work |
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| A recurrent image, word, phrase, or action that contributes to the unity of a work |
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