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| any single line of poetry or any composition written in seperate lines of more or less regular rhythm |
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| the restatement in one's own words of whaqt one understands a poem to say or suggest |
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| a brief condensation of the main idea or plot of a work |
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| a generally recurring subject or theme |
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| a short poem expressing the thoughts and feelings of a single speaker. Song-like immediacy and emotional force. |
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| a poem written as speech made by a character at some decisive moment |
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| a poem intended to teach a moral lesson or impart a body of knowledge |
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| poetry that blends criticism with humor to convey a message |
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| a fictitious character created by an author to be the speaker of a literary work |
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| a discrepancy between what is said and what is meant |
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| saying the opposite of what is really meant |
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| bitter irony intended to hurt or mock |
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| a situation in which the larger implications of character's words, actions, or situation are unrealized by that character but seen by the author and the reader |
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| the contrast between a character's position or aspiration and the treatment he or she receives at the hands of a seemingly hostile fate |
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| word choice or vocabulary |
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| words that specifically name or describe things or persons |
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| words that express general ideas or concepts |
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| any language deemed suitable for verse. Elevated language |
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| a brief reference in a text to a person, place, or thing. |
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| the lowest level of diction |
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| the casual or informal but correct language of ordinary native speakers |
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| a particular variety of language spoken by an identifiable regional group or social class of persons |
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| a word or series of words that refers to any sensory experience |
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| the collective set of images in a poem |
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| A japanese verse form that has three unrhymed lines of five, seven, and five syllables |
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| a comparison of two things connected by like, as, or than |
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| a statement that one thing is something else, which, in a literal sense, it is not. |
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| A metaphor that uses neither connectives nor the verb to be |
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| the (usually unintentional) combining of two or more incompatible metaphors, resulting in ridiculousness or nonsense |
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| the endowing of a thing, an animal, or an abstract term with human characteristics |
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| a direct address to someone or something |
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| also called hyperbole. Exaggeration used to emphasize a point |
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| an ironic figure of speech that deliberately describes something in a way that is less than the case |
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| figure of speech in which the name of a thing is substituted for that of another closely associated with it. |
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| the use of a significant part of a thing to stand for the whole of it, or vice versa |
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| a statement that at first strikes one as self contradictory, but that on reflection reveals some deeper sense |
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| a reoccurring pattern of two or more lines of verse |
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| any recurrent pattern of rime within an individual poem |
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| a word, phrase, line, or stanza repeated at intervals in a song or poem |
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| a song that tells a story |
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| anonymous narrative songs, usually in ballad meter |
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| four lines rimed abdb in which the first and third lines have four metrical feet and the second and fourth lines have three feet |
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| a ballad not meant for singing, written by a sophisticated poet for educated readers |
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| the repetition of a constant sound in a line |
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| the repetition of two or more vowel sounds in successive words, which create a kind of rhyme |
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| a harsh, discordant sound often mirroring meaning of the context in which it is used |
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| a harsh, discordant sound often mirroring meaning of the context in which it is used |
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| the harmonious effect when the sounds of the words connect with the meaning in a way pleasing to the ear and mind |
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| an attempt to represent a thing or action by a word that imitates the sound associated with it |
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| two or more words that contain an identical or similar vowel sound, usually accented, with following consonant sounds (if any) identical as well |
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| also called slant rime. A kind of rime in which the linked words share similar consonant sounds but have different vowel sounds |
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| rime that occurs at the ends of lines |
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| rime that occurs within a line of poetry |
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| either a rime of one-syllable words or, in polysyllabic words, a rime on the stressed final syllables |
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| a rime of two or more syllables with stress on a syllable other than the last |
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| a "false" rime in which the spelling of the words is alike, but the pronounciations differ |
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| an emphasis, or accent on a syllable |
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| the recurring pattern of stresses and pauses in a poem |
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| the study of metrical structures in poetry |
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| a practice used to describe rhythmic patterns in a poem by separating the metrical feet, counting the syllables, marking the accents, and indicating cesuras |
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| a light but definite pause within a line of verse |
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| a line of verse that does not end in punctuation, but carries on grammatically to the next line. also called enjambment |
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| a line of verse that ends in a full pause, often indicated by a mark of punctuation |
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| the basic unit of measurement in metrical poetry |
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| five iambic feet per line |
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| unstressed unstressed stressed |
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| stress unstressed unstressed |
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| verse meter based on the number of stresses per line, not the number of syllables |
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| the means by which a literary work expresses its content |
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| a traditional verse requiring certain predetermined elements of structure, for example, a stanza pattern, set meter, or predetermined line length |
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| a generic term that describes poetry written in a pattern of meter, rime, lines, or stanzas. A closed form adheres to a set structure |
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| verse that has no set scheme, free verse |
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| contains five iambic feet per line and is not rimed |
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| a two lined stanza in poetry usually rimed and with lines of equal length |
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| two rimed lines of iambic pentameter that usually contain an independent and complete thought or statement |
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| a stanza consisting of four lines |
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| a ling narrative poem tracing the adventure of a popular hero |
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| a very short, comic poem, often turning at the end with some sharp wit or unexpected stinger |
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| a fixed form of fourteen lines, traditionally written in iambic pentameter and rimed throughout |
