| 5040016115 | Abstract | A style (in writing) that is typically complex, discusses intangible qualities like good and evil, and seldom uses examples to support its points | | 0 |
| 5040024380 | Academic | As an adjective describing style, this word means dry and theoretical writing. A piece of writing that seems to be sucking all the life out of its subject with analysis | | 1 |
| 5040036364 | Aesthetic, Aesthetics | Can be used as an adjective meaning "appealing to the senses." As a noun, it is a coherent sense of taste. The plural form defines the study of beauty | | 2 |
| 5040061714 | Allegory | A prose or poetic narrative in which the characters, behavior, and even the setting demonstrates multiple levels of meaning and significance. Often it is a universal symbol or personified abstraction such as death portrayed as a black-cloaked "grim reaper" with a scythe and hourglass | | 3 |
| 5040085689 | Alliteration | The sequential repetition of a similar initial sound, usually applied to consonants, usually heard in closely proximate stressed syllables. "Peter Piper picked a peck of pickled peppers." | | 4 |
| 5040107690 | Allusion | A reference to a literary or historical event, person, or place | | 5 |
| 5040133290 | Ambiguity | A vagueness of meaning; a conscious lack of clarity meant to evoke multiple meanings and interpretation | | 6 |
| 5040142879 | Anachronism | "misplaced in time." If the actor playing Brutus in a production of Julius Caesar forgets to remove his watch from his wrist | | 7 |
| 5040159841 | Analogy | A comparison. Usually involves two or more symbolic parts and are employed to clarify an action or a relationship | | 8 |
| 5040180458 | Anaphora | The regular repetition of the same word or phrase at the beginning of successive phrases or clauses | | 9 |
| 5040190294 | Anecdote | A brief story or tale told by a character in a piece of literature | | 10 |
| 5040199414 | Annotation | A brief explanation, summary, or evaluation of a text or work of literature | | 11 |
| 5040205419 | Antagonist | Any force that is in opposition to the main character, or protagonist | | 12 |
| 5040219680 | Antecedent | The word, phrase, or clause that a pronoun refers to or replaces | | 13 |
| 5040234008 | Anthropomorphism | In literature, when inanimate objects, animals, or natural phenomena are given human characteristics, behavior, or motivation. Personification is similar to this. | | 14 |
| 5040247234 | Anticlimax | This occurs when an action produces far smaller results that on had been led to expect. Frequently comic. | | 15 |
| 5040271725 | Antihero | A protagonist who is markedly unheroic by being morally weak, cowardly, dishonest, or any number of unsavory qualities | | 16 |
| 5040280868 | Antithesis | The juxtaposition of sharply contrasting ideas in balanced or parallel words, phrases, grammatical structure, or ideas. A rhetorical opposition or contrast of ides by means of a grammatical arrangement of words, clauses, or sentences. For example, Alexander Pope reminds us that "To err is human, to forgive is divine." | | 17 |
| 5040304590 | Aphorism | A short and usually witty saying | | 18 |
| 5040315847 | Apostrophe | An address or invocation to something that is inanimate--such as an angry lover who might scream at the ocean in his or her despair | | 19 |
| 5040353532 | Archaism | the use of deliberately old-fashioned language. Authors sometimes use this to create a feeling of antiquity | | 20 |
| 5040364987 | Archetype | Recurrent designs, patterns of action, character types, themes or images which are identifiable in a wide range of literature | | 21 |
| 5040383593 | Assonance | A repetition of identical or similar vowel sounds, usually those found in stressed syllables of close proximity | | 22 |
| 5040392783 | Asyndeton | A style in which conjunctions are omitted, usually producing a fast-paced, more rapid prose. For example, Caesar's famous lines, "I came, I saw, I conquered" | | 23 |
| 5040407291 | Atmosphere | The emotional tone or background that surrounds the scene | | 24 |
| 5040411921 | Attitude | The sense expressed by the tone of voice and/or the mood of a piece of writing: the feelings the author holds towards his subject, the people in his narrative, the events, the setting or even the theme. It might even be the feeling he holds for the reader | | 25 |
