| A | B |
|---|
| characterization | THE WAY AN AUTHOR REVEALS HER CHARACTERS |
| theme | central message of a work |
| foreshadowing | giving clues to suggest events that have yet to occur |
| mood | feeling created (in the reader) by a work |
| irony | contrast between what is stated and what is meant |
| simile | making comparisons between two subjects using like or as |
| stanza | groups of lines in a poem - paragraphs, stanzas |
| flashback | a section in a literary work that interrupts the chronological order of events to relate an event from an earlier time. (goes back in time) |
| protagonist | the good main character |
| metaphors | "The stream's a snake." |
| simile | "She dances like a princess." |
| hyperbole | "My date last night was the most beautiful girl in the world." |
| personification | "The fog crept in on little cat feet." |
| oxymoron | "Jumbo shrimp" |
| ALLITERATION | "The twisting trout twinkled below." |
| ASSONANCE | "cry" "side" "mine" "type" |
| CONSONANCE | "...a murmuring of immemorial elms..." |
| HYPERBOLE | "...the shot heard 'round the world..." |
| ONOMATOPOEIA | "buzz" "bang" "hiss" "splash" |
| OXYMORON | "sweet sorrow" "cold fire" |
| PARADOX | "Much madness is divinest sense." |
| PERSONIFICATION | "The train wailed in the night." |
| PUN | Mercutio with his dying breath: "Look for me tomorrow and you will find me a grave man." |
| SIMILE | "The warrior fought like a lion." |
| SOLEMN | DEEPLY SERIOUS |
| INDIGNANT | FEELING OR SHOWING ANGER |
| VEHEMENT | CHARACTERIZED BY FORCEFUL EMOTIONS |
| CONDESCENDING | 24. displaying a superior attitude |
| STATIC CHARACTER | A CHARACTER WHO STAYS THE SAME |
| DYNAMIC CHARACTER | A CHARACTER WHO CHANGES |
| SENTIMENTAL | EXTREMELY EMOTIONAL |
| Assonance | rhyming or harmony of vowels |
| Onomatopoeia | use of words or sounds to imitate sound effects |
| Pun | play on words |
| Personification | give inanimate object human characteristics |
| Hyperbole | exaggeration |
| Irony | use of a word to convey opposite meaning |
| metaphor | "The stream's a snake." |
| simile | "She dances like a princess." |
| oxymoron | ACT NATURALLY |
| ALLITERATION | "The twisting trout twinkled below." |
| climax | The point of highest dramatic tension or a major turning point in the action; the most emotional or suspenseful moment in story |
| FICKLE | CHANGEABLE |
| COUPLET | TWO CONSECUTIVE LINES THAT RHYME |
| DRAMA | LITERATURE MEANT TO BE PERFORMED ON STAGE |
| BENEVOLENT | CHARACTERIZED BY CONCERN FOR OTHERS |
| MALEVOLENT | HAVING OR EXHIBITING ILL WILL; WISHING TO HARM OTHERS; MALICIOUS |
| SARCASTIC | CONTEMPTUOUS OR IRONIC IN MANNER OR WIT; NASTY OR MOCKING IN SPEECH |
| FLIPPANT | MARKED BY DISRESPECTFUL LEVITY OR CASUALNESS; IRREVERENT |
| IMPARTIAL | UNPREJUDICED; UNBIASED |
| SONNET | A FOURTEEN LINE POEM WRITTEN IN IAMBIC PENTAMETER |
| IAMBIC PENTAMETER | LINES OF POETRY CONSISTING OF FIVE IAMBIC FEET; THERE WILL BE TEN SYLLABLES PER LINE |
| soliloquy | speech a character gives alone on stage |
| oxymoron | phrase or expression that is seemingly contradictory |
| foreshadowing | technique of hinting about events to come |
| ALLITERATION | "The twisting trout twinkled below." |
