1. Allegory
A
symbolic narrative in which the surface details imply a secondary meaning.
Allegory often takes the form of a story in which the characters represent
moral qualities. The most famous example in English is John Bunyan's Pilgrim's
Progress, in which the name of the central character, Pilgrim, epitomizes the
book's allegorical nature. Kay Boyle's story "Astronomer's Wife" and
Christina Rossetti's poem "Up-Hill" both contain allegorical
elements.
2.
Alliteration
The
repetition of consonant sounds, especially at the beginning of words. Example:
"Fetched fresh, as I suppose, off some sweet wood." Hopkins, "In
the Valley of the Elwy."
3.
Anapest
Two
unaccented syllables followed by an accented one, as in com-pre-HEND or
in-ter-VENE. An anapestic meter rises to the accented beat as in Byron's lines
from "The Destruction of Sennacherib": "And the sheen of their
spears was like stars on the sea, / When the blue wave rolls nightly on deep
Galilee."
4.
Antagonist
A
character or force against which another character struggles. Creon is
Antigone's antagonist in Sophocles' play Antigone; Teiresias is the antagonist
of Oedipus in Sophocles' Oedipus the King.
5.
Assonance
The
repetition of similar vowel sounds in a sentence or a line of poetry or prose,
as in "I rose and told him of my woe." Whitman's "When I Heard
the Learn'd Astronomer" contains assonantal "I's" in the
following lines: "How soon unaccountable I became tired and sick, / Till
rising and gliding out I wander'd off by myself."
6.
Aubade
A
love lyric in which the speaker complains about the arrival of the dawn, when
he must part from his lover. John Donne's "The Sun Rising"
exemplifies this poetic genre.
7.
Ballad
A
narrative poem written in four-line stanzas, characterized by swift action and
narrated in a direct style. The Anonymous medieval ballad, "Barbara
Allan," exemplifies the genre.
8.
Blank_verse
A
line of poetry or prose in unrhymed iambic pentameter. Shakespeare's sonnets,
Milton's epic poem Paradise Lost, and Robert Frost's meditative poems such as
"Birches" include many lines of blank verse. Here are the opening
blank verse lines of "Birches": When I see birches bend to left and
right / Across the lines of straighter darker trees, / I like to think some
boy's been swinging them.
9.
Caesura
A
strong pause within a line of verse. The following stanza from Hardy's
"The Man He Killed" contains caesuras in the middle two lines:
He
thought he'd 'list, perhaps,
Off-hand-like--just
as I--
Was
out of work-had sold his traps--
No
other reason why.
10.
Character
An
imaginary person that inhabits a literary work. Literary characters may be
major or minor, static (unchanging) or dynamic (capable of change). In
Shakespeare's Othello, Desdemona is a major character, but one who is static,
like the minor character Bianca. Othello is a major character who is dynamic,
exhibiting an ability to change.
11.Characterization
The
means by which writers present and reveal character. Although techniques of
characterization are complex, writers typically reveal characters through their
speech, dress, manner, and actions. Readers come to understand the character
Miss Emily in Faulkner's story "A Rose for Emily" through what she
says, how she lives, and what she does.
12.
Climax
The
turning point of the action in the plot of a play or story. The climax
represents the point of greatest tension in the work. The climax of John
Updike's "A&P," for example, occurs when Sammy quits his job as a
cashier.
13.
Closed_form
A
type of form or structure in poetry characterized by regularity and consistency
in such elements as rhyme, line length, and metrical pattern. Frost's
"Stopping By Woods on a Snowy Evening" provides one of many examples.
A single stanza illustrates some of the features of closed form:
Whose
woods these are I think I know.
His
house is in the village though.
He
will not see me stopping here
To
watch his woods fill up with snow.
14.
Complication
An
intensification of the conflict in a story or play. Complication builds up,
accumulates, and develops the primary or central conflict in a literary work.
Frank O'Connor's story "Guests of the Nation" provides a striking
example, as does Ralph Ellison's "Battle Royal."
15.
Conflict
A
struggle between opposing forces in a story or play, usually resolved by the
end of the work. The conflict may occur within a character as well as between
characters. Lady Gregory's one-act play The Rising of the Moon exemplifies both
types of conflict as the Policeman wrestles with his conscience in an inner
conflict and confronts an antagonist in the person of the ballad singer.
16.
Connotation
The
associations called up by a word that goes beyond its dictionary meaning.
Poets, especially, tend to use words rich in connotation. Dylan Thomas's
"Do Not Go Gentle into That Good Night" includes intensely
connotative language, as in these lines: "Good men, the last wave by,
crying how bright / Their frail deeds might have danced in a green bay, / Rage,
rage against the dying of the light."
