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65 Cards in this Set
- Front
- Back
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iambic, trochaic, spondaic |
meters with two-syllable feet |
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iambic |
(x/) Every other syllable starting with the second syllable is stressed |
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trochaic |
(/x) every other syllable is stressed starting with the first syllable |
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spondaic |
(//) a string of words is stressed |
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anapestic, dactylic |
meters with three-syllable feet |
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anapestic |
(xx/) every third syllable is stressed |
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dactylic |
(/xx) the first syllable of three is stressed |
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meters |
each line or poem contains a certain number of feet of iambs, trochees, spondees, dactyls, or anapests |
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plot |
the arrangement of events or incidents within a story. It can be arranged in a number of ways including (but not limited to) chronological order, in medias res, and flashbacks |
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character |
usually (but not always) a person who plays a role in the fiction. |
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dynamic character |
the character changes or evolves over the course of the story |
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epiphany |
a moment of understanding at which some realization about the world becomes clear |
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static character |
characters who do not change (flat characters) |
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setting |
context in which a story's actions happens (eg. time, place, and social environment). Helps us understand the character and action, and also used to evoke mood or atmosphere |
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point of view |
refers to who tells the story and how it is told (the narrative voice). Writers choose specific narrators to filter their stories through filters, choosing which details to include and exclude to create certain effects |
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third person omniscient narrators |
the narrator knows everything about the story and has access to the minds and thoughts of all the characters. Can transport the story through time and place. Narrator tells the story but does not participate in it! |
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third person limited omniscient |
most widely used for short stories. This narrator is like the omniscient except the readers only go inside the thoughts of one character (usually). The reader's view is completely limited to this character's view of it |
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third person objective |
narrator is outside the characters, and therefore does not have access to anyone's thoughts or feelings. Relies on dialogue, description, and action to reveal characters; feelings and motivations |
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first person |
one of the characters tell his/her own or someone else's story. Uses "I" to show his/her own role, and so the tale is limited to one character's perceptions. This kind of storytelling is often more immediate and powerful as the readers identify closely with a player in the action. Can be unreliable. |
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stream of consciousness |
a rare POV used in the 20th century that takes the readers inside the mind of a character or characters as it attempts to mimic actual thought (includes the unpredictable and haphazard flow of thought as the story reflects fragments of thoughts, abrupt shifts in thinking, rapid associations, and other extraneous information) |
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style |
distinctive manner in which the writer uses word choice, sentence structure, and other effects to create effects |
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tone |
the author's implicit attitude toward the story's events or characters |
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irony |
idea that things are not always as they appear to be |
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verbal irony |
a person saying one thing and meaning another |
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situational irony |
involves an incongruity between what is expected to happen and what actually happens |
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dramatic irony |
the difference between what a character says and what the reader knows to be true (occurs when the reader is privy to more information than some or all of the characters) |
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cosmic irony |
the expectation is not met due to forces beyond our control as human beings. Nature or fate acts in a way that thwarts human success |
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symbolism |
object, setting, character, action, name, or anything else that maintains its literal meaning in a story while suggesting other meanings |
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theme |
central idea or meaning in a story (story can have more than one or no theme at all). This is usually more of an exploration of human feelings, values, and institutions. While there is usually no one "right" theme, there are invalid meanings |
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invalid meanings |
themes which ignore elements in a story or otherwise lose sight of the events or characters in search of "meaning" |
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epistolary novel |
novel written in the form of letters |
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On the Equality of the Sexes |
Written by Judith Sargent Murray |
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From a Vindication of the Rights of Women |
Written by Mary Wollstonecraft |
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"The Author to Her Book," "To My Dear and Loving Husband," and "Verses Upon the Burning of Our House" |
Written by Bradstreet |
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"The Cry of the Children", "The Runaway Slave at Pilgrim's Point," and "How Do I Love Thee" from Sonnets from the Portuguese |
Written by Elizabeth Barrett Browning |
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Jane Eyre |
Written by Charlotte Bronte |
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"The Yellow Wall Paper" |
Written by Charlotte Perkins Gilman |
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denotation |
dictionary definition(s) of a word |
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connotation |
associations and suggested meanings of a word beyond the dictionary definition |
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(exact) rhyme |
full rhyme. The initial consonant sound is different, but the rest of the words rhyme exactly or perfectly |
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near rhyme/off rhyme/imperfect rhyme |
word that are close to being a rhyme but slightly off, (eg. "other" and "shudder") |
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end rhyme |
rhymes occurring at the end of the poetic line (most common form of rhyme in English poetry) |
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image |
a thing seen (in poetry, it is a word or a sequence of words that offers or provides a sensory experience) |
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visual image |
sight |
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auditory image |
sound |
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tactile image |
touch |
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olfactory image |
smell |
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imagery |
all images in a given poem or text taken together |
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alliteration |
repetition of initial consonant sounds (eg. Susie sells sushi by the seashore) |
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consonance/slant rhyme |
linked words that share similar consonant sounds but different vowel sounds (eg. reason and raisin/health and hearth) |
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assonance |
repetition of vowel sounds that makes kind of a rhyme-y sound without being end-rhymed (eg. "oo") |
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rhythm and meter |
recurrent, regular, rhythmic pattern in verse that involves the stressed (/) and unstressed (x) syllables of words |
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figures of speech (FOS) |
the "special effects" of language often used in poetry |
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simile |
comparison between unlike objects using "like" or "as" or a verb like "resembles" |
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metaphor |
comparison between unlike objects that does NOT use "like" or "as," but uses the verb "to be" (eg. "is"). Larger in its scope than a simile |
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apostrophe |
direct address to a person or object not usually spoken to. Could be an inanimate object, a person dead or absent, an abstraction. It dramatizes nonhuman things in human terms |
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personification |
bestowing human characteristics on an inhuman or inanimate object or abstract notion |
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symbol |
something that, while it is of interest and important in and of itself, also suggests something larger and more complex than the literal (often an idea or range of interrelated ideas, attitudes, and practices) |
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diction |
word choice or vocabulary chosen for its appropriateness to the work at hand |
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levels of diction |
a system of ranking vocabulary into levels of formality |
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vulgate |
least formal diction. Language/vocabulary of people who were not particularly educated (vulgar or common) |
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colloquial |
casual conversation or informal writing by literate peopleg |
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general |
literate and studied but not pretentious |
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formal |
impersonal, highly educated language usually written or spoken only at the most formal occasions |
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poetic diction |
language deemed suitable for verse, generally referring to the pre-20th century use of elevated language for poetry (ended by the 20th century) |