| 5040447265 | Ballad | A narrative poem that is, or originally was, meant to be sung. Repetition and refrain (recurring phrase or phrases) characterize this. | | 26 |
| 5040470599 | Ballad stanza | a common stanza form, consisting of a quatrain (a stanza with four lines) that alternates four-beat lines: one and three are unrhymed iambic tetrameter (4 beats), and 2 and 4 are rhymed iambic trimester (3 beats) | | 27 |
| 5040500712 | Bathos | Insincere and overdone sentimentality | | 28 |
| 5526875699 | Pathos | When the writing of a scene evokes feelings of dignity and sympathy | | 29 |
| 5040521442 | Bildungsroman | A German word referring to a novel structured as series of events that take place as the hero travels in a quest of a goal | | 30 |
| 5040536130 | Black humor | The use of disturbing themes in comedy | | 31 |
| 5040553853 | Blank Verse | The verse form that most resembles common speech, it consists of unrhymed lines in iambic pentameter | | 32 |
| 5040564712 | Bombast | Pretentious, exaggeratedly learned language | | 33 |
| 5040575156 | Burlesque | A broad parody, one that takes a style or form, such as tragic drama, and exaggerates it into ridiculousness. | | 34 |
| 5040590130 | Cacophony | Refers to using deliberately harsh, awkward sounds, particularly in poetry | | 35 |
| 5040596518 | Cadence | The beat or rhythm of poetry in a general sense (as opposed to identifying a specific rhythm such as iambic pentameter). | | 36 |
| 5040607419 | Caesura | A pause in a line of verse, indicated by natural speech patterns rather than due to specific metrical patterns | | 37 |
| 5040616565 | Canon | The works considered most important in a national literature or period; works widely read and studied | | 38 |
| 5042622613 | Canto | the name for a section division in a long work of poetry. It divides a long poem into parts the way chapters divide a novel | | 39 |
| 5042626047 | Caricature | A description in which character's characteristics or features are so deliberately exaggerated as to render them absurd | | 40 |
| 5042630109 | Catharsis | Term drawn from Aristotle's writings on tragedy. Refers to the "cleansing" of emotion an audience experiences, having lived (vicariously) through the experiences presented on stage | | 41 |
| 5042632435 | Chorus | The group of citizens who stand outside the main action on stage and comment on it | | 42 |
| 5042633537 | Chiasmus | A figure of speech by which the order of the terms in the first two parallel clauses is reversed in the second. This may involve a repetition of the same words: "Pleasure's a sin, and sometimes sin's a pleasure" -Byron | | 43 |
| 5042636847 | Coinage (neologism) | A new word, usually invented on the spot | | 44 |
| 5042638893 | Colloquial | Ordinary language, the vernacular | | 45 |
| 5053539666 | Colloquialism | A word or phrase used in everyday conversational English that is not part of accepted, standard English | | 46 |
| 5042640347 | Coming-of-age-story/novel | A tale in which a young protagonist experiences an introduction to adulthood. The character may develop understanding via disillusionment, education, doses of reality, or any other experiences that alter his or her emotional or intellectual maturity. Example: Harper Lee's To Kill a Mockingbird | | 47 |
| 5042643424 | Complex/Dense | These two terms carry the similar meaning of suggesting that there is more than one possibility in the earning of words (image, idea, opposition); the text presents subtleties and variations with multiple layers of interpretation; the meaning is both explicit (stated) and implicit (implied) | | 48 |
| 5042646582 | Conceit | A comparison of to unlikely things that is drawn out within a piece of literature, in a particular extended metaphor within a poem. Might be the idea of tracing a love affair as a flower growing, budding, coming to fruition, and dying, for example | | 49 |
| 5042651312 | Connotation | What is suggested by a word, apart from what it explicitly describes, often referred to as the implied meaning of a word | | 50 |
| 5042653266 | Consonance | the repetition of consonant sounds within words | | 51 |
| 5042654864 | Couplet | Two rhyming lines of iambic pentameter that together present a single idea or connection | | 52 |
