|
Accent
|
The emphasis, or stress, given a syllable in pronunciation. We say "syllable" not "syllable," "emphasis" not "emphasis." Accents can also be used to emphasize a particular word in a sentence: Is she content with the contents of the yellow package? See also meter.
|
|
|
Act
|
A major division in the action of a play. The ends of acts are typically indicated by lowering the curtain or turning up the houselights. Playwrights frequently employ acts to accommodate changes in time, setting, characters onstage, or mood. In many full-length plays, acts are further divided into scenes, which often mark a point in the action when the location changes or when a new character enters. See also scene.
|
|
|
Allegory
|
A narration or description usually restricted to a single meaning because its events, actions, characters, settings, and objects represent specific abstractions or ideas. Although the elements in an allegory may be interesting in themselves, the emphasis tends to be on what they ultimately mean. Characters may be given names such as Hope, Pride, Youth, and Charity; they have few if any personal qualities beyond their abstract meanings. These personifications are not symbols because, for instance, the meaning of a character named Charity is precisely that virtue. See also symbol. For an exercise on allegory, go to the VirtuaLit Interactive Poetry Tutorial.
|
|
|
Alliteration
|
The repetition of the same consonant sounds in a sequence of words, usually at the beginning of a word or stressed syllable: "descending dew drops"; "luscious lemons." Alliteration is based on the sounds of letters, rather than the spelling of words; for example, "keen" and "car" alliterate, but "car" and "cite" do not. Used sparingly, alliteration can intensify ideas by emphasizing key words, but when used too self-consciously, it can be distracting, even ridiculous, rather than effective. See also assonance, consonance. For examples and an exercise on alliteration, go to the VirtuaLit Interactive Poetry Tutorial
|
|
|
Allusion
|
A brief reference to a person, place, thing, event, or idea in history or literature. Allusions conjure up biblical authority, scenes from Shakespeare's plays, historic figures, wars, great love stories, and anything else that might enrich an author's work. Allusions imply reading and cultural experiences shared by the writer and reader, functioning as a kind of shorthand whereby the recalling of something outside the work supplies an emotional or intellectual context, such as a poem about current racial struggles calling up the memory of Abraham Lincoln.
|
|
|
Ambiguity
|
Allows for two or more simultaneous interpretations of a word, phrase, action, or situation, all of which can be supported by the context of a work. Deliberate ambiguity can contribute to the effectiveness and richness of a work, for example, in the open-ended conclusion to Hawthorne's "Young Goodman Brown." However, unintentional ambiguity obscures meaning and can confuse readers.
|
|
|
Anagram
|
A word or phrase made from the letters of another word or phrase, as "heart" is an anagram of "earth." Anagrams have often been considered merely an exercise of one's ingenuity, but sometimes writers use anagrams to conceal proper names or veiled messages, or to suggest important connections between words, as in "hated" and "death."
|
|
|
Anapestic meter
|
See foot.
|
|
|
Antagonist
|
The character, force, or collection of forces in fiction or drama that opposes the protagonist and gives rise to the conflict of the story; an opponent of the protagonist, such as Claudius in Shakespeare's play Hamlet. See also character, conflict.
|
|
|
Antihero
|
A protagonist who has the opposite of most of the traditional attributes of a hero. He or she may be bewildered, ineffectual, deluded, or merely pathetic. Often what antiheroes learn, if they learn anything at all, is that the world isolates them in an existence devoid of God and absolute values. Yossarian from Joseph Heller's Catch-22 is an example of an antihero. See also character.
|
|
|
Apostrophe
|
An address, either to someone who is absent and therefore cannot hear the speaker or to something nonhuman that cannot comprehend. Apostrophe often provides a speaker the opportunity to think aloud.
|
|
|
Approximate rhyme
|
See rhyme.
|
|
|
Archetype
|
A term used to describe universal symbols that evoke deep and sometimes unconscious responses in a reader. In literature, characters, images, and themes that symbolically embody universal meanings and basic human experiences, regardless of when or where they live, are considered archetypes. Common literary archetypes include stories of quests, initiations, scapegoats, descents to the underworld, and ascents to heaven. See also mythological criticism.
|
|
|
Aside
|
In drama, a speech directed to the audience that supposedly is not audible to the other characters onstage at the time. When Hamlet first appears onstage, for example, his aside "A little more than kin, and less than kind!" gives the audience a strong sense of his alienation from King Claudius. See also soliloquy.
|
|
|
Assonance
|
The repetition of internal vowel sounds in nearby words that do not end the same, for example,"asleep under a tree," or "each evening." Similar endings result in rhyme, as in "asleep in the deep." Assonance is a strong means of emphasizing important words in a line. See also alliteration, consonance. For examples and an exercise on assonance, go to the VirtuaLit Interactive Poetry Tutorial.
|
|
|
Ballad
|
Traditionally,a ballad is a song, transmitted orally from generation to generation, that tells a story and that eventually is written down. As such, ballads usually cannot be traced to a particular author or group of authors. Typically, ballads are dramatic, condensed, and impersonal narratives, such as "Bonny Barbara Allan." A literary ballad is a narrative poem that is written in deliberate imitation of the language, form, and spirit of the traditional ballad, such as Keats' "La Belle Dame sans Merci." See also ballad stanza, quatrain.
|
|
|
Ballad stanza
|
A four-line stanza, known as a quatrain, consisting of alternating eight- and six-syllable lines. Usually only the second and fourth lines rhyme (an abcb pattern). Coleridge adopted the ballad stanza in "The Rime of the Ancient Mariner."
