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| a figure of speech, involving a reference to a person, place or thing taken from a mythological, historical, biblical or literary source |
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| any force or forces working against the protagonist |
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| the denotation or denotative meaning of a word, plus suggested meanings which arise from one's own experiences and attitudes. |
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| the exact, literal, dictionary meaning of a word |
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| an element of style, which indicates the types of words used by the author to express his ideas |
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| descriptive expressions, such as figures of speech, that appeal to the senses |
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| a literary device based on contrast |
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| something concrete standing for something abstract. e.g. a flag standing for patriotism |
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| the theme makes a general comment about life. a theme is written in the reader's own words and is not written as a familiar moral or a cliche. a theme is an expression of why the story was written. |
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| A type of structure in which the beginning is the same as the end, and the literature comes to a complete circle by the end. |
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| a recurring idea, object, or literary device that helps develop the book's major themes. |
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| the prominence or emphasis given to a syllable or word. |
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| the repetition of the same or similar sounds at the beginning of words. |
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| a figure of speech in which words and phrases with opposite meanings are balanced against each other. |
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| the repetition of a word or phrase at the beginning of successive phrases, clauses, or lines |
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| words that are spoken to a person who is absent or imaginary, or to an object or abstract idea. |
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| the repetition or a pattern of similar sounds, especially vowel sounds. |
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| A poem that tells a story similar to a folk tale or legend and often has a repeated refrain. |
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| poetry that is written in unrhymed iambic pentameter. |
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| A natural pause or break in a line of poetry, usually near the middle of a line. |
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| A latin expression that means "seize the day." |
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| The principles and ideals of beauty that are characteristics of greek and roman art, architecture, and literature. |
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| The repetition of similar consonant sounds, especially at the ends of words. |
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| In a poem, a pair of lines that are the same length and usually rhyme and form a complete thought. |
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| A long, serious poem that tells the story of a heroic figure. |
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| a verbal expression in which words or sounds are arranged in a particular way to achieve a particular effect. |
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| two or more syllables that together make up the smallest unit of rhythm in a poem |
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| poetry composed of either rhymed or unrhymed lines that have no set meter |
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| a figure of speech in which deliberate exaggeration is used for emphasis. |
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| a metrical foot of two syllables, one short (or unstressed) and one long (or stressed). |
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| A type of meter in poetry, in which there are five iambs to a line. |
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| Either a short poem depicting a peaceful, idealized country scene, or a long poem that tells a story about heroic deeds or extraordinary events set in the distant past |
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| A poem, such as a sonnet or an ode, that expresses the thoughts and feeligns of the poet. |
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| A figure of speech in which two things are compared, usually by saying one things is another, or by substitutiong a more descriptive word for the more common or usual word that would be expected |
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| The arrangement of a line in poetry by the number of syllables and the rhythm of accented (or stressed) syllables. |
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| A figure of speech in which words are used to imitate sounds. |
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| A line of poetry that has five metrical feet |
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| A figure of speech in which nonhuman things or abstract ideas are given human attributes |
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| A stanza or poem of four lines |
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| A phrase, line, or group of lines that is repeated throughout a poem, usually after every stanza |
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| The occurrence of the same or similar sounds at the end of two or more words. |
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| The principles and ideas of the romantic movement in literature and the arts during the late 18th and early 19th centuries. |
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| A figure of speech in which two things are compared using the word "like" or "as". |
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| A lyric poem that is 14 lines long. |
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| Two or more lines of poetry that together form one of the divisions of a poem. |
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| The prominence or emphasis given to particular syllables. |
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| A single metrical line of poetry, or poetry in general (as opposed to prose). |
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| Socially distinct variety of a language |
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| a word or words used in informal or formal speech or writing |
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| stand-offish; not friendly or talkative |
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| evaluated; made a judgement on something |
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| twisted; bent into a different shape |
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| disappointed; suddenly sad |
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| on purpose; with careful, purposeful action |
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| very complicated and complex |
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| heavy with; full of; covered with |
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| walked awkwardly, clumsily |
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| to kill/hang someone without a trial or guilty verdict |
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| not very much; a small amount |
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| having very little inflection, variety |
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| an irregular pattern of light and dark |
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| a bother; a pain; something that causes trouble |
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| something that is intellectually deep; difficult to understand |
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| having a combative personality; someone who likes to start fights |
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| to be in a relaxed or lying-down position |
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| replied in a sharp or accusatory way |
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| to make fun of something; to tease someone |
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| anything that is a pest or can cause disease |
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| to glide lightly or rapidly |
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| to twist the body about, squirm |
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| two words with opposite meanings, put together for dramatic effect |
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| series of related events that make up a story or drama |
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| Exposition/Basic Situation |
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| Time, place, atmosphere/mood |
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| struggle between opposing forces |
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| between two or more characters |
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| between the character and an element of nature |
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| Between a character and his/her society, customs, or laws |
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| a struggle that is pre-determined from which the character cannot escape |
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| a struggle between opposing needs, or desires, or emotions and decisions |
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| Between a character and his/her emotions and decisions |
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| Complication(s)/Rising Action |
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| the main character(s) take action to resolve the conflict and meet with complications along the way |
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| Turning point of the story; emotion or high-point; moment of decision of the main character(s) when we realize what the conflict is going to be |
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| Events that lead to the resolution |
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| Conclusion/Resolution/Denouement |
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| outcome of the conflict involved with the main character(s)/end of the story |
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| an individual in a story or play |
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| the main character of the story; the one who has to deal with the conflict(s) |
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| the force that works against the protagonist; does not have to be a person |
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| either one who is in most ways opposite to the main character or nearly the same as the main character. THe purpose of the foil character is to emphasize the traits of the main character by comparison or contrast |
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| Changes by the end of the story, learning something that changes him or her in a permanent way |
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| does not change; he or she is the same person at the end of the story as he was at the begining |
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| complex and have many different traits; readers may even be able to anticipate the actions of a round character if the characterization is well done and consistent |
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| have only one or two personality traits and can be summed up in a single phrase; we know very little about a flat character and are not meant to serve as main characters. They serve as necessary elements in plot or as elements of the setting |
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| techniques the writer uses to develop the personality of a character. |
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| SPEECH.THOUGHTS.EFFECT.ACTIONS.LOOKS |
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| language that appeals specifically to the five senses |
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| a scene that interrupts the normal chronological sequence of events in a story to depict something that happened at an earlier time |
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| The use of clues to hint at what is going to happen later in the plot |
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| a writer or speaker says one thing but really means something completely different |
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| what we expect to happen is the opposite of what really does take place |
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| the audience or the reader knows something important that a character in a play or story does not know |
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| the vantage point from which the author tells the story |
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| the narrator, a character in the story and usually the protagonist, tells the story from his/her perspective using I, me, we, etc. |
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| a story told using "you" which places the reader immediately and personally into the story |
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| the narrater uses third person pronouns (he/she/they etc.) and knows everything that is going on in the story. this type of narrator is not limited by time or space |
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| the narrator tells the story using third person pronouns but limits herself to what one character can sense; the limitations are the same as in first person. |
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| The attitude a writer takes toward the reader, a subject, or character |
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| the title of a piece of literature generally suggests the subject or the theme of that piece |
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| the feeling a piece of literature arouses in the reader |
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| written or spoken language in its ordinary form, without metrical structure |
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| a work of literature portraying an idealized version of country life |
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