| 5042657932 | Decorum | In order to observe this, a character's speech must be styled according to her social station, and in accordance with the occasion | | 53 |
| 5042659966 | Denotation | A direct and specific meaning, often referred to as the dictionary meaning of a word | | 54 |
| 5042661452 | Deus ex machine | In literature, the use of an artificial device or gimmick to solve a problem; an unexpected power or event saving a seemingly hopeless situation, especially as a contrived pot device in a play or novel | | 55 |
| 5042664097 | Dialect | The language and speech idiosyncrasies of a specific area, region, or group of people | | 56 |
| 5042670313 | Diction | The specific word choice an author uses to persuade or convey tone, purpose, or effect | | 57 |
| 5042674214 | Dirge | A song for the dead. Its tone is typically slow, heavy, and melancholy | | 58 |
| 5042675139 | Dissonance | The grating of incompatible sounds | | 59 |
| 5042675781 | Doggerel | Crude, simplistic verse, often in sing-song rhyme. Limericks are an example of this | | 60 |
| 5042678494 | Dramatic Irony | When the audience knows something that the characters in the drama do not know | | 61 |
| 5042680718 | Dramatic monologue | A monologue set in a specific situation and spoken to an imaginary audience. Also known as a soliloquy. | | 62 |
| 5042682982 | Elegy | A poetic lament upon the death of a particular person, usually ending in consolation. | | 63 |
| 5042685215 | Elements | This word is used constantly and with the assumption that you know exactly what it means. Refer to the basic techniques of each genre of literature-characters, plot, irony, theme, setting, symbol, figurative language, imagery, rhythm, rhyme,characters, conflict, climax, set, props, exposition, rising action, falling action, resolution | | 64 |
| 5042689367 | Ellipsis | Three spaced periods (. . .) indicating the omission of words in a thought or quotation | | 65 |
| 5042691100 | Elliptical Construction | A sentence containing a deliberate omission of words | | 66 |
| 5047131303 | End-stopped | A term that describes a line of poetry that ends with a natural pause often indicated by mark of punctuation | | 67 |
| 5047139010 | Enjambment | the continuation of a sentence from one line or couplet of a poem to the next | | 68 |
| 5047155980 | Epic | A poem that celebrates, in a continuous narrative, the achievements of mighty heroes and heroines, often concerned with the founding of a nation or developing of a culture; it uses elevated language and grand, high style. Prime example are The Illiad, The Odyssey, and Paradise Lost, and Star Wars | | 69 |
| 5047164461 | Epigraph | quoted lines that are presented at the beginning of a text or the beginning of the chapters in a novel that work toward motif or theme development | | 70 |
| 5047168916 | Epiphany | a moment when a character (or an individual) arrives at a conscious understanding or realization of something important; this realization provides enlightenment that alters the character's perception of a situation, a character, or himself/herself; may carry religious connotations in the context | | 71 |
| 5047183543 | Epitaph | Lines that commemorate the dead at their burial place. Usaully a line or handful of lines, often serious or religious, but sometimes witty ad even irreverent | | 72 |
| 5047189551 | Euphemism | A word or phrase that takes the place of a harsh, unpleasant, or impolite reality. The use of passed away for died, and let go for fired are examples | | 73 |
| 5047196279 | Euphony | When sounds blend harmoniously | | 74 |
| 5047202393 | Explicit | to say or write something directly and clearly | | 75 |
| 5047206048 | Exposition | That part of the structure that sets the scene, introduces and identifies characters, and establishes the situation at the beginning of a story or play | | 76 |
| 5047211736 | Extended metaphor | a detailed and complex metaphor that extends over a long section of a work, also known as a conceit | | 77 |
| 5047221218 | Fable | a legend or a short moral story often using animals as characters. Aesop is the best-known teller of these. | | 78 |
| 5047229483 | Falling action | That part of a plot structure in which the complications of the rising action are untangled. This is also known as the denouement | | 79 |