All in a hot and copper sky
The bloody Sun, at noon,
Right up above the mast did stand,
No bigger than the Moon.
See also ballad, quatrain.
|
|
|
Biographical criticism
|
An approach to literature which suggests that knowledge of the author's life experiences can aid in the understanding of his or her work. While biographical information can sometimes complicate one's interpretation of a work, and some formalist critics (such as the New Critics) disparage the use of the author's biography as a tool for textual interpretation, learning about the life of the author can often enrich a reader's appreciation for that author's work. See also cultural criticism, formalist criticism, new criticism.
|
|
|
Blank verse
|
Unrhymed iambic pentameter. Blank verse is the English verse form closest to the natural rhythms of English speech and therefore is the most common pattern found in traditional English narrative and dramatic poetry from Shakespeare to the early twentieth century. Shakespeare's plays use blank verse extensively. See also iambic pentameter.
|
|
|
Cacophony
|
Language that is discordant and difficult to pronounce, such as this line from John Updike's "Player Piano": "never my numb plunker fumbles." Cacophony ("bad sound") may be unintentional in the writer's sense of music, or it may be used consciously for deliberate dramatic effect. See also euphony.
|
|
|
Caesura
|
A pause within a line of poetry that contributes to the rhythm of the line. A caesura can occur anywhere within a line and need not be indicated by punctuation. In scanning a line, caesuras are indicated by a double vertical line (||). See also meter, rhythm, scansion.
|
|
|
Canon
|
Those works generally considered by scholars, critics, and teachers to be the most important to read and study, which collectively constitute the "masterpieces" of literature. Since the 1960s, the traditional English and American literary canon, consisting mostly of works by white male writers, has been rapidly expanding to include many female writers and writers of varying ethnic backgrounds.
|
|
|
Carpe diem
|
The Latin phrase meaning "seize the day." This is a very common literary theme, especially in lyric poetry, which emphasizes that life is short, time is fleeting, and that one should make the most of present pleasures. Robert Herrick's poem "To the Virgins, to Make Much of Time" employs the carpe diem theme. For an example of a carpe diem poem, go to the VirtuaLit Interactive Poetry Tutorial.
|
|
|
Catharsis
|
Meaning "purgation," catharsis describes the release of the emotions of pity and fear by the audience at the end of a tragedy. In his Poetics , Aristotle discusses the importance of catharsis. The audience faces the misfortunes of the protagonist, which elicit pity and compassion. Simultaneously, the audience also confronts the failure of the protagonist, thus receiving a frightening reminder of human limitations and frailties. Ultimately, however, both these negative emotions are purged, because the tragic protagonist's suffering is an affirmation of human values rather than a despairing denial of them. See also tragedy
|
|
|
Character, characterization
|
A character is a person presented in a dramatic or narrative work, and characterization is the process by which a writer makes that character seem real to the reader. A hero or heroine, often called the protagonist, is the central character who engages the reader's interest and empathy. The antagonist is the character, force, or collection of forces that stands directly opposed to the protagonist and gives rise to the conflict of the story. A static character does not change throughout the work, and the reader's knowledge of that character does not grow, whereas a dynamic character undergoes some kind of change because of the action in the plot. A flat character embodies one or two qualities, ideas, or traits that can be readily described in a brief summary. They are not psychologically complex characters and therefore are readily accessible to readers. Some flat characters are recognized as stock characters; they embody stereotypes such as the "dumb blonde" or the "mean stepfather." They become types rather than individuals. Round characters are more complex than flat or stock characters, and often display the inconsistencies and internal conflicts found in most real people. They are more fully developed, and therefore are harder to summarize. Authors have two major methods of presenting characters: showing and telling. Showing allows the author to present a character talking and acting, and lets the reader infer what kind of person the character is. In telling, the author intervenes to describe and sometimes evaluate the character for the reader. Characters can be convincing whether they are presented by showing or by telling, as long as their actions are motivated. Motivated action by the characters occurs when the reader or audience is offered reasons for how the characters behave, what they say, and the decisions they make. Plausible action is action by a character in a story that seems reasonable, given the motivations presented. See also plot. For discussions of characterization and an exercise, go to the VirtuaLit Interactive Fiction Tutorial.
|
|
|
Chorus
|
In Greek tragedies (especially those of Aeschylus and Sophocles), a group of people who serve mainly as commentators on the characters.