| ASSONANCE | "cry" "side" "mine" "type" |
| CONSONANCE | "...a murmuring of immemorial elms..." |
| HYPERBOLE | "...the shot heard 'round the world..." |
| OXYMORON | "sweet sorrow" "cold fire" |
| PERSONIFICATION | "The train wailed in the night." |
| biography | An account of a person’s life written or told by another person |
| antagonist | The character that contends with or opposes another character |
| theme | The general idea or insight about life that a work of literature reveals |
| alliteration | The repetition of a consonant sound at the beginning of words |
| conflict | The struggle between persons or forces in a work of drama or fiction |
| assonance | the repetition of vowel sounds in stressed syllables that end in different consonant sounds as in lime light |
| epic | a long story., often told in verse, that tells of a culture's heroes and gods |
| external conflict | a struggle that takes place between a character and something outside that character such as another character, society or nature |
| foreshadowing | the act of hinting at events that will happen later in a literary work |
| internal conflict | a struggle that takes place inside the mind of the character |
| characterization | THE WAY AN AUTHOR REVEALS HER CHARACTERS |
| personification | a non-human subject is given human traits |
| alliteration | repetition of first sound (Peter Piper picked) - repeated at least two times |
| flashback | a section in a literary work that interrupts the chronological order of events to relate an event from an earlier time. (goes back in time) |
| protagonist | the good main character |
| antagonist | the bad main character |
| SOLEMN | DEEPLY SERIOUS |
| INDIGNANT | FEELING OR SHOWING ANGER |
| VEHEMENT | CHARACTERIZED BY FORCEFUL EMOTIONS |
| CONDESCENDING | 24. displaying a superior attitude |
| STATIC CHARACTER | A CHARACTER WHO STAYS THE SAME |
| DYNAMIC CHARACTER | A CHARACTER WHO CHANGES |
| SENTIMENTAL | EXTREMELY EMOTIONAL |
| oxymoron | ACT NATURALLY |
| SIMILE | YOU ARE AS BEAUTIFUL AS THE SUNSET. |
| METAPHOR | SHE IS THE APPLE OF MY EYE. |
| ALLITERATION | LOVELY LILTING LINES OF LIKE LETTERS |
| HYPERBOLE | I'VE SAID THAT A MILLION TIMES! |
| PERSONIFICATION | THE SEA CALLED TO ODYESSEUS. |
| concise | clear and succinct |
| melancholy | sadness or depression of the spirits; gloom |
| nostalgic | feeling a bittersweet longing for the past and/or homesickness |
| epic hero | an almost superhuman character who represents the values of a particular culture and often goes on a long journey or quest |
| hostile | feeling or showing ill-will |
| epithet | a word or phrase used to replace someone’s name; it helps characterize that person |
| clarity | clearness of thought or style; lucidity |
| invocation | a prayer for inspiration |
| epic | a long narrative poem about the adventures of an almost superhuman character |
| external conflict | when a character battles an outside force |
| internal conflict | when a character struggles to make a decision |
| conflict | the problem or complication in a story |
| antagonist | the person who opposes the main character |
| protagonist | the main character |
| ABDICATE | THE KING DECIDED TO ___ THE THRONE. |
