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| A figure of speech which makes brief, even casual reference to a historical or literary figure, event, or object to create a resonance in the reader or to apply a symbolic meaning to the character or object of which the allusion consists. | ||
| The regular repetition of the same word or phrase at the beginning of successive phrases or clauses. "We shall fight on the seas. We shall fight in the trenches. We shall fight in the sky." | ||
| A figure of speech in which a person, thing, or abstract policy is addressed as if present; for example, the invocation to the muses usually found in epic poetry. In dramatic works and poetry, it is often introduced by the word "O" (eg "Where, O death, thy sting? where, O death, thy victory?" or "O Romeo, Romeo! wherefore art thou Romeo?" or "Death, be not proud") | ||
| The practice of omitting conjunctions between words, phrases, or clauses. In a list, it gives a more extemporaneous effect and suggests the list may be incomplete. "He was brave, fearless, afraid of nothing." or "...and that government of the people, by the people, for the people shall not perish from the earth." | ||
| "Seize the day"; the philosophy that one should enjoy life to the fullest. | ||
| What is implied by a word. For example, the words sweet, gay, and awesome have feelings/associations that are quite different from their actual definitions. | ||
| The dictionary definition of a word; the direct and specific meaning. | ||
| A formal discussion of a subject. | ||
| The repetition of a word or words as the end of two or more successive verses, clauses, or sentences. (eg "When I was a child, I spoke as a child, I understood as a child, I thought as a child.") | ||
| A single word or short phrase intended to emphasize surrounding words. Commonly separated by commas; e.g in fact, of course, after all, certainly. | ||
| Sensory details in a work; the use of figurative language to evoke a feeling, call to mind an idea, or describe an object. Involves the senses. | ||
| Parallel structure in which the parallel elements are similar not only in grammatical structure, but also in length. e.g. "An envious heart makes a treacherous ear" or "Many will enter. Few will win". | ||
| The feeling or ambience resulting from the tone of a piece as well as the writer/narrator's attitude and pint of view. The effect is created through descriptions of feelings or objects that establish a particular feeling such as gloom, fear, or hope. | ||
| A word capturing or approximating the sound of what it describes, such as buzz or hiss. | ||
| A satirical imitation of a work of art for purpose of ridiculing its style or subject. | ||
| The ordinary of form of written language without metrical structure, as distinguished from poetry or verse. | ||
| The language of a work and its style; the art of using language to communicate effectively and persuasively | ||
| The person(not necessarily the author) who is the voice of the poem or story. | ||
| Focus statement of an essay; premise statement upon which the point of view or discussion in the essay is based. | ||
| The acknowledged or unacknowledged source of words of the story; the speaker, a "person" telling the story or poem. | ||
| Begins with a standard sentence pattern and adds multiple details AFTER it. The details can take the form of subordinate clauses or different kinds of phrases. | ||
| The periodic sentence BEGINS with multiple details and holds off a standard sentence pattern- or at least its predicate- until the end. | ||
| In standard English sentence pattern, the subject generally comes before the verb. This is when a writer may chooses to invert the standard sentence pattern and put the verb before the subject.; using unusual, "backward-sounding" word order or reversing the normal word order of a sentence; for example, "Whose woods these are I think I know" (Robert Frost) |