| 5047232877 | Farce | Characterized by broad humor, wild antics, and often slapstick and physical humor. A Midsummer's Night's Dream, Catch-22, Pink Panther, or Search for the Holy Grail are some examples | | 80 |
| 5047244376 | Foil | a secondary character whose purpose is to highlight the characteristics of a main character, usually by contrast. | | 81 |
| 5047251099 | Foot | the basic rhythmic unit of a line of poetry. Formed by a combination of 2 or 3 syllables, either stressed or unstressed | | 82 |
| 5047255508 | Foreshadowing | To hint at or to present an indication of the future beforehand | | 83 |
| 5047258330 | Formal Diction | Language that is lofty, dignified, and impersonal. Often used in narrative epic poetry. | | 84 |
| 5047264987 | Flashback | Retrospection, where an earlier event is inserted into the normal chronology of the narrative. | | 85 |
| 5047275483 | Free Verse | Poetry that is characterized by varying line lengths, lack of traditional meter, and non-rhyming. | | 86 |
| 5047282814 | Genre | a type or class of literature such as epic, drama, novel, or poetry | | 87 |
| 5047284912 | Gothic novel | This form emerged in the middle of the 18th century and held popularity for 60 years, but is still alive. Think mysterious gloomy castles perched high upon cliffs. Ex: Frankenstein | | 88 |
| 5047294093 | Hubris | The excessive pride or ambition that leads to the character's downfall | | 89 |
| 5047298347 | Hyperbole | overstatement characterized by exaggerated language. EX: "I'm starving!" | | 90 |
| 5047304094 | Iambic | A metrical foot in poetry that consists of two syllables, one short unstressed syllable (u) followed by a longer stressed syllable (/). Often used in sets of five called iambic pentameter | | 91 |
| 5047309584 | Imagery | Broadly defined, any sensory detail or evocation in a work; more narrowly, the use of figurative language to evoke a feeling, to call to mind an idea, or to describe an object. Basically, it involves any or all of the five senses. Types: auditory, gustatory, visual, tactile, and olfactory | | 92 |
| 5047319834 | Implicit | To say or write something that suggests and implies but never says it directly or clearly. Subtext is another way to address what is meant beyond what the text literally says | | 93 |
| 5047330158 | Informal diction | Language that is not as lofty or impersonal as formal diction; similar to everyday speech. such diction might include words like OK, bye, hey, huh? | | 94 |
| 5047335179 | In medias res | "in the midst of things"; refers to opening a story in the middle of the action, necessitating filling in past details by exposition or flashback | | 95 |
| 5047340973 | Interior monologue | It refers to writing that records the mental talking that goes on inside a character's head, but unlike a stream of consciousness narration it is actually coherent and understandable. | | 96 |
| 5047536410 | Inversion | Switching the customary order of elements in a sentence or phrase. Example: "A pizza large I'll have, one with the fixin's all." | | 97 |
| 5047550335 | Irony | A situation or statement characterized by significant difference between what is expected or understood and what actually happens or is meant. Often humorous and sometimes sarcastic when it uses words to imply the opposite of what they normally mean. | | 98 |
| 5047565959 | Jargon | specialized or technical language of a trade, profession, or similar group | | 99 |
| 5047574052 | Juxtapostion | The location of one thing as being adjacent or juxtaposed with another. This placing of 2 items side by side creates a certain effect, reveals an attitude, or accomplishes some purpose of the writer. | | 100 |
| 5047585150 | Lament | a poem of sadness or grief over the death of a love done or over some other intense loss | | 101 |
| 5047598200 | Lampoon | a satire | | 102 |
| 5047600366 | Litotes | a figure of speech that emphasizes its subject by conscious understatement. For example, the understated "not bad" as comment about something especially well done | | 103 |
| 5047605822 | Loose Sentence | A sentence grammatically complete, and usually stating its main idea, before the end. The sentence has to be long enough to clearly show the pattern. | | 104 |
