Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
50 Cards in this Set
- Front
- Back
Epic
|
a long narrative verse on a serious subject, told in a formal style, with a heroic or quasi-divine figure whose actions depend the fate of a tribe or nation.
|
|
Chivalric Romance
|
developed in 12th century France, it represents not a heroic age of tribal wars, but a courtly and chivalric age, often one of highly developed manners and civility. Plot involves a knight taking a quest to gain the favor of a lady. Stresses courage, loyalty, honor, mercifulness, and manners
|
|
Courtly Love
|
the relations between aristocratic lovers. The courtly lover idealizes and idolizes his beloved, and subjects himself to her every whim. The lover suffers agonies of body and spirit as he is tested, but remains devoted to her
|
|
Dream Vision
|
a narrative, often in verse, in which the speaker describes a dream they have had, which often reveals an unexpected moral that comforts this dreamer upon awakening.
|
|
Fabliau
|
set in contemporary time and not long ago, its characters are not aristocrats, and concerns basic functions such as sex and excretion. Instead of focusing on romance, it’s concerned with cunning and folly, opposes authority, and parodies courtly values.
|
|
Mystery Play
|
medieval drama that addresses the mystery of Christ’s redemption of humankind. Performed in cycles, they would begin with Creation, continue through the Bible with the Last Supper and Crucifixion, and end with material such as the Harrowing of Hell and the Last Judgement.
|
|
Romantic Comedy
|
developed by Elizabethan dramatists, it typically depicts a love affair involving a beautiful and quick-witted heroine, often disguised as a man. Though the affair doesn’t proceed well, it ends well, typically with marriage.
|
|
1066
|
William the Conqueror conquers England by defeating Harold II
|
|
Characteristics of Chivalric Romance
|
1. Hero is a knight, w/ high-born people. 2. Setting is in past or farway. 3. Plot centers on love, chivalry, and a quest. 4. Plot is secular and not overly Christian, just expresses some ideals. 5. Plot contains supernatural. 6. Hero is an excellent warrior and desirable lover, but NO SEX. 7. Quest= spirtual journey of humanity.
|
|
Tragedy
|
a serious drama describing a conflict b/w the protagonist and a superior force. Has a sorrowful or disastrous conclusion.
|
|
Tragic Hero
|
Protagonist of a tragedy, neither entirely good or bad. Suffers do to a mistake in his hamartia.
|
|
Most common hamartia
|
Pride
|
|
Sonnet
|
lyric poem witha single stanze of fourteen iambic lines with a rhyme scheme,
|
|
Innovator of sonnets
|
Francesco Petrarch
|
|
Conceit
|
an extended simile or metaphor that structures the sonnet
|
|
Oxymoron
|
the combination of oppositional forces to descrive teh conflicting passions suffered by the courtly lover.
|
|
Cavaliers
|
followers and supporters of Charles I. Wrote witty and light-hearted poems expressing CARPE DIEM or honor of fighting for the king.
|
|
Tribe of Ben/Sons of Ben
|
Robbert Herrick and others who acknowledge Ben Jonson as their master.
|
|
Carmen Figuratum
|
a figure poem in which the printed form of the poem suggests of comments on its meaning.
|
|
Typology
|
an allegorical mode of depicting the fulfillment of the promise of the Old testament through its connections to the New Testament.
|
|
Pastoral
|
poems or other artistic forms addressing the life of shepherds and rustic life. Country life is frequently compared to city life, which is disparaged.
|
|
Novel
|
an extended work of fiction written in prose, developed out of the romance tradition. Robinson Crusoe is credited as the first English novel.
|
|
Characteristics of a Novel
|
Longer than a short story or novelette, a great variety of characters, complication of plot, and exploration of character motivation and psychology.
|
|
Wit
|
concise word play designed to create the delight of cosmic surprise. Most wit is expressed in epigrams.
|
|
Difference(s) between wit and humor
|
Wit is purposeful while humor can be inadvertent. A wit knows they are being funny, but a character can be humorous without intention.
|
|
Epigram
|
terse comic statements that play with language in order to undermine the listeners' expectations but nevertheless satisfy their expectations surprisingly.
|
|
Harmless Wit
|
wit for the sake of mutual fun and amusement.
|
|
Tendency Wit
|
aggressive joking that seeks to humiliate a foe or rival.
|
|
Repartee
|
a contest of verbal wit in which the "combatants" attempt to turn their "opponents" words to their own advantage.
|
|
Comedy of manners
|
a play that addresses the lives of upper-class society in which the humor arises both from witty dialogue, often in the form of repartee, and from the violations of social standards of decorum.
|
|
Satire
|
the literary art of diminishing or derogating a subject by making it ridiculous and evoking toward it attitudes of amusement, contempt, scorn, or indignation.
|
|
Difference b/w comic and satire
|
Comic uses comedy to evoke laughter mainly as an end in itself, while satire uses laughter as a weapon, and against a butt that exists outside the work itself. The butt of satire may be a person, class, institution, nation, etc.
|
|
Juvenalian satire
|
th speaker seriously denounces the follies of their time. Often provides a moral.
|
|
Blank Verse
|
unrhymed lines of poetry written in iambic pentameter
|
|
Chorus
|
a group of people serving as commentators on the dramtic actions and events and express moral, religious, or social attitudes. (Greek) In Elizabethan stage, it was a person who spoke the prologue and epilogue of a play.
|
|
Soliloquy
|
the act of talking to oneself, whether silently or aloud.
|
|
Bombast
|
a wordy and inflated diction that is ridiculously inappropriate to the matter to which it refers.
|
|
Morality Play
|
dramatized allegories of a representative Christian life in the plot form of a quest for salvation, in which the crucial events are temptations, sinning, and the climactic confrontation with death. Character personfications usually enclude mankind or everyman, virtues, vices, death, angels, and demons.
|
|
Seven deadly sins
|
Pride, covetousness, lust, envy, anger, and sloth
|
|
A Priori
|
reasoning about a proposition or concept based not upon experiential or observational phenomena but upon reasoning itself
|
|
Empiricist
|
reasoning about a proposition or concept based upon experiences and observations that can be reproduced.
|
|
Dream of the Rood
|
Dream vision
|
|
Lanval
|
Courtly Love
|
|
Sir Gawain and the Green Knight
|
Chivalric Romance
|
|
Portrayal of Jesus
|
Usually as a knight or a warrior
|
|
Ancrene Riwle
|
Courtly Love
|
|
Estates satire
|
Chaucer
|
|
Fabliau
|
Miller's Tale
|
|
Fable
|
short narrative in prose or verse that an abstract moral thesis or principle of himan behavior is exemplified. Usuallly at the conclusion either the narrator or one of the characters states the moral. Usually includes animals w/ human behaviors.
|
|
Nun's Priest's Tale
|
Fable
|