Terms : Hide Images
| 5666660279 | Blank verse | Unrhymed iambic pentameter, ______ is the most commonly used verse form in English because it is the verse form that comes closest to natural patterns of speaking in English. | 0 | |
| 5666660280 | Caesura | A pause within a line of poetry, sometimes punctuated, sometimes not, often mirroring natural speech. | 1 | |
| 5666660281 | End rhyme | A rhyme at the end of two or more lines of poetry | 2 | |
| 5666660282 | Enjambment | A poetic technique in which one line ends without a pause and must continue on to the next line to complete its meaning; also referred to as a "run-on line." | 3 | |
| 5666660283 | Eye rhyme | A rhyme that only works because the words look the same | 4 | |
| 5666660284 | Foot | is distinguished by the number of syllables it contains and how stress is placed on the syllables — stressed (´) or unstressed (˘) | 5 | |
| 5666660285 | Free verse | A form of poetry that does not have a regular rhythm or rhyme scheme. | 6 | |
| 5666660286 | Iamb | the most common metrical foot in English poetry, is made up of an unstressed syllable followed by a stressed one | 7 | |
| 5666660287 | Internal rhyme | A rhyme that occurs within a line | 8 | |
| 5666660288 | Meter | The formal, regular organization of stressed and unstressed syllables, measured in feet | 9 | |
| 5666660289 | Near rhyme | A rhyme that pairs sounds that are similar but not exactly the same | 10 | |
| 5666660290 | Quatrain | A four-line stanza. | 11 | |
| 5666660291 | Rhythm | The general pattern of stressed and unstressed syllables | 12 | |
| 5666660292 | Sonnet | A poetic form composed of fourteen lines in iambic pentameter that adheres to a particular rhyme scheme. | 13 | |
| 5666660293 | Stanza | Lines in a poem that the poet has chosen to group together, usually separated from other lines by a space. | 14 | |
| 5666660294 | Couplets | A two-line, rhyming stanza. | 15 | |
| 5666660295 | Elegy | A contemplative poem, on death and mortality, often written for someone who has died. | 16 | |
| 5666660296 | Iambic pentameter | is a rhythmic meter containing fi ve iambs | 17 | |
| 5666660297 | Iambic tetrameter | 18 | ||
| 5666660298 | Lyric | A short poem expressing the personal feelings of a fi rst-person speaker | 19 | |
| 5666660299 | Octet | An eight-line stanza. | 20 | |
| 5666660300 | Ode | A form of poetry used to meditate on or address a single object or condition. It originally followed strict rules of rhythm, meter, and rhyme, which by the Romantic period had become more flexible. | 21 | |
| 5666660301 | Onomatopoeia | Use of words that refer to sound and whose pronunciations mimic those sounds. | 22 | |
| 5666660302 | Sestet | A six-line stanza. | 23 | |
| 5666660303 | Tercet | A three-line stanza. | 24 | |
| 5666660304 | Villanelle | A form of poetry in which five tercets (rhyme scheme aba) are followed by a quatrain (rhyme scheme abaa). At the end of tercets two and four, the fi rst line of tercet one is repeated. At the end of tercets three and fi ve, the last line of tercet one is repeated. These two repeated lines, called refrain lines, are again repeated to conclude the quatrain. Much of the power of this form lies in its repeated lines and their subtly shifting sense or meaning over the course of the poem. | 25 | |
| 5666660305 | Bildungsroman | A novel that explores the maturation of the protagonist, with the narrative usually moving the main character from childhood into adulthood. Also called a coming-of-age story. | 26 | |
| 5666660306 | First person narrator | Told by a narrator who is a character in the story and who refers to him- or herself as "I." | 27 | |
| 5666660307 | Flat character | A character embodying only one or two traits and who lacks character development | 28 | |
| 5666660308 | Monologue | In a play, a speech given by one person | 29 | |
| 5666660309 | Objective narrative | A narrator who recounts only what characters say and do, offering no insight into their thinking or analysis of events. All interpretation is left to the reader. | 30 | |
| 5666660310 | Passive voice | A sentence employs _______ when the subject doesn't act but is acted on. | 31 | |
| 5666660311 | Persona | A voice and viewpoint that an author adopts in order to deliver a story or poem | 32 | |
| 5666660312 | Round character | A character exhibiting a range of emotions and who evolves over the course of the story | 33 | |
| 5666660313 | Second person narrator | Though rare, some stories are told using pronouns (you). This casts the reader as a character in the story. | 34 | |
| 5666660314 | Stock character | A type of flat character based on a stereotype; one who falls into an immediately recognizable category or type-such as the absentminded professor or the town drunk- and thus resists unique characterization. _____ can be artfully used for humor or satire. | 35 | |