|
|
|
Cliché
|
An idea or expression that has become tired and trite from overuse, its freshness and clarity having worn off. Clichés often anesthetize readers, and are usually a sign of weak writing. See also sentimentality, stock responses
|
|
|
Climax
|
See plot.
|
|
|
Closet drama
|
A play that is written to be read rather than performed onstage. In this kind of drama, literary art outweighs all other considerations. See also drama.
|
|
|
Colloquial
|
Refers to a type of informal diction that reflects casual, conversational language and often includes slang expressions. See also diction.
|
|
|
Comedy
|
A work intended to interest, involve, and amuse the reader or audience, in which no terrible disaster occurs and that ends happily for the main characters. High comedy refers to verbal wit, such as puns, whereas low comedy is generally associated with physical action and is less intellectual. Romantic comedy involves a love affair that meets with various obstacles (like disapproving parents, mistaken identities, deceptions, or other sorts of misunderstandings) but overcomes them to end in a blissful union. Shakespeare's comedies, such as A Midsummer Night's Dream, are considered romantic comedies.
|
|
|
Comic relief
|
A humorous scene or incident that alleviates tension in an otherwise serious work. In many instances these moments enhance the thematic significance of the story in addition to providing laughter. When Hamlet jokes with the gravediggers we laugh, but something hauntingly serious about the humor also intensifies our more serious emotions.
|
|
|
Conflict
|
The struggle within the plot between opposing forces. The protagonist engages in the conflict with the antagonist, which may take the form of a character, society, nature, or an aspect of the protagonist's personality. See also character, plot.
|
|
|
Connotation
|
Associations and implications that go beyond the literal meaning of a word, which derive from how the word has been commonly used and the associations people make with it. For example, the word eagle connotes ideas of liberty and freedom that have little to do with the word's literal meaning. See also denotation. For discussions of connotation and an exercise, go to the VirtuaLit Interactive Poetry Tutorial
|
|
|
Consonance
|
A common type of near rhyme that consists of identical consonant sounds preceded by different vowel sounds: home, same; worth, breath. See also rhyme.
|
|
|
Contextual symbol
|
See symbol.
|
|
|
Controlling metaphor
|
See metaphor.
|
|
|
Convention
|
A characteristic of a literary genre (often unrealistic) that is understood and accepted by audiences because it has come, through usage and time, to be recognized as a familiar technique. For example, the division of a play into acts and scenes is a dramatic convention, as are soliloquies and asides. Flashbacks and foreshadowing are examples of literary conventions.
|
|
|
Conventional symbol
|
See symbol.
|
|
|
Cosmic irony
|
See irony.
|
|
|
Couplet
|
Two consecutive lines of poetry that usually rhyme and have the same meter. A heroic couplet is a couplet written in rhymed iambic pentameter.
|
|
|
Crisis
|
A turning point in the action of a story that has a powerful effect on the protagonist. Opposing forces come together decisively to lead to the climax of the plot. See also plot.
|
|
|
Crisis
|
A turning point in the action of a story that has a powerful effect on the protagonist. Opposing forces come together decisively to lead to the climax of the plot. See also plot.
|
|
|
Cultural criticism
|
An approach to literature that focuses on the historical as well as social, political, and economic contexts of a work. Popular culture mass produced and consumed cultural artifacts ranging from advertising to popular fiction to television to rock music is given equal emphasis as "high culture." Cultural critics use widely eclectic strategies such as new historicism, psychology, gender studies, and deconstructionism to analyze not only literary texts but everything from radio talk shows, comic strips, calendar art, commercials, to travel guides and baseball cards. See also historical criticism, Marxist criticism, postcolonial criticism.
|
|
|
Dactylic meter
|
See foot.
|
|
|
Deconstructionism
|
An approach to literature which suggests that literary works do not yield fixed, single meanings, because language can never say exactly what we intend it to mean. Deconstructionism seeks to destabilize meaning by examining the gaps and ambiguities of the language of a text. Deconstructionists pay close attention to language in order to discover and describe how a variety of possible readings are generated by the elements of a text. See also new criticism. For model essays and exercises on deconstructionism, go to the VirtuaLit Interactive Poetry Tutorial and the VirtuaLit Interactive Fiction Tutorial.
|
|
|
Denotation
|
The dictionary meaning of a word. See also connotation. For discussions of denotation and an exercise, go to the VirtuaLit Interactive Poetry Tutorial.
|
|
|
Dénouement
|
A French term meaning "unraveling" or "unknotting," used to describe the resolution of the plot following the climax. See also plot, resolution.
|
|
|
Dialect
|
A type of informational diction. Dialects are spoken by definable groups of people from a particular geographic region, economic group, or social class. Writers use dialect to contrast and express differences in educational, class, social, and regional backgrounds of their characters. See also diction.
|
|
|
Dialogue
|
The verbal exchanges between characters. Dialogue makes the characters seem real to the reader or audience by revealing firsthand their thoughts, responses, and emotional states. See also diction.
|
|
