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Lit Terms - Wood
| Question | Answer |
|---|---|
| Alliteration | succession of similar consonant sounds, “round and round the rugged rocks the ragged rascal ran” |
| Assonance | succession of similar vowel sounds, “eager beaver”, “holy smoke”, “eyes like sapphires shining bright” |
| Connotation | overtones, suggestions of additional meaning |
| Denotation | a meaning defined in a dictionary, some words have many different ones |
| Epiphany | a moment of enlightenment or understanding |
| Lyric | a short poem with a musical feel, expresses thoughts and feelings of a single person |
| Motif | an element that recurs throughout a narrative eg. Image, idea or action |
| Narrative | a poem that tells a story, one of the 4 types of poems (lyric, dramatic, didactic) |
| Epic | long narrative often telling story of legendary or mythic hero |
| Onomatopoeia | represent a thing using a word that imitates the sound, zoom, whiz, crash, bang |
| Bildungsroman | Apprenticeship Novel depicts a youth that struggles toward maturity forming new views of the world and philosophy of life |
| Epistolary Novel | story is told by letters written from one or more characters |
| Picaresque Novel | presents the life of a likable scoundrel who is at odds with respectable society |
| Novella | a prose narrative longer has a short story but shorter than a novel (30,000-50,000 words) |
| Exposition | opening portion of story, sets the scene, introduces main characters, provides background |
| Foreshadowing | indication of what is to come |
| Conflict | a complication |
| Denouement | Resolution – the outcome or conclusion |
| Flashback | retrospect – a scene relived in a character’s memory |
| Protagonist | main character, not necessarily brave or with good qualities |
| Antagonist | character set against main character or hero |
| Hero | brave, good qualities, not always perfect |
| Antihero | lacking the traditional hero attributes, tend to be loners |
| Foil | contrasting character, illuminates another one |
| Stock Character | stereo typed character: mad scientist, prince charming, greedy explorer |
| Flat Character | has only one outstanding trait or feature |
| Round Character | portrayed in greater depth, in more detail |
| Objective view | Does not enter the mind of any character, just describes events |
| Third Person Limited | Can see into the mind of one |
| Third Person Omniscient | Can see into the minds of all |
| Literally | the true meaning |
| Figuratively | implied meaning, or comparison |
| Apostrophe | a way of addressing someone, or something, that is not usually spoken to “Death, ain’t you got no shame?” or ”Milton! Thou shouldst be living at this hour” |
| Hyperbole | (Overstatement) exaggeration “aster than empires, and more slow” |
| Understatement | implying more than is stated |
| Metonymy | the name of a thing is substituted for that of another closely associated with it “between the cradle and the grave” meaning “birth and death” |
| Synecdoche | a kind of metonymy, use a part of a thing to stand for the whole of it, “she lent a hand” |
| Transferred Epithet | a kind of metonymy, attributes some characteristic of a thing to another thing closely associated with it. “drowsy tinklings lull the distant folds” sheep bells don’t get sleepy, but sheep do |
| Paradox | a statement that seems contradictory, but on reflection makes some sense. “… day brought back my night” a blind man wakes from a dream |
| Personification | a thing, animal, or abstract term is given human qualities, “the wind stood up and gave a shout” |
| Metaphor | states one thing is another “your fingers are sausages”, “my love is a rose”, often implies more than one characteristic is similar |
| Simile | comparison of two things, usually with “like” or “as”, expresses similarity between dissimilar things |
| Diction | word choice |
| Allegory | a description, usually narrative, in which persons, places, and things are employed in a continuous and consistent system of equivalents |
| Allusion | a brief, indirect reference in a text to a person, place or thing. May be an initial quotation or a phrase borrowed from another work. Imply a common set of knowledge for reader and writer |
| Deus ex machina | (a god from a machine), a god lowered to the stage to resolve human conflict. Now refers to forced or improbable device in plot resolution |
| In media res | in the midst of things, skip over exposition and jump into the middle of action |
| Dramatic Poetry | presents the voice of an imaginary character speaking directly. A poem written as a speech made by a character |
| Didactic poetry | a poem written to state a message or teach a body of knowledge |
| Foot | accent |
| Closed form | poet follows a pattern |
| Open form | follows no established pattern, or symmetry. Often uses white space for emphasis |
| Blank Verse | iambic pentameter, line of 5 iambs. Does not have stanzas. Milton’s “Paradise Lost” and Tennyson’s “Ulysses” |
| Free Verse | from open form, not limited by meter or rime |
| Limerick | short comic verse of 5 anapestic line, aabba |
| Villanelle | 5 stanzas of aba followed by 6th stanza of abaa |
| Sestina | 6 six-line stanzas, repeats 6 end word |
| Meter | when stresses fall at fixed intervals |
| Iambic | alternate stressed and unstressed syllables, “but soft, what light through yon-der wind-dow breaks?” |
| Trochaic | stressed syllable followed by unstressed one, “dou-ble, dou-ble, toil and trou-ble” |
| Anapestic | 2 unstressed syllables followed by a stressed one, “now this is the Law of the Jun-gle – as old and as true as the sky”, “on a boat” |
| Dactylic | one stressed syllable followed by 2 unstressed, “Puss-y cat, puss-y cat, where have you been?” |
| Exact Rhyme | sounds following the vowel have to be the same, red:bread, wealthily:stealthily, |
| Slant (Rhyme near rime, off rime) | final consonant sounds are the same but the vowel sounds are different. Sun:bone:moon:green |
| Connsonance | rimed words have the same beginning and ending consonant, but different vowel, chitter:chatter, spoiled:spilled |
| End Rhyme | comes at the ends of lines |
| Eye Rhyme | spellings look alike but are pronounced different – rough and dough, idea and flea |
| Scansion | describes rhythmic pattern in a poem by separating the metrical feet, counting the syllables, marking the accents, and indicating the pauses. Useful when analyzing the sound of a poem |
| Syllabic verse | poet establishes a pattern or a certain number of syllables to a line. Can be rimed or not usually with stanzas Dylan Thomas’s “Fern Hill” |
| Sonnet | 14 lines of iambic pentameter, rime scheme |
| Italian Sonnet (Petrarchan) | abba, abba for 8 lines, octave – often states a problem; adds new rime sounds in the last 6 lines, sestet – presents the solution |
| English Sonnet (Shakespearean) | 4 clusters: abab, cdcd, efef, gg |
| Spenserian Sonnet | abab, bcbc, cdcd, ee |
| High Comedy | relies on wit and word play |
| Epigram | a witty statement that memorably expresses some truth, “I can resist everything except temptation”. “Experience is the name everyone gives to their mistakes” |
| Comedy of Manners | a witty satire set in elite or fashionable society |
| Low Comedy | emphasis on physical action, visual gags, and verbal jokes |
| Burlesque | humorous parody or travesty of another play |
| Farce | desendant of Commedia dell’arte; humorous play whose action is usually fast-moving and improbable |
| Commedia dell’arte | Italian – Harlequin, a clown; Columbine, his peppery sweetheart; Pantaloon, a doddering duffer |
| Madrigal | short, secular songs for 3 or more voices. |
| Orchestra | level circular “dancing space” |
| Skene | stage house, originally a place for costume changes. Was the backdrop |
| Picture-frame stage | holds the action within a proscenium arch; most commercial theaters today |
| Proscenium Arch | a gateway standing in front of the scenery |
| Troubadours | minstrels, wrote poems and traveled about singing them |
| Enjambment | poetry moves to next line without punctuation |
Created by:
nlwood
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