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Lit
Lit Exam Study
| Author or Type | Book or Definition |
|---|---|
| Aeschylus | Prometheus Bound - C |
| Aristophanes | Lysistrara - C |
| Euripides | Medea - C |
| Homer | The Odyssey -C |
| Horace | The Odes - C |
| Ovid | Metamorphoses - C |
| Sappho | Hymn to Aphrodite - C |
| Sophocles | Oedipus Tyrannus - C |
| Virgil | The Aeneid - C |
| Chaucer | The Canterbury Tales - M |
| John Gower | Vox Clemantis - C |
| Kemp - M | The Book of Margery Kemp - C |
| Mallory - M | Le Morte D'Arthur |
| Langland - M | Peirs Plowman |
| Jonson - R | "To Celia" |
| Marlowe- R | Dr. Faustus |
| Spenser - R | The Faerie Queen |
| Donne - R | A Valeditions :Forbidding Mourning |
| Milton- R | Paradise Lost |
| Drayton - R | Since there's no help, come let us kiss and part |
| Sidney - R | Astrophel and Stella |
| Wyatt - R | They Flee from Me |
| Shakespeare - R | The Merchant of Venice |
| Pope - 17 | The Rape of Lock |
| Bradstreet - 17 | The Author to her Book |
| Defoe - 17 | Robinson Crusoe |
| Fielding - 17 | Tom Jones |
| Dryden - 17 | Mac Flecknoe |
| Gay - 17 | The Beggars Opera |
| Swift - 17 | Gulliver's Travels |
| Herrick- 17 | To the Virgins, to Make Much of Time |
| Gray - 17 | An Elegy Written in a Country Churchyard |
| Congeve - 17 | The Way of the World |
| Dickens - 19 | Great Expectations |
| Bronte - 19 | Jane Eyre |
| Dickinson - 19 | Because I could not stop for Death |
| Eliot - 19 | Middlemarch |
| Melville - 19 | Moby Dick |
| Austen - 19 | Emma |
| Keats - 19 | To Autumn |
| Chopin - 19 | The Awakening |
| Twain - 19 | The Aventures of Huckleberry Finn |
| Shellley - 19 | Frankenstein |
| Hawthorne - 19 | The Scarlet Letter |
| Coleridge - 19 | Rim of the Ancient Mariner |
| Hardy - 19 | Tess of the D'Urbervilles |
| Whitman - 19 | Oh Captain! My Captain! |
| Wordsworth - 19 | The Word is Too Much With Us |
| Walker - 20 | The Color Purple |
| Sexton - 20 | Cinderella |
| Miller - 20 | The Crucible |
| cummings - 20 | anyone lived in a pretty how town |
| Hemingway - 20 | A farewell to Arms |
| Fitzgerald - 20 | The Great Gatsby |
| Brooks - 20 | We Real Cool |
| Salinger - 20 | Catcher in the Rye |
| Joyce - 20 | Ulysses |
| Steinbeck - 20 | The Grapes of Wrath |
| Hughes - 20 | Theme for English B |
| Frost - 20 | Fire and Ice |
| Plath - 20 | The Bell Jar |
| Eliot - 20 | The love song of J Alfred Prufrock |
| Woolf -20 | Mrs. Dalloway |
| Owen - 20 | Anthm for Doomed Youth |
| Yeats - 20 | The Second Coming |
| Faulkner - 20 | The Sound and the Fury |
| Allegory | A form of extended metaphor |
| Alliteration | the repitition of inital consonant sounds in neighboring words |
| Allusion | a brief reference to a person, event, or place, real or fictitious or to a work of art |
| Apostrophe | when an absent person, an abstract concept or an important object is directly addressed |
| Assonance | the repition of vowel sounds but not consonant sounds |
| Characterization | method used by a writer to develop a character. it includes showing 1. appearance 2. characters actions 3. revealing characters thoughts 4. letting the character speak 5. getting the reactions of others |
| Conflict/Plot | The struggle found in fiction 1. Man against Man 2. Man against Nature 3. Man against Self |
| Connotation | Implied meaning of a word |
| Denotation | literal meaning of a word |
| Deus ex machine | God from machine ancient greek drama |
| Flashback | action that interrupts to show and event that happened in an earlier time |
| Foreshadowing | hints or clues to suggest what will happen later |
| Hyperbole | Exaggeration or overstatement |
| Image | language that evokes on or all of the five senses |
| In media res | in or into the middle of a sequence of events (literary narrative) |
| Irony | an implied discrepancy |
| Verbal Irony | An author says one thing but means another |
| Dramatic Irony | an audience perceives something that a character in the lit does not know |
| Irony of a situation | discrepancy between the expected result and the actual results |
| Metaphor | Comparison of the unlike things using the verb "to be" and not using like or as |
| Metonymy | substituting a work for another word closely assosciated with it |
| Motif | A recurrent thematic element in an artistic or literary work, dominant them or central idea |
| Onomatopeoeia | word that imitates the sound it represents |
| personification | giving human qualities to animals or objects |
| Setting | determining time and place in fiction |
| Simile | the comparison of two unlike things using like or as |