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| the octave is abbaabba and the sestet may follow any rime pattern as long as it doesn't end in a couplet |
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| organized into three quatrains and concluded with a couplet and rimed abab cdcd efef gg |
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| poems that have neither a rime scheme nor a basic meter |
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| poetry whose lines follow no consistent meter |
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| poetic language printed in prose paragraphs, but displaying careful attention to sound, imagery, and figurative language characteristic of poetry |
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| a visual poetry composed exclusively for the page in which a picture or image is made of printed letters or words |
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| a person, place or thing in a narrative that suggests meanings beyond its literal sense |
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| a description, often narrative, in which the literal events consistently point to a parallel sequence of ideas, values, or other recognizable abstractions |
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| An action whose significance goes well beyond its literal meaning. In literature, symbolic acts often involve a primal or unconscious ritual element such as rebirth, purification, forgiveness, vengence, or initiation. |
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| Symbols that, because of their frequent use, have acquired a standard significance. They are conventional symbols because they carry recognizable meanings and suggestions. |
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| a brief, often humorous narrative told to illustrate a moral |
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| a brief, usually allegorical narrative that teaches a moral. In parables, unlike fables (where the moral is explicitly stated within the narrative), the moral themes are implicit and can often be interpreted several ways |
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| A short narrative without a complex plot. A tale differs from a short story by its tendency toward lesser-developed characters and linear plotting |
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| A humorous short narrative that provides a wildly exaggerated version of events |
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| short narrative folklore, originally transmitted orally, which features supernatural characters with human personality traits. |
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| a prose narrative too brief to be published in a separate volume. |
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| a narrative in which the main character, usually a child or adolescent, undergoes an important experience or rite of passage that prepares him or her for adulthod |
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| the main or central character in the narrative. Initiates the main action of the story, often in conflict with the antagonist |
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| the most significant character or force that opposes the protagonist |
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| the opening portion of a narrative. In an exposition, the scene is set, the protagonist is introduced, and the author discloses any other background information necessary |
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| the central struggle between two or more forces |
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| the introduction of a significant development in the central conflict between characters. Complications may be external or internal |
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| the point in the narrative when the crucial action, decision, or realization must take place |
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| the moment of greatest intensity |
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| the logical end or outcome of a unified plot, shortly following the climax |
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| an indication of events to come |
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| a scene relived in a character's memory |
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| a moment of profound insight or revelation by which a character's life is greatly altered |
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| a latin phrase meaning in the midst of things. Refers to a narrative device of beginning a story midway in the events it depicts before explaining the context or preceeding actions |
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| point of view in which the narrator knows everything about all of the characters and events in a story |
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| limited or selective omniscience |
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| narrator sees into the minds of some but not all the characters |
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| point of view employed when an omniscient narrator, who presents the thoughts and actions of the characters does not judge or comment on them |
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| the omniscient narrator makes critical judgement or commentary |
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| the third-person narrator merely reports dialogue and action |
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| has the ability to move freely through the consciousness of any character |
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| participant in the action |
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| relatively detached from or plays a minor role in the events |
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| does not appear in the story but is usually capable of revealing thoughts and motives |
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| a character who fails to understand the implications of the story they tell |
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| an extended presentation of a character's thoughts in a narrative. Usually written in the present tense and printed without quotation marks, an interior monologue reads as if the character were speaking aloud to himself for the reader to hear |
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| an attempt to duplicate the subjective and associative nature of human consciousness |
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| the techniques a writer uses to create, reveal, or develop characters in a narrative |
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| an aspect of characterization through which the author overtly relates either physical or mental traits of a characters. THis description is almost invariably a sign of what lurks beneath the surface of the character. |
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| a character is introduced, advanced, and possibly transformed in a story. |
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| what a character in a narrative wants, the reason an author provides for a character's actions |
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| a character with only one outstanding trait |
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| a complex character who is presented in depth in a narrative. They change significantly during the course of a narrative. Often their full personalities are revealed gradually throughout the story |
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| a common or stereotypical character |
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| the time and place of a story |
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| the location where a story takes place |
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| the dominant mood or feeling that pervades all or part of a literary work. The total effect conveyed by the author's use of language, images, and physical setting |
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| the literary representation of a specific locale that consciously uses the particulars of geography. In regional narratives the locale plays as crucial role in the presentation and progression of the story |
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| the characters are presented as products or victims of environment and heredity |
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| the attitude toward a subject conveyed in a literary work. |
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| all the distinctive ways in which an author uses language to create a literary work |
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| word choice or vocabulary |
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| a literary symbol that has a conventional or customary meaning for most readers |
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| an action whose significance goes well beyond its literal meaning |
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| the technique of arranging events and information in such a way that later events are prepared for beforehand |
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| also called subplot. A second story or plot line that is complete and interesting in its own right, often doubling or inverting the main plot |
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| the central struggle between two or more forces |
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| the final part of the narrative, the concluding action or actions that follow the climax |
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| unity of time, place, and action, the three formal qualities recommended by renaissance critics to give a theatrical plot cohesion and integrity |
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| a speech by a character alone onstage in which he or she utters his or her thoughts aloud |
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| a speech a character addresses directly to the audience, unheard by other characters on stage |
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| nonverbal action that engages the attention of an audience |
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