| 5666660315 | Third person limited | Told by a narrator who relates the action using pronouns (he, she, it). This narrator is usually privy to the thoughts and actions of only one character. | 36 | |
| 5666660316 | Third person omniscient | Told by a narrator using third-person pronouns. This narrator is privy to the thoughts and actions of all of the characters in the story. | 37 | |
| 5666660317 | Unreliable narrator | A narrator who is biased and doesn't give a full or accurate picture of events in a narrative | 38 | |
| 5666660318 | Direct characterization | occurs when a narrator tells the reader who a character is by describing the background, motivation, temperament, or appearance of a character. | 39 | |
| 5666660319 | Epiphany | A character's transformative moment of realization | 40 | |
| 5666660320 | In media res | Latin for "in the middle of things," a technique in which a narrative begins in the middle of the action. | 41 | |
| 5666660321 | Indirect characterization | means that an author shows rather than tells us what a character is like through what the character says, does, or thinks, or what others say about the character. | 42 | |
| 5666660322 | Narrative | A story. ____ may be written either in prose or in verse | 43 | |
| 5666660323 | Parallel structure | Also known as parallelism, this term refers to the repeated use of similar grammatical structures for the purpose of emphasis | 44 | |
| 5666660324 | Plot | The arrangement of events in a narrative | 45 | |
| 5666660325 | Resolution | The working out of a plot's confl icts, following the climax | 46 | |
| 5666660326 | Stream of consciousness | A technique in which prose follows the logic and flow of a character's (or multiple characters') thought processes-associations, tangents, seemingly strange transitions — rather than a more ordered narrative. | 47 | |
| 5666660327 | Complex sentence | A sentence containing an independent clause and one or more subordinate clauses (beginning with words such as after, before, although, because, until, when, while, and if ) | 48 | |
| 5666660328 | Compound sentence | Two independent clauses joined by a coordinating conjunction (and, but, or, nor, for, yet, or so) or a semicolon. | 49 | |
| 5666660329 | Cumulative sentence | A sentence in which an independent clause is followed by details, qualifications, or modifications in subordinate clauses or phrases. | 50 | |
| 5666660330 | Imperative sentence | A sentence that issues a command. The subject of an imperative sentence is often implied rather than explicit. | 51 | |
| 5666660331 | Interrupted sentence | A sentence of any pattern modifi ed by interruptions that add descriptive details, state conditions, suggest uncertainty, voice possible alternative views, or present qualifi cations. | 52 | |
| 5666660332 | Periodic sentence | A sentence that begins with details, qualifi cations, or modifications, building toward the main clause. | 53 | |
| 5666660333 | Simple sentence | A sentence composed of one main clause without any subordinate clause | 54 | |
| 5666660334 | Antagonist | Character in a story or play who opposes the protagonist; while not necessarily an enemy, the antagonist creates or intensifi es a confl ict for the protagonist. An evil antagonist is a villain. | 55 | |
| 5666660335 | Climax | The point in a story when the confl ict reaches its highest intensity. | 56 | |
| 5666660336 | Conflict | The tension, opposition, or struggle that drives a plot | 57 | |
| 5666660337 | Denouement | this literally means "untying the knot"; in this phase of a story's plot, the confl ict has been resolved and balance is restored to the world of the story. | 58 | |
| 5666660338 | Exposition | In a literary work, contextual and background information told to readers (rather than shown through action) about the characters, plot, setting, and situation. | 59 | |
| 5666660339 | Flashback | A scene in a narrative that is set in an earlier time than the main action. | 60 | |
| 5666660340 | Foil | A contrasting character who allows the protagonist to stand out more distinctly. | 61 | |
| 5666660341 | Foreshadow | A plot device in which future events are hinted at. | 62 | |
| 5666660342 | Mood | Synonymous with atmosphere, _____ is the feeling created for the reader by a work of literature. Many things can generate ____ - especially style, tone, and setting. | 63 | |
| 5666660343 | Motif | A recurring pattern of images, words, or symbols that reveals a theme in a work of literature | 64 | |
| 5666660344 | Protagonist | The main character in a work; often a hero or heroine, but not always. | 65 | |
| 5666660345 | Rising action | The events, marked by increasing tension and confl ict, that build up to a story's climax. | 66 | |
| 5666660346 | Symbol | A setting, object, or event in a story that carries more than literal meaning and therefore represents something signifi cant to understanding the meaning of a work of literature. | 67 | |