17.
Convention
A
customary feature of a literary work, such as the use of a chorus in Greek
tragedy, the inclusion of an explicit moral in a fable, or the use of a
particular rhyme scheme in a villanelle. Literary conventions are defining
features of particular literary genres, such as novel, short story, ballad,
sonnet, and play.
18.
Couplet
A
pair of rhymed lines that may or may not constitute a separate stanza in a
poem. Shakespeare's sonnets end in rhymed couplets, as in "For thy sweet
love remembered such wealth brings / That then I scorn to change my state with
kings."
19.
Dactyl
A
stressed syllable followed by two unstressed ones, as in FLUT-ter-ing or
BLUE-ber-ry. The following playful lines illustrate double dactyls, two dactyls
per line:
Higgledy,
piggledy,
Emily
Dickinson
Gibbering,
jabbering.
20.
Denotation
The
dictionary meaning of a word. Writers typically play off a word's denotative
meaning against its connotations, or suggested and implied associational
implications. In the following lines from Peter Meinke's "Advice to My
Son" the references to flowers and fruit, bread and wine denote specific
things, but also suggest something beyond the literal, dictionary meanings of
the words:
To
be specific, between the peony and rose
Plant
squash and spinach, turnips and tomatoes;
Beauty
is nectar and nectar, in a desert, saves--
...
and
always serve bread with your wine.
But,
son,
always
serve wine.
21.
Denouement
The
resolution of the plot of a literary work. The denouement of Hamlet takes place
after the catastrophe, with the stage littered with corpses. During the
denouement Fortinbras makes an entrance and a speech, and Horatio speaks his
sweet lines in praise of Hamlet.
22.
Dialogue
The
conversation of characters in a literary work. In fiction, dialogue is
typically enclosed within quotation marks. In plays, characters' speech is
preceded by their names.
23.
Diction
The
selection of words in a literary work. A work's diction forms one of its
centrally important literary elements, as writers use words to convey action,
reveal character, imply attitudes, identify themes, and suggest values. We can
speak of the diction particular to a character, as in Iago's and Desdemona's
very different ways of speaking in Othello. We can also refer to a poet's
diction as represented over the body of his or her work, as in Donne's or
Hughes's diction.
24.
Elegy
A
lyric poem that laments the dead. Robert Hayden's "Those Winter
Sundays" is elegiac in tone. A more explicitly identified elegy is W.H.
Auden's "In Memory of William Butler Yeats" and his "Funeral
Blues."
25.
Elision
The
omission of an unstressed vowel or syllable to preserve the meter of a line of
poetry. Alexander uses elision in "Sound and Sense": "Flies o'er
th' unbending corn...."
26.
Enjambment
A
run-on line of poetry in which logical and grammatical sense carries over from
one line into the next. An enjambed line differs from an end-stopped line in
which the grammatical and logical sense is completed within the line. In the
opening lines of Robert Browning's "My Last Duchess," for example,
the first line is end-stopped and the second enjambed:
That's
my last Duchess painted on the wall,
Looking
as if she were alive. I call
That
piece a wonder, now....
27.Epic
A
long narrative poem that records the adventures of a hero. Epics typically
chronicle the origins of a civilization and embody its central values. Examples
from western literature include Homer's Iliad and Odyssey, Virgil's Aeneid, and
Milton's Paradise Lost.
28.
Epigram
A
brief witty poem, often satirical. Alexander Pope's "Epigram Engraved on
the Collar of a Dog" exemplifies the genre:
I
am his Highness' dog at Kew;
Pray
tell me, sir, whose dog are you?
29.
Exposition
The
first stage of a fictional or dramatic plot, in which necessary background
information is provided. Ibsen's A Doll's House, for instance, begins with a
conversation between the two central characters, a dialogue that fills the
audience in on events that occurred before the action of the play begins, but
which are important in the development of its plot.
30.
Falling_action
In
the plot of a story or play, the action following the climax of the work that
moves it towards its denouement or resolution. The falling action of Othello
begins after Othello realizes that Iago is responsible for plotting against him
by spurring him on to murder his wife, Desdemona.
31.
Falling meter
Poetic
meters such as trochaic and dactylic that move or fall from a stressed to an
unstressed syllable. The nonsense line, "Higgledy, piggledy," is
dactylic, with the accent on the first syllable and the two syllables following
falling off from that accent in each word. Trochaic meter is represented by
this line: "Hip-hop, be-bop, treetop--freedom."
32.