| ABSOLVE | HE ASKED THE PRIEST TO ____ HIM OF HIS SINS. |
| ARROGANT | THE ___ BOY THOUGHT HE WAS BETTER THAN EVERYONE ELSE. |
| BENEVOLENT | THE ___ WOMAN WORKED HARD TO HELP THE HOMELESS. |
| NOSTALGIC | THE ____ BOY MISSED HIS MOM. |
| MELANCHOLY | THE ____ GIRL CRIED ALL THE TIME. |
| FICKLE | THE ___ BOY BROKE UP WITH JENNY BECAUSE HE SAW TINA AND FELL IN LOVE. |
| SHRIFT | I MUST GO TO ___ IN ORDER TO CONFESS MY SINS. |
| SARCASTIC | BOB WAS PUNISHED FOR BEING ___ TO HIS MOTHER. |
| MALEVOLENT | THE ___ SPIRITS THREATENED US. |
| BENEVOLENT | THE ___ LADY DONATED MONEY TO THE ANIMAL SHELTER. |
| GRAVE | SOMBER OR SOLEMN; DANGEROUS |
| ECSTATIC | EXTREMELY JOYFUL |
| EMPATHETIC | EXHIBITIN AN UNDERSTANDING OF OTHERS FEELINGS |
| SERENE | CALM AND UNRUFFLED |
| TAUNTING | JEERING; TORMENTING |
| CHERISH | TO HOLD DEAR |
| RESOLUTION | WHEN ALL THE LOOSE ENDS ARE TIED UP |
| FALLING ACTION | EVENTS THAT OCCUR AFTER THE CLIMAX |
| CLIMAX | POINT OF NO RETURN; POINT OF MOST INTENSE INTEREST |
| RISING ACTION | ALL THE EVENTS THAT LEAD TO THE CLIMAX |
| NARRATIVE HOOK | THE PART OF THE STORY THAT GRABS THE READER'S ATTENTION |
| EXPOSITION | THE PART OF THE STORY THAT EXPLAINS THE BACKGROUND AND MAKES CONFLICT CLEAR |
| PLOT | THE SEQUENCE OF EVENTS IN A STORY |
| NOVEL | A LONG WORK OF NARRATIVE PROSE FICTION |
| ANECDOTE | SHORT SUMMARY OF A FUNNY EVENT |
| ARCHETYPE | A REPEATING PATTERN OR FORM IN LITERATURE |
| BALLAD | A SONG ABOUT SOMEONE FROM THE PAST |
| CLICHE | AN OVERUSED WORD OR PHRASE |
| DIALOGUE | CONVERSATION BETWEEN 2 OR MORE CHARACTERS |
| SYMBOL | SOMETHING SEEN THAT STANDS FOR SOMETHING UNSEEN |
| FICTION | STORIES ABOUT IMAGINARY PEOPLE, PLACES, AND EVENTS |
| FREE VERSE | POETRY WITHOUT A REGULAR PATTERN OF RHYTHM OR RHYME |
| LYRIC POETRY | SHORT POETRY, USUALLY ABOUT AN EMOTION, AND ONLY HAS ONE SPEAKER |
| OXYMORON | "sweet sorrow" "cold fire" |
| HYPERBOLE | I'VE SAID THAT A MILLION TIMES! |
| PERSONIFICATION | THE SEA CALLED TO ODYESSEUS. |
| concise | clear and succinct |
| melancholy | sadness or depression of the spirits; gloom |
| hostile | feeling or showing ill-will |
| epic | a long narrative poem about the adventures of an almost superhuman character |
| EPITHET | XENA, WARRIOR PRINCESS |
| ONOMATOPOEIA | BUZZ |
| ASSONANCE | HOW NOW BROWN COW |
| CONSONANCE | THE CAT ATE THE RAT ON THE PLATE. |
| theme | central message of a work |
| mood | feeling created (in the reader) by a work |
| couplet | a pair of rhyming lines usually of the sme lenght and meter |
| setting | the timeand place of the action |
| internal conflict | involves a character in conflict with himself or herself |
| couplet | a pair of rhyming lines usually of the sme lenght and meter |
| drama | a story written to be performed by actors |
| ALLUSION | A REFERENCE TO SOMETHING OUTSIDE THE WORK; USUALLY MYTHICAL, BIBLICAL OR HISTORICAL |
| SYMPATHETIC | COMPREHENDING THE NEEDS AND FEELINGS OF OTHERS |
| FACETIOUS | LACKING SERIOUS INTENT; NOT MEANT TO BE TAKEN SERIOUSLY |
| OBJECTIVE | NOT INFLUENCED BY PERSONAL FEELINGS; BASED ON FACTS |
| CONTEMPTUOUS | SHOWING OR EXPRESSING CONTEMPT OR DISDAIN |
| PORTENTOUS | FOREBODING |
| ADVERSARY | A FOE, AN ENEMY |
| CONNOTATION | THE FEELINGS ASSOCIATED WITH A WORD |