| 5047613583 | Lyric | Originally designated poems intended to be sung to the accompaniment of a lyre; now any short poem in which the speaker expresses intense personal emotion rather than describing a narrative or dramatic situation. | | 105 |
| 5047620831 | Message | A misleading term for theme; The central idea or statement of a story, or area of inquiry or explanation; misleading because it suggests a simple, packaged statement that preexists and for the simple communication of which the story is written | | 106 |
| 5047628583 | Metaphor | One thing pictured as if it were something else, suggesting a likeness or analogy between theme. It is an implicit comparison or identification of one thing with another unlike itself without the use of a verbal signal such as like or as. | | 107 |
| 5047639183 | Meter | The more or less regular pattern of stressed and unstressed syllables in a line of poetry. This is determined by the kind of "foot" and by the number of feet per line | | 108 |
| 5047655019 | Metonymy | A figure of speech in which an attribute or commonly associated feature is used to name or designate something | | 109 |
| 5047664997 | Mood | A feeling or ambiance resulting from the tone of a piece as well as the writer/ narrator's attitude and point of view. This effect is fabricated through descriptions of feelings or objects that establish a sense of fear, patriotism, sanctity, hope, etc | | 110 |
| 5047678107 | Motif | A recurrent device, formula, or situation that often serves as signal for the appearance of a character or event. | | 111 |
| 5047687245 | Muse | one of the ancient Greek goddesses presiding over the arts, the imaginary source of inspiration | | 112 |
| 5047689989 | Narrative structure | a textual organization based on sequences of connected events, usually presented in a straightforward, chronological framework | | 113 |
| 5047695488 | Narrator | The character who tells the story, or in poetry, the persona | | 114 |
| 5047697315 | Nemesis | The protagonist's archenemy or supreme and persistent difficulty | | 115 |
| 5047700721 | Objectivity | treatment of subject matter that is an impersonal or outside view of events | | 116 |
| 5527238226 | Subjectivity | treatment uses the interior or personal view of a single observer and is typically colored with that observer's emotional responses | | 117 |
| 5047716598 | Occasional Poem | a poem written about or for specific occasion, public or private | | 118 |
| 5047720996 | Ode | A lyric poem that is somewhat serious in subject and treatment, elevated in style and sometimes uses elaborate stanza structure, which is often patterned in sets of 3. These are written to praise and exalt a person, characteristic, quality or object | | 119 |
| 5047730530 | Onomatopoeia | A word capturing or approximating the sound of what it describes; "buzz" is a good example. The purpose of these words is to make a passage more effective for the reader or listener. | | 120 |
| 5047740975 | Opposition | A pair of elements that contrast sharply. It is not necessarily conflict but rather a pairing of images (or settings or appeals) whereby each becomes more striking and informative because it is placed in contrast to the other. It creates mystery and tension. They can be obvious and lead lead to irony | | 121 |
| 5047755789 | Overstatement | exaggerated language; also called hyperbole | | 122 |
| 5047758586 | Oxymoron | A figure of speech that combines two apparently contradictory elements, sometimes resulting in a humorous image or statement | | 123 |
| 5047767257 | Parable | a short fiction that illustrates an explicit moral lesson through the use of analogy; often spiritual | | 124 |
| 5047773551 | Paradox | A statement that seems contradictory but may actually be true | | 125 |
| 5047779462 | Parallel Structure | The use of similar forms in writing for nouns, verbs, phrases, or thoughts; Repeated syntactical similarities used for effect | | 126 |
| 5047790710 | Paraphrase | to restate phrases and sentences into your own words; to rephrase. This is not analysis or interpretation. Demonstrates comprehension of content | | 127 |
| 5047802523 | Parenthetical Phrase | A phrase set off by commas that interrupts the flow of a sentence with some commentary or added detail. | | 128 |