Fiction
An
imagined story, whether in prose, poetry, or drama. Ibsen's Nora is fictional,
a "make-believe" character in a play, as are Hamlet and Othello. Characters
like Robert Browning's Duke and Duchess from his poem "My Last
Duchess" are fictional as well, though they may be based on actual
historical individuals. And, of course, characters in stories and novels are
fictional, though they, too, may be based, in some way, on real people. The
important thing to remember is that writers embellish and embroider and alter
actual life when they use real life as the basis for their work. They
fictionalize facts, and deviate from real-life situations as they "make
things up."
33.
Figurative language
A
form of language use in which writers and speakers convey something other than
the literal meaning of their words. Examples include hyperbole or exaggeration,
litotes or understatement, simile and metaphor, which employ comparison, and
synecdoche and metonymy, in which a part of a thing stands for the whole.
34.
Flashback
An
interruption of a work's chronology to describe or present an incident that
occurred prior to the main time frame of a work's action. Writers use
flashbacks to complicate the sense of chronology in the plot of their works and
to convey the richness of the experience of human time. Faulkner's story
"A Rose for Emily" includes flashbacks.
35.
Foil
A
character who contrasts and parallels the main character in a play or story.
Laertes, in Hamlet, is a foil for the main character; in Othello, Emilia and
Bianca are foils for Desdemona.
36.
Foot
A
metrical unit composed of stressed and unstressed syllables. For example, an
iamb or iambic foot is represented by ˘', that is, an unaccented syllable
followed by an accented one. Frost's line "Whose woods these are I think I
know" contains four iambs, and is thus an iambic foot.
37.
Foreshadowing
Hints
of what is to come in the action of a play or a story. Ibsen's A Doll's House
includes foreshadowing as does Synge's Riders to the Sea. So, too, do Poe's
"Cask of Amontillado" and Chopin's "Story of an Hour."
38.Free
verse
Poetry
without a regular pattern of meter or rhyme. The verse is "free" in
not being bound by earlier poetic conventions requiring poems to adhere to an
explicit and identifiable meter and rhyme scheme in a form such as the sonnet
or ballad. Modern and contemporary poets of the twentieth and twenty-first
centuries often employ free verse. Williams's "This Is Just to Say"
is one of many examples.
39.
Hyperbole
A
figure of speech involving exaggeration. John Donne uses hyperbole in his poem:
"Song: Go and Catch a Falling Star."
40.
Iamb
An
unstressed syllable followed by a stressed one, as in to-DAY. See Foot.
41.
Image
A
concrete representation of a sense impression, a feeling, or an idea. Imagery
refers to the pattern of related details in a work. In some works one image
predominates either by recurring throughout the work or by appearing at a
critical point in the plot. Often writers use multiple images throughout a work
to suggest states of feeling and to convey implications of thought and action.
Some modern poets, such as Ezra Pound and William Carlos Williams, write poems
that lack discursive explanation entirely and include only images. Among the
most famous examples is Pound's poem "In a Station of the Metro":
The
apparition of these faces in the crowd;
Petals
on a wet, black bough.
42.
Imagery
The
pattern of related comparative aspects of language, particularly of images, in
a literary work. Imagery of light and darkness pervade James Joyce's stories
"Araby," "The Boarding House," and "The Dead."
So, too, does religious imagery.
43.
Irony
A
contrast or discrepancy between what is said and what is meant or between what
happens and what is expected to happen in life and in literature. In verbal
irony, characters say the opposite of what they mean. In irony of circumstance
or situation, the opposite of what is expected occurs. In dramatic irony, a character
speaks in ignorance of a situation or event known to the audience or to the
other characters. Flannery O'Connor's short stories employ all these forms of
irony, as does Poe's "Cask of Amontillado."
44.
Literal language
A
form of language in which writers and speakers mean exactly what their words
denote. See Figurative language, Denotation, and Connotation.
45.
Lyric poem
A
type of poem characterized by brevity, compression, and the expression of
feeling. Most of the poems in this book are lyrics. The anonymous "Western
Wind" epitomizes the genre:
Western
wind, when will thou blow,
The
small rain down can rain?
Christ,
if my love were in my arms
And
I in my bed again!
46.
Metaphor
A
comparison between essentially unlike things without an explicitly comparative
word such as like or as. An example is "My love is a red, red rose,"
From
Burns's "A Red, Red Rose." Langston Hughes's "Dream
Deferred" is built entirely of metaphors. Metaphor is one of the most
important of literary uses of language. Shakespeare employs a wide range of
metaphor in his sonnets and his plays, often in such density and profusion that
readers are kept busy analyzing and interpreting and unraveling them. Compare
Simile.
