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English Exam Review
English II 3rd 6 weeks Exam rEview
| Term | Definition |
|---|---|
| Acquiece | agreement or consent by silence or without objection; compliance |
| Bemuse | to puzzle, confuse, or bewilder |
| Beseech | to beg (someone) for something : to ask (someone) in a serious and emotional way to do something |
| Brusque | Gruffly |
| Consternation | a strong feeling of surprise or sudden disappointment that causes confusion |
| Cower | To crouch in fear or shame |
| Derogatory | Deliberately offensive, negative |
| Dote | To express excessive love |
| Feign | To fake or pretend |
| Indignation | anger as a result of something unjust |
| Languor | a weak of lifeless feeling |
| Mollify | soften in temper, calm |
| Mottled | (v) To mark with spots S: flecked A: unflecked |
| Neutralize | To make Neutral |
| Pestilential | morally harmful OR pertaining to plague; deadly |
| Precede | an example that may serve as a basis for imitation or later action |
| Progeny | The children born to a persin |
| Pugnacious | eager to fight |
| Reverent | Folding your arms |
| Subside | sinking or lowering of the land surface |
| Succor | To help in time of distress |
| Surfeit | overfed, stiff, indulge to excess in anything, excess, surplus |
| Synchronize | to make (things) happen at the same time and speed |
| Tedious | Tiring; dreary |
| Vigilance | watchful (especially for danger) |
| Demetrius | A young man of Athens, initially in love with Hermia and ultimately in love with Helena. He obstinate pursuit of Hermia throws love out of balance among the quartet of Athenian youths and precludes a symmetrical two-couple arrangement. |
| Lysander | A young man of Athens, in love with Hermia. The relationship with Hermia invokes the theme of love’s difficulty: he cannot marry her openly because Egeus, her father, wishes her to wed Demetrius; |
| Oberon | The king of the fairies, his wife, Titania, because she refuses to relinquish control of a young Indian prince whom he wants for a knight. |
| Titania | The beautiful queen of the fairies, resists the attempts of her husband, Oberon, to make a knight of the young Indian prince that she has been given. |
| Helena | A young woman of Athens, in love with Demetrius. Demetrius and Helena were once betrothed, but when Demetrius met Helena’s friend Hermia, he fell in love with her and abandoned Helena. |
| Hermia | Egeus’s daughter, a young woman of Athens. In love with Lysander and is a childhood friend of Helena. As a result of the fairies’ mischief with Oberon’s love potion, both Lysander and Demetrius suddenly fall in love with Helena. |
| Theseus | The heroic duke of Athens, engaged to Hippolyta. Theseus represents power and order throughout the play. He appears only at the beginning and end of the story, removed from the dreamlike events of the forest. |
| Hippolyta | The legendary queen of the Amazons, engaged to Theseus. Like Theseus, she symbolizes order. |
| Nick Bottom | The overconfident weaver chosen to play Pyramus in the craftsmen’s play for Theseus’s marriage celebration. He is full of advice and self-confidence but frequently makes silly mistakes and misuses language. |
| Theseus | The heroic duke of Athens, engaged to Hippolyta. Theseus represents power and order throughout the play. He appears only at the beginning and end of the story, removed from the dreamlike events of the forest. |
| Egeus | Hermia’s father, who brings a complaint against his daughter to Theseus: Egeus has given Demetrius permission to marry Hermia, but Hermia, in love with Lysander, refuses to marry Demetrius. |
| Hippolyta | The legendary queen of the Amazons, engaged to Theseus. Like Theseus, she symbolizes order. |
| George | A small, wiry, quick-witted man who travels with, and cares for, Lennie. Although he frequently speaks of how much better his life would be without his caretaking responsibilities, George is obviously devoted to Lennie. |
| Candy | An aging ranch handyman, lost his hand in an accident and worries about his future on the ranch. Fearing that his age is making him useless, he seizes on George’s description of the farm he and Lennie will have, offering his life’s savings. |
| Curley's | The boss’s son, Curley wears high-heeled boots to distinguish himself from the field hands. Rumored to be a champion prizefighter, aggressive young man who seeks to compensate for his small stature by picking fights with larger men. |
| Curley's Wife | he only female character in the story, is never given a name and is only mentioned in reference to her husband. Dressed in fancy, feathered red shoes, she represents the temptation of female sexuality in a male-dominated world. |
| Slim | A highly skilled mule driver and the acknowledged “prince” of the ranch, Slim is the only character who seems to be at peace with himself. The other characters often look to him for advice. |
| Carlson | A ranch-hand, Carlson complains bitterly about Candy’s old, smelly dog. He convinces Candy to put the dog out of its misery. When Candy finally agrees, Carlson promises to execute the task without causing the animal any suffering. |
| Crooks | the black stable-hand, gets his name from his crooked back. Proud, bitter, and caustically funny, he is isolated from the other men because of the color of his skin. |
| Antsy | unable to sit or stand still; fidgety: |
| Apathetic | feeling or showing little emotion |
| Inspiring | to fill with an animating, quickening, or exalting influence: |
| Irritable | easily irritated or annoyed; readily excited to impatience or anger. |
| Jealous | feeling resentment against someone because of that person's rivalry, success, or advantages |
| Marginalized | to place in a position of marginal importance, influence, or power: |
| Mournful | feeling or expressing sorrow or grief; sorrowful; sad. |
| Nervous | highly excitable; unnaturally or acutely uneasy or apprehensive: |
| Allegory | A story, poem, or picture that can be interpreted to reveal a hidden meaning, typically a moral or political one. |
| Allusion | Allusion is a brief and indirect reference to a person, place, thing or idea of historical, cultural, literary or political significance |
| Direct Characterization | Tells the audience what personality of the character is. |
| Indirect Characterazation | Shows things that reveal the personality of a cahracter. There are 5 different methods of indirect characterization: |
| Personification | figurative language that makes non-human things have person-like qualities |
| Simile | a figure of speech in which two unlike things are explicitly compared |
| Symbolism | An object that represents a person, place, or idea |
| Theme | A message about life or human nature that the writer shares with the reader. In many cases, readers must infer the writer's message. |
Created by:
spotsville2
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