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| Repetition of the same or very similar consonant sounds usually at the beginnings of words that are close together in a poem |
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| Reference to something generally familiar |
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| The character or force working against the protagonist (main character) and which creates conflict |
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| A statement that something is so, statement of assertion |
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| A story that ends happily, often with marriage |
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| Struggle or clash between opposing characters or opposing forces, it can be internal or external and is often labeled as Man vs. man, Man vs. Nature, etc. |
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| All the meanings, associations, or emotions that have come to be attached to some words |
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| Two consecutive lines of poetry that rhyme. |
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| The backing for the claim. |
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| Rabble-Rousing leader, one who gets power by stirring up the people |
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| A writer's or speaker's choice of words |
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| A kind of irony that occurs when the audience or reader is aware of facts unknown to the characters. For instance, Juliet is still alive when Romeo dies, and Romeo seems to be the only one unaware of this important fact. |
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| A character who changes and grows throughout the story. |
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| Complete sharing/understanding of feelings |
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| The substitution of a mild or less negative word or phrase for a harsh or blunt one, as in the use of "pass away" instead of "die," or "not the brightest bulb in the box" instead of "dumbest person on the planet." |
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| The term for the beginning part of a plot that gives information about the characters and their problems/conflicts |
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| Guilt diminishing or relieving |
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| The story teller tells things in terms of I and we. The narrator is a character in the story, generally the main character. He or she can only tell the story as seen by him or herself. (For example--Scout in To Kill a Mockingbird who is 6 years old and does not understand all of the events) |
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| Two dimensional character with one or two personality traits |
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| Character who is used as a contrast to another character |
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| The basic unit of meter in poetry consisting of a group of two or three syllables |
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| A loose kind of rhythmic structure in poetry which sounds more like natural human speech. |
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| A literary species or form, e.g., tragedy, epic, comedy, novel, essay, biography, lyric poem. |
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| Overused, clichéd i.e. not this word |
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| A person noted for feats of courage or nobility of purpose, especially one who has risked or sacrificed his or her life, OR The principal male character in a novel, poem, or dramatic presentation |
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| A flaw in the character of the protagonist of a tragedy that brings the protagonist to ruin or sorrow, also known as TRAGIC FLAW |
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| Figure of speech that uses exaggeration to express strong emotion or to create a comic effect |
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| A common meter in poetry consisting of an rhymed line with five feet or accents, each foot containing an unaccented syllable and an accented syllable (u/) |
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| Language that appeals to the senses (sight, smell, sound, touch, taste) |
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| The process of arriving at a conclusion based on making conclusions. |
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| Event in a story which introduces the conflict. |
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| Contrast between expectation and reality---between what is said and what is really meant, between what is expected to happen and what really does happen, or between what appears to be true and what really is true |
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| (3rd Person) Limited Narrator |
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| The storyteller is limited in his or her knowledge of events and the feelings of all the characters, but still tells the story in third-person. He or she acts as an outside observer of events. |
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| Figure of speech that makes a comparison between two unlike things, in which one thing becomes another thing. |
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| The rhythmic pattern produced when words are arranged so that their stressed and unstressed syllables fall into a more or less regular sequence, resulting in repeated patterns of accent (called feet). This is the BEAT |
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| The degree of certainty employed in offering the argument. |
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| A long speech given by a single actor, who is speaking to a specific audience, example: The "Friends, Romans, Countrymen, Lend me your ears" speech in Julius Caesar |
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| A story's atmosphere or the feeling it evokes, created by diction. |
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| A unifying idea that is a recurrent element in a literary or artistic work. |
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| Noun, pronoun, or noun phrase that receives or is affected by the action of a verb within a sentence |
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| Poem written in praise of person or object, usually characterized by nobility or sentiment or dignity of style. |
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| (3rd Person) Omniscient Narrator |
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| This narrator is a god-like storyteller who knows everything and can relate the thoughts and emotions of every character. |
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| Use of a word whose sound imitates or suggests its meaning. Such as pow, bang, whoosh. |
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| That literary element which arouses pity, sympathy, or empathy |
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| Kind of metaphor in which a thing or quality is talked about as if it were human |
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| Type of rhythmic, compressed language that uses figures of speech and imagery to appeal to the reader's emotions and imagination. |
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| Vantage point from which a writer tells a story |
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| Talented beyond one's age |
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| One of the two main parts of a sentence, which is governed by the verb |
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| Ordinary, Run-of-the-mill |
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| Ordinary language in speaking or writing, as opposed to poetry |
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| Main character in fiction or drama |
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| Play on the multiple meanings of a word or on two words that sound alike but have different meanings |
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| Exceptions to the initial claim |
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| Agreement after a quarrel |
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| Repeated word, phrase, line, or group of lines, in music, it is the chorus. |
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| Profound respect (incorrect)/Stop oneself from doing something (correct but not on sheet) |
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| The final revelation or occurrence which clarifies the outcome of the plot. |
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| The use of language for an effect, such as persuasion. Politicians use a lot of rhetoric |
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| Repetition of similar sounds that are close together in a poem, like the end of a line. |
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| The part of a tragedy that ends with a turning point |
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| Three dimensions of personality, well rounded and more like a real person |
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| An episode, or a minor division in a play. Also, an incident which develops out of the preceding action and flows into the action which follows |
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| The time and place of a story or play |
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| figure of speech that makes a comparison between two unlike things, using a word such as like, as, resembles, or than |
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| A kind of Irony in which we are truly surprised. It tends to be the opposite of what we, the audience, expect. |
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| Long speech in which a character who is onstage alone expresses his or her thoughts aloud, i.e. Romeo's "But soft!" speech. |
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| Fourteen-line lyric poem that is usually written in iambic pentameter and that has one of several rhyme schemes. Shakespeare wrote 152. |
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| Voice that is speaking to us in a poem |
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| Group of consecutive lines in a poem that forms a single unit. |
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| A character who does not change or grow throughout the story, but remains the same. |
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| The particular way in which a writer uses language. Style is created mainly through diction. It's the author's special way of writing. |
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| A character who fits a stereotype of a certain type of character. They play necessary roles in a story, but are not needed beyond their duties, i.e. a Doctor, a Priest, and the mailman. |
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| The noun, noun phrase, or pronoun in a sentence or clause that denotes the doer of the action or what is described by the predicate. |
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| To end an activity, hold back |
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| A willingness of a reader or viewer to suspend his or her critical faculties to the extent of ignoring minor inconsistencies so as to enjoy a work of fiction |
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| Person, place, thing, or event that stands for itself and something beyond itself. In a story it will often reappear and be given special significance. |
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| Central idea of a work of literature |
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| A unifying statement which appears in the opening paragraph of an essay and which directs the entire piece. It contains a subject as well as the writer's treatment of the subject (his or her opinions of the subject). |
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| A sentence which introduces a limited, single subject or paragraph. |
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| A story that ends unhappily. Often with death |
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| A literary character who makes an error of judgement or has a fatal flaw that, combined with fate and external forces, brings on a tragedy. |
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| Attitude a writer takes toward a subject, a character, or the audience. |
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| The part of a tragedy where a positive to negative reversal or change occurs in the fortunes of the hero. Also called TECHNICAL CLIMAX. |
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| A type of irony in which a speaker says the opposite of that which he or she truly means. This is sometimes referred to as sarcasm, the main difference being that sarcasm is meant to be cruel. |
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| The writer's or speaker's distinctive use of language it a text. How you tell them apart from each other |
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| The link between the claim and the grounds |
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