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| A reference in one work of literature to a person, place, or event in another work of literature. |
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The repition of similar sounds, usually consonants or consonant clusters, in a group of words.
Examples: "safe and sound," "brown as a berry," and "the more the merrier" |
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| Words spoken by a character in a play, usually in an undertone, not intended to be heard by other characters on the stage. |
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| Verse written in unrhymed iambic pentameter, where each line usually contains ten syllables and every other syllable is stressed. |
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| Persons-or animals, things, or natural forces presented as persons-appearing in a short story, novel, play or narrative poem. |
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| The point that is the greatest emotional intensity, interest, or suspense in a narrative. |
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| A struggle between two opposing forces or characters in a short story, novel, play, or narrative poem. |
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| Two consecutive lines of poetry that rhyme. |
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| A story acted out, usually on a stage, by actors and actresses who take the parts of specific characters. |
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(1) A person agianst another person.
(2) A person agianst society.
(3) A person agianst nature.
(4) Two elements or ideas struggling for mastery within a person. |
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| A device whereby the audience (or reader) understands more of the situation or of what is being said than the character is aware of. |
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| The kind of writing that is intented primarily to present information. |
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| All of the action in a play that follows a turning point. It leads to the resolution or the conclusion of the play. |
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| Two consecutive lines of rhyming poetry that are written in iambic pentameter and that contain a complete thought. There is usually one pause at the end of the first line, and another heavier pause at the end of the second line. |
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| The most common verse line in English poetry. It is an unstressed syllable followed by a stressed syllable. |
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| Language that appeals to any sense or any combination of senses. |
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| A comparison between two unlike things wtih the intent of giving added meaning to one of them. It DOES NOT use the connective word such as like, as, than, or resembles to state a comparison. |
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| A long, uninterrupted speech that is spoken in the presence of other characters. |
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| One who narrates, or tells, a story. |
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First-person: someone who is either a major of minor character.
Third-person: someone who is not in the story at all.
Third-person omniscient: "all knowing." They are able to enter into the minds of the all of the characters in the story. |
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| A figure of speech in which an animal, an object, a natural force, or an idea is given personality, or described as if it were human. |
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The sequence of events or happenings in a literary work.
(1) Exposition
(2) Conflict
(3) Climax
(4) Resolution |
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| The vatage point from which a narrative is told. |
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| Usually, the humerous use of a word or phrase to suggest two meanings at the same time. |
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| The outcome of the conflict in a play or story. |
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| Those events in a play that lead to a turning point in the action. |
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| The time and place of action in a narrative. |
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| Narrative prose fiction that is shorter than a novel. |
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| A comparison made between two dissimilar things through the use of a specific word of comparison, such as like, as, than or resembles. The comparison must be between two essentially unlike things. |
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| A speech, usually lengthy, in which a character, alone on stage, expresses his or her thoughts aloud. |
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| The main idea or the basic meaning of a literary work. |
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| The Secret Life of Walter Mitty |
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| Thunder on Sycamore Street |
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