| Symbol | using an object or action that means something more than its literal meaning |
| Soliloquy | a character alone and speaks his or her thoughts aloud |
| Stanza | major subdivision in a poem |
| couplet | two line stanza |
| tercet | three line stanza |
| quatrain | four line stanza |
| style | a compilation of figurative language, diction, sounds effects and other literary devices |
| synecdoche | one uses part to represent the whole |
| theme | General idea or insight about life that a writer wishes to express |
| Tone | the attitude a writer takes towards a subject or character, serious, humorous, sarcastic, ironic, satirical, tongue - in -cheek, solemn, objective. similar to Mood |
| Understatement | A statement which lessons or minimizes the importance of what is meant |
| Anapestic Meter | Meter using a foot of three syllables in which the accent falls on the third syllable |
| Blank Verse | Any unrhyming verse. Blank verse usually consists of lines of Iambic Pentameter |
| Dactylic meter | meter using a food of three syllables, in which the accent falls on the first syllable |
| End Rhyme | The near duplication of sounds that takes place at the ends of lines. Enmd rhyme is the most common type of rhyme |
| Foot | In the combination of stressed and unstressed syllables, which make up the metric unit of a line |
| Free Verse | Poetry that does not follow a prescribed form but is characterized by the irregularity in the length of lines and lack of regular metrical patter and rhyme |
| Iambic Foot | Consists of unstress syllable follow by a stressed syllable |
| Internal Rhyme | Involves rhyming sounds within the same line |
| Line | The sequence of words printed as a separate entity on the page |
| Meter | The pattern of stressed and unstressed syllables or the units of stress pattern |
| Monometer | One Foot |
| Dimeter | Two feet |
| Trimeter | Three feet |
| Tetrameter | four feet |
| Pentamer | five feet |
| Hexameter | six feet |
| heptameter | seven feet |
| octameter | eight feet |
| Ottava rima | An Italian stanza from adapted from English and an eight line stanza with the ryhme scheme abababcc |
| Paraphrase | The restatement of a poem using words that are different but as equivalent as possible |
| Perfect Rhyme | Rhyme in which all the final accented vowels of the rhyming words and all the succeeding sounds are identical while preceding sounds are different |
| quatrain | four line stanza |
| quintet | five line stanza |
| rhyme royal | seven line, iambic pentameter stanza with the rhyme scheme ababbcc |
| scansion | the systematic analysis of metrical patterns of stress, syllable by syllable |
| Sestet | Six line stanza |
| trochaic meter | meter using a foot of two syllables, in which the accent falls on the first syllable |
| verse | refers to either a single line of poetrey or to metrical poetry in genral |
| Ballad | A poem that tells a story similar to a folk talk or legend and often as a repeated refrain |
| Ballade | A type of poem, usually with three stanzas of seven eight or ten lines and a shorter final stanza of four or five. stanzas end with the same one line refrain |
| Canzone | Medieval Italian lyric powem, with five or six stanzas and a shorter concluding stanza |
| Cinquain | Five lines, line 1 one word, line 2 two works, line 3 three words , line 4 four words, line 5 one word |
| Classicism | The principles and ideals of beauty that are characteristic of Green and Roman art |
| Elegy | A sad and thoughtful poem lamenting the death of a person |
| Epic | A long serious poem that tells the story of a heroic figure |
| Epigram | short satirical and witty pem usually written as a brief couplet or quatrain |
| Haiku | japanese poem compsed of three unrhymed lines of five, seven, and five syllables |
| Idyll | short poem depicting a peaceful, idealized country scene or a long powem that tells a story of a by gone age |
| Lyric | a poem, such as a sonnet or an ode that expresses the thoughts and feeling of the powet |
| Quatrain | stanza or poem of four lines. lines 2 and 4 must rhyme. lines 1 and 3 may or may not rhyme |
| Romanticism | Nature and love were major themes of romanticism by 18 and 19th century poets. Emphasis was placed on the personal experiences of the individual |
| Senryu | short japenese poem that is similar to a haiku in structure but treats human beings rather than nature in a humorous or satiric way |
| Tanka | A japanese pem of five lines the first and third composed of five syllables and the rest of seven |
| Terza rima | a type of poetry consisting of 10 or 11 syllable lines arranged in three-line tercets. |