| 5047808868 | Parody | A work that imitates another work for comic effect by exaggerating the style and changing the content of the original | | 129 |
| 5047822286 | Pastoral | a work (also called an eclogue, a bucolic, or an idyll) that describes the simple life of country folk, life in a world full of beauty, music, love, and tranquil nature | | 130 |
| 5047827055 | Periodic Sentence | A sentence in which is not grammatically complete until the end | | 131 |
| 5047840055 | Persona | The voice or figure of the author who tells and structures the story and who may or may not share the values of the actual author | | 132 |
| 5047846086 | Personification | Treating an abstraction or nonhuman object as if it were a person by endowing it with human qualities | | 133 |
| 5047857535 | Petrarchan sonnet | also called Italian sonnet: a sonnet form that divides the poem into one section of 8 lines (octave) and a section of 6 lines (sestet), usually following the abba abba cde cde rhyme scheme though the sestet's rhyme varies | | 134 |
| 5047866798 | Plot | the arrangement of the narration based on the cause-effect relationship of the events | | 135 |
| 5047870570 | Point of view | the perspective from which a story is told | | 136 |
| 5527351946 | Objective Narrator | a 3rd person narrator who only reports what would be visible to a camera; thoughts and feelings are only revealed if a character speaks of them | | 137 |
| 5527346534 | Limited Omniscient | a 3rd person narrator who reports the thoughts of only one character and generally only what one character sees | | 138 |
| 5527321920 | First-person narrator | a narrator, referred to as "I", who is a character in the story and relates the actions through his or her own perspective, also revealing his or her own thoughts | | 139 |
| 5527330365 | Stream of Consciousness Narrator | Like a 1st person narrator, but instead placing the reader inside the character's head, making the reader privy to the continuous, chaotic flow or disconnected, half-formed thoughts and impressions in the characters mind | | 140 |
| 5527339345 | Omniscient Narrator | a 3rd person narrator, referred to as "he," "she," or "they," who is able to see into each character's mind and understands all the action | | 141 |
| 5047905740 | Prelude | an introductory poem to a longer work of verse | | 142 |
| 5047908306 | Pulp fiction | novels written for mass consumption, often emphasizing exciting and titillating plots. | | 143 |
| 5047915556 | Pun | the usually humorous use of a word in such a way to suggest two or more meanings; a play on words | | 144 |
| 5047918936 | Protagonist | the main character in a work, who may or may not be heroic | | 145 |
| 5047935046 | Quatrain | A poetic stanza of four lines | | 146 |
| 5047937791 | Realism | the practice in literature of attempting to describe nature and life without idealization and with attention to detail. | | 147 |
| 5047945405 | Refrain | a repeated stanza or line(s) in a poem or song | | 148 |
| 5047949854 | Requiem | A song of prayer for the dead | | 149 |
| 5047952498 | Rising action | the development of action in a work, usually at the beginning. The first part of plot structure | | 150 |
| 5047955181 | Rhetorical question | a question that is asked simply for stylistic effect and is not expected to be answered. The question suggests the answer and works to engage the reader in a dialogue with the author | | 151 |
| 5047966596 | Rhyme | the repetition of the same or similar sounds, most often at the ends of lines | | 152 |
| 5047973640 | Rhythm | the modulation of weak and strong (stressed and unstressed) elements in the flow of speech | | 153 |
| 5047975873 | Sarcasm | A form of verbal irony in which apparent praise is actually harshly or bitterly critical. For example, if a teacher says to a student who sneaks into class an hour late, "nice of you to join us today," the teacher is being sarcastic. | | 154 |
| 5047987764 | Satire | A literary work that holds up human failings to ridicule and censure. This exposes common character flaws to the cold light of humor. In general, attempts to improve things by pointing out people's mistakes in the hope that once exposed, such behavior will become less common. The great satirical subjects are hypocrisy, vanity, and greed | | 155 |