| DENOTATION | DICTIONARY DEFINITION OF A WORD |
| PARALLELISM | REPETITION OF GRAMMATICAL STRUCTURE |
| PROSE | OPPOSITE OF POETRY; WRITING IN SENTENCES |
| IMAGERY | WORD THAT PAIN A PICTURE AND RECREATE SENSORY EXPERIENCE |
| ANECDOTE | SHORT SUMMARY OF A FUNNY EVENT |
| ARCHETYPE | A REPEATING PATTERN OR FORM IN LITERATURE |
| BALLAD | A SONG ABOUT SOMEONE FROM THE PAST |
| CLICHE | AN OVERUSED WORD OR PHRASE |
| DIALOGUE | CONVERSATION BETWEEN 2 OR MORE CHARACTERS |
| SYMBOL | SOMETHING SEEN THAT STANDS FOR SOMETHING UNSEEN |
| FICTION | STORIES ABOUT IMAGINARY PEOPLE, PLACES, AND EVENTS |
| FREE VERSE | POETRY WITHOUT A REGULAR PATTERN OF RHYTHM OR RHYME |
| LYRIC POETRY | SHORT POETRY, USUALLY ABOUT AN EMOTION, AND ONLY HAS ONE SPEAKER |
| CYNICAL | PESSIMISTIC; SKEPTICAL |
| APATHETIC | INDIFFERENT; UNCONCERNED |
| DEFIANT | DISOBEDIENT |
| WITTY | FUNNY AND CLEVER |
| DIPLOMATIC | TACTFUL; SKILL IN DEALING WITH OTHERS |
| PENSIVE | THOUGHTFUL; WORRIED |
| DISDAIN | TO REJECT AS BENEATH ONESELF |
| POINT OF VIEW | THE PERSPECTIVE FROM WHICH A STORY IS TOLD |
| FIRST PERSON | CHARACTERIZED BY THE PRONOUN "I" |
| THIRD PERSON | TOLD FROM THE PERSPECTIVE OF SOMEONE OUTSIDE THE STROY WHO KNOES THE THOUGHTS AND FEELINGS OF A SINGLE CHARACTER IN THE STORY |
| OMNISCIENT | TOLD FROM THE PERSPECTIVE OF SOMEONE OUTSIDE THE STORY WHO KNOWS THE THOUGHTS AND FEELINGS OF ALL THE CHARACTERS |
| DIRECT CHARACTERIZATION | THE AUTHOR TELLS THE AUDIENCE WHAT THE CHARACTER IS LIKE |
| INDIRECT CHARACTERIZATION | THE READER MUST USE THE CHARACTER'S THOUGHTS, FEELINGS, AND ACTIONS TO DETERMINE WHAT THE CHARACTER IS REALLY LIKE |
| HAMPER | TO HINDER OR OBSTRUCT |
| PLACID | CALM; SERENE |
| ABRASIVE | COARSE; ROUGH |
| COVERT | HIDDEN |
| COWER | TO RECOIL IN FEAR |
| CREDIBLE | BELIEVABLE |
| REPREHENSIBLE | SHAMEFUL |
| BLATANT | OBVIOUS |
| BLATANT | I COULD NOT BELIEVE THE ___ LIES SHE TOLD! |
| REPREHENSIBLE | SHE WAS EMBARRASSED BY HER SON'S _____ BEHAVIOR. |
| DISDAIN | CANDICE LOOKED AT THE OTHER GIRL'S CLOTHING WITH ____. |
| COWERED | FRIGHTENED BY THE ANGRY, HISSING CAT, THE PUPPY ______ UNDERNEATH THE BED. |
| CREDIBLE | THE ATTORNEY THOUGHT THAT BOB WOULD MAKE A BELIEVABLE, ______ WITNESS. |
| PLACID | THE ____ EXPRESSION ON HER FACE HID HER INNER TURMOIL. |
| ABRASIVE | HIS _____ MANNER DID NOT ENDEAR HIM TO HIS PATIENTS; THEY THOUGHT HE WAS TOO HARSH. |
| COVERT | THE AGENTS WERE SENT OUT ON A ____ OPERATION. |
| HAMPER | THE INVESTIGATION WAS _____(ED) BY CRIME SCENE CONTAMINATION. |
| VICARIOUS | FELT OR UNDERGONE AS IF ONE WERE TAKING PART IN THE EXPERIENCE OF ANOTHER |
| VICARIOUSLY | JOHN LIVED ____(LY) THROUGH THE ACTION MOVIES HE WATCHED. |
| MANDATE | AN AUTHORITATIVE COMMAND |
| MANDATED | IT WAS ___(ED) THAT BOB DO FORTY HOURS OF COMMUNITY SERVICE. |
| ALTRUISM | SELFLESSNESS; UNSELFISH CONCERN FOR OTHERS |
| ALTRUISM | THE WEALTHY MAN WAS KNOWN FOR HIS ____; HE WAS ALWAYS TRYING TO HELP THE LESS FORTUNATE. |
| LACKADAISICAL | LACKING ENERGY |
| LACKADAISICAL | THE ____ YOUNG MAN WAS TOO LAZY TO GET HIS OWN SODA. |
| INEPT | CLUMSY |
| INEPT | THE ___ REFEREE KEPT GETTING IN THE FORWARD'S WAY. |
| FINESSE | SKILLFUL; TACTFUL, REFINEMENT AND DELICACY OF PERFORMANCE |