| Sonnet | English sonnet are lyric poems that are 14 lines long falling into three coordinate |
| Verse | A single metrical line of poetry, or poetry in general |
| Antithesis | the balancing or contrasting of one term against another (man proposes, god disposes) |
| Plot | the events of a story or narrative with a variety of sequencing patterns. The plot is what happens in the story. |
| Exposition | the background information of a story, the story before the story. |
| Resolution | the conclusion of the story, the unfolding of the theme, the "happy ending," the tying together; what occurs in the resolution depends on the kind of story and the author's purpose. |
| Protagonist | the main character of the story |
| Antagonist | the force that works against the protagonist; the antagonist does not have to be a person (see types of conflicts) |
| Foil | a foil character is 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. |
| Dynamic Character | a dynamic character is one who changes by the end of the story, learning something that changes him or her in a permanent way. |
| Static Character | A static character does not change; he or she is the same person at the end of the story as he was at the beginning. |
| Round Character | a round character is fully developed; readers may even be able to anticipate the actions of a round character if the characterization is well done and consistent |
| Flat Character | we know very little about a flat character; flat characters are not meant to serve as main characters. They serve as necessary elements in plot or as elements of the setting. |
| First Person Point of View | the narrator, usually the protagonist, tells the story from his/her perspective using I, me, we, etc. |
| Second Person Point of View | a story told using "you," which places the reader immediately and personally into the story |
| Third person omniscient point of view | the narrator uses third person pronouns (he/she/they etc.) and is God-like: all knowing (omniscient). This type of narrator is not limited by time or space. |
| Third Person limited point of view | 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. |
| Objective point of view | the narrator does not judge or interpret in any way; he/she simply presents the story as if recording it on film as it happens |
| Narrative Poetry | The narration of an event or story, stressing details of plot, incident and action. |
| Dramatic Poetry | A composition in verse portraying a story of life or character, usually involving conflict and emotions, in a plot evolving through action and dialogue. |
| Lyrical Poetry | Lyric/lyrical poetry is perhaps the most common; it is that which expresses the emotional response of the poet to events, people and situations |
| Sonnet | poems of strict form: fourteen lines of iambic pentameter. Two types: English or Shakespearean, consisting of four quatrains (abab, cdcd, efef) and a couplet (gg) and Italian or Petrarchan, consisting of an octave (set of eight lines) ryhming abbaabba an |
| Exact Rhyme | This is when words sound exactly alike: cat, hat, rat |
| Slant Rhyme | When words share the same vowel sound or similar vowel sound and same end sound, they "sort of" rhyme, but not exactly. Ex: which and fish have the same vowel sound, but the end sounds are not exactly the same. If you were scanning for a rhyme scheme, you |
| End Rhyme | This is what we call it when the words at the ends of the lines rhyme. Ex: Line one: The maiden called to me/ Line two: As I went out to sea. |
| Meter | the rhythm created in poetry by the repetition of similar units of sound patterns (stressed and unstressed syllable combinations): iambic (U/), trochaic (/U), anapestic (UU/), dactyllic (/UU), spondaic (//), and pyrrhic (UU). |
| Foot | a two or three syllable unit of meter. Ex: (U/) is one iambic foot. |
| Iambic Pentameter | A five foot line of iambic meter. This is the most common meter in English. |
| Greek Theatre (Classical) | Outdoor Amphitheatre with a simple back wall, carved in a hill. Masks, Colored robes |
| Shakepeare Theatre (Renaissance) | Outside, covered stage. Makeup, costumes, carried props. Trap door (ghosts, devils and witches appeared) |
| 17 -18th Century | Indoors, box theatre seating. More elaborate sets and costumes |
| Middle Age Theatre (Medieval) | staged in churches but later moved outdoors. Mainly religious in theme but more freedom when moved outdoors |
| Elizabethan Theatre | Open stage with three galleries of seats on three sides. yard for common folk. |
Created by:
mthacker
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