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clep-literature
this is for clep-analyzing and interpreting literature
Term | Definition |
---|---|
Allegory | Standing for qualities or concepts rather than for actual personages. Figurative treatment of one subject disguised under another subject. |
Alliteration | Repetition of constanant sound - do or die; safe and sound. A common use for alliteration is emphasis. it accures in everyday speech in such phrases as "tittle-tattle," "bag and baggage," "bed and board," "primrose path," and "through thick and thin" |
Anecdote | Short account of an incident (especially a biographical one). |
Antagonist | Character struggles against someone or or something-man against himself; man against man; man against society; man against nature. |
Apostraphe | A direct address to a person, thing, or abstraction, such as "O Western Wingd," or "ah. Sorrow, you consume us." Apostraphes are generally capitalized. |
Artifice | Cunning; ingenuity; craftiness. |
Assonance | Repetition of vowel sounds. |
Bathos | Extreme anticlimax. |
Chiasmus | A statement consisting of two parallel parts in which the second part is structurally reversed("Susan walked in, and out rushed Mary.") |
Climax | The point where crisis comes to point of greatest intensity and is resolved. |
Dialog | Conversation used to reveal characters and advance plot. |
Didactic | Strong, lecturing voice. |
Dramatic Monologue | A speech delivered by a character expressing emotion towards an unresponsive audience. |
Droll | Amusing in an odd way. |
Elision | A deliberate act of omission, the omission on an unstressed vowel or syllable to preserve the meter of a line of poetry. |
Emblemism | Used to gie an image a "concrete" reality: a gold - edged love poem for example. |
Enjambment | The running of one line of poetry into the next without a break for the rhyme of syntax. |
Euphemism | An inoffensive expression that is substituted for one that is considered offensive. |
Exposition | Opening; beginning portion of plot which background information is set forth. |
Fable | A short moral story (often with animal character) |
Fabliau | A short metrical tale, usually ribald and humorous, popular in medieval France. |
Falling Action | Post climax. |
Feminine Rhyme | A rhyme of two syllables, one stressed and one unstressed, as "waken" and "forsaken" and "audition" and "rendition." Feminine rhyme is sometimes called double rhyme or internal rhyme. |
Fie | Term used to express mild disgust; annoyance. |
Foils | Character who enables us to see one or more other characters better - Tom Sayer (romantic) for Huck Finn (realism). |
Foreshadowing | Using hints or clues to suggest what will happen later; builds suspense. |
Homonym | work sounds the same but spelled differently - they're and there |
Iaconic | expressing much in a few words; concise. |
Irony | Conflict between apperance and reality; Romeo and Juliet - audience knows she's sleeping, romeo things she's dead. |
Languid | slow and relaxed; lazy and peaceful; sluggish in character. |
Metaphor | Comparing two unlike things that have something in common - "I think the sun is a flower that blooms for just one hour". Implicit comparison between two unlike things. |
Meter - Anapestic | Anapestic:a foot consisting of two unaccented syllables and an accented syllable. These lines from Shelley's Cloud are anapestic:"Like a child from the womb, like a ghost from the tomb I arise and unbuild it again." |
Meter - Iambic | A foot consisting of an unaccented and accented syllable. Shakespeare often uses iambic, for example the beginning of hamlet's speech "to be or not to be. English seems to fall naturally into iambic patterns, for it is the most common meter in English. |
Meter - Trochaic | Trochaic:a foot consisting of an accented and unaccented syllable. Longfellow's Hiawatha uses this meter, which can quickly become singsong: "By the shores of GitcheGumee By the shining Big-Sea-water." |
Metonymy | Word represents somethings else which it suggests - a 'herd' of cows referred to as fifty 'head'; head represents herd. |
Monologue | Speech by one person |
Ode | A lyric poem with complex stanza fors. |
Onomatopoeia | Word which imitates a sound - bang; pop; hiss; sizzle. |
Orthodoxy | Customary. |
Oxymoron | A statement with two parts which seem contradictory; examples: sad joy, wise fool, the sound of silence, or hamlet's saying, "I must be cruel only to be kind" |
Parable | A simple story that illustrates a moral or religious lesson. |
Paradox | (Logic) a self-contradiction. That when we live no more, we may live ever - a situation where she and her loved one are both alive and dead. No one can be both alive and dead, so this is a paradox. |
Parallelism | An arrangement of the parts of a composition so that elements of equal importance are balanced in construction. |
Personification | Something non-human given human characteristics. |
Poetic Drama | A narrative involving conflict. |
Protagonist | Character struggles tword or for someone or something. |
Realism | This was the new style of literature that focused on the daily lives and adventures of a common person. This style was a response to Romanticism's super-naturalism and over-emphasis on emotion. |
Resolution | End of plot. |
Rising Action | Dramatic complications. |
Sardonic | Mocking; cynical; sneering. |
Simile | As a metaphor bus uses 'like' or 'as'. |
Soliloquy | Speech while alone, or talking to self. |
Symbolism | Object represents idea. |
Synecdoche | Part used for the whole or the whole for the part. |
Synonym | Work with the same meaning. |
Tragic Irony | A tragedy that starts good and ends bad. The opposite may also hold true. |
Pun | A play on words often for humorous or sarcastic effect. The Elizabethans were very fond of them; many of Shakespeare's plays come from punning. |
Sarcasm | when verbal irony is to harsh, it moves into the sarcastic realm. It is the "lowest form of wit" of course but can be used to good affect in the tone of a poem. Browning's dramatic monologues make excellent use of the devise. |