| 5048001195 | Scansion | the analysis of verse to show its meter | | 156 |
| 5048002860 | Setting | the time and place of the action in a story, poem, or play. | | 157 |
| 5048012861 | Shakespearean Sonnet | also called an English sonnet: a sonnet form that divides the poem into 3 units of 4 lines each and a final unit of two lines, usually abab cece efef gg | | 158 |
| 5048016353 | Shaped Verse | another name for concrete poetry: poetry that is shaped to look like an object. | | 159 |
| 5048019651 | Simile | a direct, explicit comparison of one thing to another, usually using the words like or as to draw the connection. See also metaphor. | | 160 |
| 5048023586 | Stanza | a group of lines in rough verse, roughly analogous in fiction to the paragraph in prose. Couplet- 2 lines; Tercet- 3 lines; Quatrian- 4 lines; Cinquain- 5; Sestet- 6; Septet-7; Octave-8 | | 161 |
| 5048031970 | Stereotype | A characterization based on conscious or unconscious assumptions that some one aspect, such as gender, age, ethnic or natural identity, religion, occupation, marital status, and so on, are predictable accompanied by certain character traits | | 162 |
| 5048041287 | Stock character | one who appears in a number of stories or plays such as the cruel stepmother, the femme fatale, the drunk, the miser, etc. | | 163 |
| 5048045754 | Structure | The organization of arrangement of the various elements in a work | | 164 |
| 5048050111 | Style | a distinctive manner of expression; each author's style is expressed through his or her diction, rhythm, imagery, and so on. It is a writer's typical way of writing. Hemingway wrote primarily short, simple sentences while Joseph Conrad wrote long, rambling prose | | 165 |
| 5048066635 | Summary | a simple retelling of what you have just read. Cover content in general terms--a chapter, a book, a poem | | 166 |
| 5048071917 | Suspension of disbelief | The demand made of theater audience to accept the limitations of staging and supply the details with imagination. Also, the acceptance on an audience's or reader's par of the incidents of plot in a play or story. | | 167 |
| 5048083021 | Symbolism | a person, place, thing or event, or pattern in a literary work that designate itself and at the same time figuratively represents or stands for something esle | | 168 |
| 5048090142 | Synecdoche | when a part is used to signify a whole. | | 169 |
| 5048099939 | Syntax | the way words are put together to form phrases clauses, and sentences. This is sentence structure, grammar patterns, and how that influences the way the reader receives a particular piece of writing | | 170 |
| 5048104697 | Theme | A generalized abstract paraphrase of the inferred central or dominant idea or concern of a work; must be expressed in a sentence | | 171 |
| 5048113072 | Tragedy | A drama in which a character (usually good and noble and of high rank) is brought to a disastrous end in his or her confrontation with a superior force. Often, the protagonist's downfall is a direct result of a fatal flaw (Tragic flaw) in his or her character | | 172 |
| 5048120215 | Trope | The generic name for a figure of speech such as image, symbol, simile, and metaphor | | 173 |
| 5048123853 | Truism | a way-too-obvious truth | | 174 |
| 5048126426 | Utopia | an idealized place. Imaginary communities in which people are able to live in happiness, prosperity, and peace | | 175 |
| 5048129599 | Verisimilitude | The quality of realism in a work that persuades readers that they are getting a vision of life, as it is | | 176 |
| 5048133170 | Voice | the acknowledged or unacknowledged source of the words of the story; the speaker, the persona | | 177 |
| 5048136948 | Zeugma | The use of a word to modify two or more words, but used for different meanings. Example: He closed the door and his heart on his lost love | | 178 |
| 6615868117 | carpe diem | Latin phrase meaning "seize the day", or make the most of present opportunities | | 179 |
| 6615870551 | character | an individual in a story or play | | 180 |
| 6615873009 | conflict | a struggle or clash between opposing characters, forces, or emotions | | 181 |
| 6615877228 | contrast | a literary technique in which the author examines two opposites to create an attitude, accomplish a purpose of effect, or to make an assertion | | 182 |
