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| a common type of character or a common theme that seems to appear in lit. throughout all cultures and time periods, like the general character of the epic hero |
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| the repetition of vowel sounds |
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| a song/songlike poem that tells a story, usually have a regular rhythm/rhyming pattern, usually have a refrain- a phrase that is repeated at regular intervals |
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| poetry in unrhymed iambic pentameter |
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| a pause/break in the middle of a line of poetry |
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| the repetition of consonant sounds (strets and frets) - usually used to refer to final consonant sounds (but can be used for the middle sounds), and alliteration is the same thing but usually used to refer to initial consonant sounds |
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| an author’s word choice- the connotations of the words used (the emotional implications/associations that a word can carry) are more important to the diction than their denotations (their strict, literal meanings) |
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| a sad poem of mourning, usually mourning a death or a lost love |
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| a long narrative poem that tells of the great deeds done by a hero or the challenges overcome. The hero usually embodies a value of society that the author thinks is important. examples: Beowulf and Milton’s Paradise Lost |
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| a descriptive phrase regularly used to characterize a character or a place, or used in place of their name. for ex., “the gray-eyed goddess Athena” (or just “the gray-eyed goddess) |
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| a short story teaching a moral/lesson, ex. The Canterbury Tales |
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| the economic, political, and social system of Medieval Europe- 1. the feudal lords(powerful), 2. vassals (did work/military service in exchange for land to live on and farm), 3. serfs (servants, bound to the land) |
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| a character who provides a strong contrast to another character |
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| poetry with no regular rhyme, depends on the rhythms of natural speech, ex. The Hollow Men, Dover Beach |
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| an intellectual movement in the Renaissance- revived the study of the classics, focused on the study of human life/ earthly matters over religion, ex. Thomas More |
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| an exaggeration to make a point |
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| a line of poetry made up of five iambs (one iamb= an unstressed syllable followed by a stressed syllable) |
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| when the audience/reader knows something that the characters in the play/story don’t because of a third person omniscient point of view |
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| poetry that focuses on expressing emotions rather than telling a story |
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| when something related to a thing/suggested by it is used in place of the thing itself, ex. : “the White House” for the president/gov. |
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| a long lyric poem, usually thoughtful and on serious subjects |
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| the use of a word whose sound imitates its meaning, ex. “lapping” in The Lake Isle of Innisfree |
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| a short allegorical story that teaches a moral lesson |
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| something that seems to contradict itself, but is actually true, for ex. “Death, thou shalt die” from Donne’s “Death be not proud” |
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| related to idyllic country life |
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| third person limited point of view |
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| the narrator is outside the story but tells it from the vantage point of only one character |
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| told from outside the story, and the narrator is “all knowing” |
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| writing that tried to follow the random flow of thoughts and emotions going through a person’s mind, demonstrated by Virginia Woolf and James Joyce |
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| a figure of speech in which a part represents a whole, ex. to give one’s hand in marriage, with hand representing the whole person |
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| describing one sense (like sight) in the terms of another (like sound, ex. a “loud” yellow |
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