47.
Meter
The
measured pattern of rhythmic accents in poems. See Foot and Iamb.
48.
Metonymy
A
figure of speech in which a closely related term is substituted for an object
or idea. An example: "We have always remained loyal to the crown."
See Synecdoche.
49.
Narrative poem
A
poem that tells a story. See Ballad.
50.
Narrator
The
voice and implied speaker of a fictional work, to be distinguished from the
actual living author. For example, the narrator of Joyce's "Araby" is
not James Joyce himself, but a literary fictional character created expressly
to tell the story. Faulkner's "A Rose for Emily" contains a communal
narrator, identified only as "we." See Point of view.
51.
Octave
An
eight-line unit, which may constitute a stanza; or a section of a poem, as in
the octave of a sonnet.
52.
Ode
A
long, stately poem in stanzas of varied length, meter, and form. Usually a
serious poem on an exalted subject, such as Horace's "Eheu fugaces,"
but sometimes a more lighthearted work, such as Neruda's "Ode to My
Socks."
53.
Onomatopoeia
The
use of words to imitate the sounds they describe. Words such as buzz and crack
are onomatopoetic. The following line from Pope's "Sound and Sense"
onomatopoetically imitates in sound what it describes:
When
Ajax strives some rock's vast weight to throw,
The
line too labors, and the words move slow.
Most
often, however, onomatopoeia refers to words and groups of words, such as
Tennyson's description of the "murmur of innumerable bees," which
attempts to capture the sound of a swarm of bees buzzing.
54.
Open form
A
type of structure or form in poetry characterized by freedom from regularity
and consistency in such elements as rhyme, line length, metrical pattern, and
overall poetic structure. E.E. Cummings's "[Buffalo Bill's]" is one
example. See also Free verse.
55.
Parody
A
humorous, mocking imitation of a literary work, sometimes sarcastic, but often
playful and even respectful in its playful imitation. Examples include Bob
McKenty's parody of Frost's "Dust of Snow" and Kenneth Koch's parody
of Williams's "This is Just to Say."
56.
Personification
The
endowment of inanimate objects or abstract concepts with animate or living
qualities. An example: "The yellow leaves flaunted their color gaily in
the breeze." Wordsworth's "I wandered lonely as a cloud"
includes personification.
57.
Plot
The
unified structure of incidents in a literary work. See Conflict, Climax,
Denouement, andFlashback.
58.Point
of view
The
angle of vision from which a story is narrated. See Narrator. A work's point of
view can be: first person, in which the narrator is a character or an observer,
respectively; objective, in which the narrator knows or appears to know no more
than the reader; omniscient, in which the narrator knows everything about the
characters; and limited omniscient, which allows the narrator to know some
things about the characters but not everything.
59.
Protagonist
The
main character of a literary work--Hamlet and Othello in the plays named after
them, Gregor Samsa in Kafka's Metamorphosis, Paul in Lawrence's
"Rocking-Horse Winner."
60.
Pyrrhic
A
metrical foot with two unstressed syllables ("of the").
61.
Quatrain
A
four-line stanza in a poem, the first four lines and the second four lines in a
Petrachan sonnet. A Shakespearean sonnet contains three quatrains followed by a
couplet.
62.
Recognition
The
point at which a character understands his or her situation as it really is.
Sophocles' Oedipus comes to this point near the end of Oedipus the King;
Othello comes to a similar understanding of his situation in Act V of
Othello.
63.
Resolution
The
sorting out or unraveling of a plot at the end of a play, novel, or story. See
Plot.
64.
Reversal
The
point at which the action of the plot turns in an unexpected direction for the
protagonist. Oedipus's and Othello's recognitions are also reversals. They
learn what they did not expect to learn. See Recognition and also Irony.
65.
Rhyme
The
matching of final vowel or consonant sounds in two or more words. The following
stanza of "Richard Cory" employs alternate rhyme, with the third line
rhyming with the first and the fourth with the second:
Whenever
Richard Cory went down town,
We
people on the pavement looked at him;
He
was a gentleman from sole to crown
Clean
favored and imperially slim.
66.
Rhythm
The
recurrence of accent or stress in lines of verse. In the following lines from
"Same in Blues" by Langston Hughes, the accented words and syllables
are underlined:
I
said to my baby,
Baby
take it slow....
Lulu
said to Leonard
I
want a diamond ring
67. Rising_action
A
set of conflicts and crises that constitute the part of a play's or story's
plot leading up to the climax. See Climax, Denouement, and Plot.