| FINESSE | ERIC STAAL'S ___ ON THE ICE MAKES HIM A LEADING GOAL-SCORER. |
| TENACIOUS | PERSISTANT |
| TENACIOUS | THE ____ MAN WOULD NOT TAKE NO FOR AN ANSWER. |
| ENIGMA | A RIDDLE |
| ENIGMA | THE STRANGE LIGHTS IN THE SKY COULD NOT BE EXPLAINED; THEY WOULD REMAIN AN ______. |
| ARCHAIC | OUTDATED |
| ARCHAIC | THEY FOUND _____ REMNANTS OF AN ANCIENT CIVILZATION AS THEY WERE EXCAVATING THAT PLOT OF LAND. |
| SACROSANCT | REGARDED AS SACRED |
| SACROSANCT | IN EQUALITY'S SOCIETY, THE COLLECTIVE GOOD IS _____ AND INDIVIDUALITY IS A SIN. |
| NEBULOUS | VAGUE; CLOUDY |
| NEBULOUS | WE FOUND HER DIRECTIONS TO BE SO ____ THAT NO ONE WAS SURE OF WHAT TO DO. |
| LOQUACIOUS | THE _____ GIRL WOULDN'T STOP TALKING! |
| LOQUACIOUS | VERY TALKATIVE |
| METONYMY | ONE WORD OR PHRASE IS SUBSTITED FOR ANOTHER WITH WHICH IT IS CLOSELY ASSOCIATED. |
| METONYMY | WE RECEIVED ORDERS FROM WASHINGTON TO INVADE THE COMPOUND. |
| SYNECDOCHE | A FIGURE OF SPEECH IN WHICH A PART STANDS FOR THE WHOLE |
| SYNECDOCHE | HE ASKED FOR HER HAND IN MARRIAGE. |
| UTOPIA | AN IDEALLY PERFECT PLACE |
| UTOPIA | MY ____ IS A WORLD WHERE EVERYONE IS HAPPY AND CONTENT. |
| DYSTOPIA | A PLACE IN WHICH THE CONDITIONS ARE EXTREMELY BAD |
| DYSTOPIA | WHILE MARX'S IDEAS SOUNDED GOOD, THEY FORMED A ______ IN WHICH MANY PEOPLE WERE DEPRIVED OF BASIC NECESSITIES AND HAPPINESS. |
| SEMICOLON | USED TO SEPARATE TWO INDEPENDANT CLAUSES THAT ARE RELATED. |
| PERIOD | USED AT THE END OF A SENTENCE |
| COLON | OFTEN USED BEFORE A LIST |
| QUOTATION MARKS | USED AT THE BEGINNING AND END OF A QUOTE |
| To avoid confusion, use _____ to separate words and word groups with a series of three or more. | COMMAS |
| Use a comma to separate two ____ when the word and can be inserted between them. | HE IS A STRONG, HEALTHY BOY. |
| Use a comma when an __ adjective is used with other adjectives. | LY EXAMPLE. FELIX WAS A LONELY, YOUNG BOY. |
| Use commas before or surrounding the name or title of a person directly addressed. | WILL YOU, JESSE, DO THAT ASSIGNMENT FOR ME? |
| Use a comma to separate the day of the month from the year and after the year. | Kathleen met her husband on December 5, 2003, in Mill Valley, California. |
| Use commas surrounding words such as therefore and however when they are used as interruptors. | I would be happy, however, to volunteer for the Red Cross. |
| Use a semicolon in place of a period to separate two sentences where the conjunction has been left out. | Call me tomorrow; I will give you my answer then. |
| Use the semicolon to separate units of a series when one or more of the units contain commas. | This conference has people that have come from Boise, Idaho; Los Angeles, California; and Nashville, Tennessee. |
| , comma | to make smaller breaks within a sentence, e.g after a clause or a joining word |
| ! exclamation mark | to indicate strong feelings, e.g. surprise, anger, indignation |
| ? question mark | to end a question |
| ; semi-colon | to make a break in a long sentence, which is longer than a comma and shorter than a full stop |
| : colon | before a list |
| 's apostrophe 'S' | to show that something belongs to somebody or to show 2 words have been put together |