| 6615882876 | description | using vivid words to paint a picture of what the fie senses are experiencing | | 183 |
| 6615885608 | dialog | conversation between/among people | | 184 |
| 6615885609 | didactic | something written primarily to teach or instruct | | 185 |
| 6615887871 | dilemma | type of conflict in which both choices have some negative connotations | | 186 |
| 6615890435 | epigram | a pithy saying | | 187 |
| 6615892394 | figure of speech | imaginative comparisons used by the author o convey tone, purpose, or effect | | 188 |
| 6615894174 | form (in poetry) | external pattern of the poem; continuous, stanzic, free verse, fixed, and blank | | 189 |
| 6615901026 | heroic couplet | two consecutive lines of poetry that thyme and are written in iambic pentameter | | 190 |
| 6615902712 | internal rhyme | rhyme that occurs within a line of poetry | | 191 |
| 6615908790 | inverted order | reversing the normal subject-verb-complement order seen in a sentence | | 192 |
| 6615911463 | mock-epic | a comic narrative poem that parodies the epic by treating a trivial subject in a lofty, grand manner | | 193 |
| 6615924833 | modernism | a period of literature in the early 1900s which experimented with new forms and treated life realistically | | 194 |
| 6615928406 | materialism | putting emphasis on worldly objects over less tangible values | | 195 |
| 6615931873 | Naturalism | a nineteenth-century literary movement that carried realism to negative extreme. Character outcomes are doomed by heredity and environment | | 196 |
| 6615938357 | Neoclassicism | the revival of classical standards and forms during the 17th and 18th centuries | | 197 |
| 6615940337 | pacing | the rate of movement of a story may be slower with the exposition or description, faster with dramatic incidence, etc. | | 198 |
| 6615943087 | paradigm | a model, ideal, or standard | | 199 |
| 6615945723 | pathetic fallacy | the tendency to credit nature with human emotions; false emotionalism resulting in too impassioned description of nature; carrying over to inanimate objects the moods and passions of a human being | | 200 |
| 6615953820 | plausibility | an element of literary judgment. Is the work believable? | | 201 |
| 6615957249 | precis | the epitome or statement of the essential facts of a passage | | 202 |
| 6615959110 | renaissance | the rebirth of learning which followed the Middle Ages | | 203 |
| 6615961297 | repetition | the use of repeated words or phrases for effect | | 204 |
| 6615964262 | rhetoric | the art of speaking or writing | | 205 |
| 6615965676 | romanticism | a literary movement that emphasizes intuition, imagination, and emotion over reason | | 206 |
| 6615968644 | sensory language | language used to appeal to the senses | | 207 |
| 6615972193 | sensory image | the building of an image in the reader's mind through the use of sensory details | | 208 |
| 6615975262 | soliloquy | a long speech made by a character in a play while he/she is alone on stage | | 209 |
| 6615979219 | sonnet | a 14 line poem, usually written in iambic pentameter, that has one of several rhyme schemes | | 210 |
| 6615982314 | terza rima | an interlocking three line stanza form with the rhyme scheme aba, bcb, cdc, ded, etc. | | 211 |
| 6615985788 | thesis | an attitude or position taken by weriter or speaker with the purpose of proving or supporting it | | 212 |
| 6615988676 | tone | the attitude a writer takes toward the reader, a subject, or a character | | 213 |
| 6615990828 | Transcendetalism | a 19th century movement in the Romantic tradition which believes that humans can rise above materialism through simplicity and communion with nature | | 214 |
| 6615994317 | understatement | a statement that says less than what it means, the opposite of exaggeration | | 215 |
| 6615996751 | wit | a quality of writing that combines cleverness with keen perception, especially in the writer's ability to state things that the reader has thought but has not been able to express in words. A quality of writing that combines cleverness with keen perception, especially in the writer's ability to state things that the reader has though but has not been able to express in words | | 216 |