68. Rising_meter
Poetic
meters such as iambic and anapestic that move or ascend from an unstressed to a
stressed syllable. See Anapest, Iamb, and Falling meter.
69. Satire
A
literary work that criticizes human misconduct and ridicules vices,
stupidities, and follies. Swift's Gulliver's Travels is a famous example.
Chekhov's Marriage Proposal and O'Connor's "Everything That Rises Must
Converge," have strong satirical elements.
70. Sestet
A
six-line unit of verse constituting a stanza or section of a poem; the last six
lines of an Italian sonnet. Examples: Petrarch's "If it is not love, then
what is it that I feel," and Frost's "Design."
71. Sestina
A
poem of thirty-nine lines and written in iambic pentameter. Its six-line stanza
repeat in an intricate and prescribed order the final word in each of the first
six lines. After the sixth stanza, there is a three-line envoi, which uses the
six repeating words, two per line.
72. Setting
The
time and place of a literary work that establish its context. The stories of
Sandra Cisneros are set in the American southwest in the mid to late 20th
century, those of James Joyce in Dublin, Ireland in the early 20th century.
73. Simile
A
figure of speech involving a comparison between unlike things using like, as,
or as though. An example: "My love is like a red, red rose."
74. Sonnet
A
fourteen-line poem in iambic pentameter. The Shakespearean or English sonnet is
arranged as three quatrains and a final couplet, rhyming abab cdcd efef gg. The
Petrarchan or Italian sonnet divides into two parts: an eight-line octave and a
six-line sestet, rhyming abba abba cde cde or abba abba cd cd cd.
75. Spondee
A
metricalfoot represented by two stressed syllables, such as KNICK-KNACK.
76. Stanza
A
division or unit of a poem that is repeated in the same form--either with
similar or identical patterns or rhyme and meter, or with variations from one
stanza to another. The stanzas of Gertrude Schnackenberg's "Signs"
are regular; those of Rita Dove's "Canary" are irregular.
77. Style
The
way an author chooses words, arranges them in sentences or in lines of dialogue
or verse, and develops ideas and actions with description, imagery, and other
literary techniques. See Connotation, Denotation, Diction, Figurative language,
Image, Imagery, Irony, Metaphor, Narrator, Point of view, Syntax, and Tone.
78. Subject
What
a story or play is about; to be distinguished from plot and theme. Faulkner's
"A Rose for Emily" is about the decline of a particular way of life
endemic to the American south before the civil war. Its plot concerns how
Faulkner describes and organizes the actions of the story's characters. Its
theme is the overall meaning Faulkner conveys.
79. Subplot
A
subsidiary or subordinate or parallel plot in a play or story that coexists
with the main plot. The story of Rosencrantz and Guildenstern forms a subplot
with the overall plot of Hamlet.
80. Symbol
An
object or action in a literary work that means more than itself, that stands
for something beyond itself. The glass unicorn in The Glass Menagerie, the
rocking horse in "The Rocking-Horse Winner," the road in Frost's
"The Road Not Taken"--all are symbols in this sense.
81. Synecdoche
A
figure of speech in which a part is substituted for the whole. An example:
"Lend me a hand." See Metonymy.
82. Syntax
The
grammatical order of words in a sentence or line of verse or dialogue. The
organization of words and phrases and clauses in sentences of prose, verse, and
dialogue. In the following example, normal syntax (subject, verb, object order)
is inverted:
"Whose
woods these are I think I know."
83. Tercet
A
three-line stanza, as the stanzas in Frost's "Acquainted With the
Night" and Shelley's "Ode to the West Wind." The three-line
stanzas or sections that together constitute the sestet of a Petrarchan or
Italian sonnet.
84. Theme
The
idea of a literary work abstracted from its details of language, character, and
action, and cast in the form of a generalization. See discussion of Dickinson's
"Crumbling is not an instant's Act."
85. Tone
The
implied attitude of a writer toward the subject and characters of a work, as,
for example, Flannery O'Connor's ironic tone in her "Good Country
People." See Irony.
86. Trochee
An
accented syllable followed by an unaccented one, as in FOOT-ball.
87.
Understatement
A
figure of speech in which a writer or speaker says less than what he or she
means; the opposite of exaggeration. The last line of Frost's
"Birches" illustrates this literary device: "One could do worse
than be a swinger of birches."
88. Villanelle
A
nineteen-line lyric poem that relies heavily on repetition. The first and third
lines alternate throughout the poem, which is structured in six stanzas --five
tercets and a concluding quatrain. Examples include Bishop's "One
Art," Roethke's "The Waking," and Thomas's "Do Not Go
Gentle into That Good Night."