| 5666660347 | Theme | Underlying issues or ideas of a work. | 68 | |
| 5666660348 | Tone | A speaker's attitude as exposed through stylistic choices. provides the emotional coloring of a work and is created by some combination of the other elements of style. | 69 | |
| 5666660349 | Allegory | A literary work that portrays abstract ideas concretely. Characters are frequently personifications of abstract ideas and are given names that refer to these ideas. | 70 | |
| 5666660350 | Allusion | A reference to another work of literature, or to art, history, or current events | 71 | |
| 5666660351 | Apostrophe | A direct address to an abstraction (such as Time), a thing (the Wind), an animal, or an imaginary or absent person. | 72 | |
| 5666660352 | Connotation | Meanings or associations readers have with a word or item beyond its dictionary definition, or denotation. It may reveal another layer of meaning of a piece, affect the tone, or suggest symbolic resonance | 73 | |
| 5666660353 | Denotation | The literal defi nition of a word, often referred to as the "dictionary definition." | 74 | |
| 5666660354 | Dramatic irony | Tension created by the contrast between what a character says or thinks and what the audience or readers know to be true; as a result of this technique, some words and actions in a story or play take on a different meaning for the reader than they do for the characters. | 75 | |
| 5666660355 | Extended metaphor | A metaphor that continues over several lines or throughout an entire literary work. | 76 | |
| 5666660356 | Hyperbole | Deliberate exaggeration used for emphasis or to produce a comic or ironic effect; an overstatement to make a point. | 77 | |
| 5666660357 | Irony | 78 | ||
| 5666660358 | Metaphor | A figure of speech that compares or equates two things without using like or as. | 79 | |
| 5666660359 | Oxymoron | A paradox made up of two seemingly contradictory words. | 80 | |
| 5666660360 | Paradox | A statement that seems contradictory but actually is not. | 81 | |
| 5666660361 | Personification | A fi gure of speech in which an animal or an inanimate object is imbued with human qualities. | 82 | |
| 5666660362 | Simile | A figure of speech used to explain or clarify an idea by comparing it explicitly to something else, using the words like, as, or as though to do so. | 83 | |
| 5666660363 | Understatement | The presentation or framing of something as less important, urgent, awful, good, powerful, and so on, than it actually is, often for satiric or comical effect; | 84 | |
| 5666660364 | Abstract | An abstract term is a general term, referring to a broad concept, as opposed to a term that refers to a specifi c, particular thing | 85 | |
| 5666660365 | Alliteration | The repetition of the same initial consonant sounds in a sequence of words or syllables. | 86 | |
| 5666660366 | Assonance | The repetition of vowel sounds in a sequence of words. | 87 | |
| 5666660367 | Cadence | Quality of spoken text formed from combining the text's rhythm with the rise and fall in the infl ection of the speaker's voice. | 88 | |
| 5666660368 | Concrete | A _____ term is one that refers to a specifi c, particular thing, as opposed to a term that refers to a broad concept | 89 | |
| 5666660369 | Colloquialism | An expression or language construction appropriate only for casual, informal speaking or writing. | 90 | |
| 5666660370 | Dialect | Dialogue or narration written to simulate regional or cultural speech patterns. | 91 | |
| 5666660371 | Dialogue | The written depiction of conversation between characters | 92 | |
| 5666660372 | Diction | A writer's choice of words | 93 | |
| 5666660373 | Formal | 94 | ||
| 5666660374 | Informal | 95 | ||
| 5666660375 | Propaganda | Work that aims to influence an audience about a debatable position or affiliation, not through rational or supported appeals but through one or more of the following: emotional manipulation, the selective use (and omission) of facts, spin, or any number of fallacious techniques. The word has mostly negative connotations. | 96 | |
| 5666660376 | Pun | A play on words that derives its humor from the replacement of one word with another that has a similar pronunciation or spelling but a different meaning. A ___ can also derive humor from the use of a single word that has more than one meaning. | 97 | |
| 5666660377 | Syntax | The arrangement of words into phrases, clauses, and sentences in a prose passage. This includes word order (subject-verb-object, for instance, or an inverted structure); the length and structure of sentences (simple, compound, or complex), phrases, and clauses; the chronology of passages; the preference of various parts of speech over others; the use of connectors between and within sentences; and more. | 98 |
