| A | B |
|---|
| Alliteration | the repetition of initial consonant sounds |
| Allusion | An allusion is a reference to something historical, artistic, or cultural which the poet or speaker expects the reader to recognize |
| Apostrophe | speaker addresses someone absent or dead or something nonhuman as though it were alive and present and could reply |
| Approximate rhymes (slant rhymes) | use of words with any kind of sound similarity, from close to fairly remote |
| Assonance | the repetition of vowel sounds |
| Auditory | (sound) |
| Conflict | a clash of actions, ideas, desires, or wills: physical, mental, emotional, or moral |
| Connotation | the force or impact carried by a term that goes beyond denotation |
| Consonance | the repetition of final consonant sounds |
| Couplet | Two rhymed lines |
| Denotation | dictionary definition of a word |
| Dramatic irony | An incongruity or discrepancy between what a character says or thinks and what the reader knows to be true |
| Dramatic irony | An incongruity or discrepancy between what a character perceives and what the author intends the reader to perceive |
| Dynamic characters | undergo some distinct change of character, personality, or outlook. |
| End rhyme | placement of riming words at the end of the lines |
| Enjambment | the running on of the thought from one line, couplet, or stanza to the next without a syntactical break |
| First-person POV | the narrator is a character speaking in the first person |
| Flat characters | usually have only one or two predominant traits; they can be summed up in a sentence or two. |
| Foil | A minor character whose situation or actions parallel those of a major character, and thus by contrast sets off or illuminates the major character; most often the contrast is complimentary to the major character |
| Gustatory | (taste) |
| Hyperbole (overstatement) | Exaggeration in the service of truth |
| Internal rhyme | the inclusion of one or more riming words within the line |
| Kinesthetic | (motion) |
| Metonymy | used some significant aspect or detail of someone or something to represent the whole |
| Objective POV | the narrator is a sort of ÒcameraÓ speaking in the third person, knowledge is limited to what he/she can see and hear, he/she cannot interpret behavior, he/she can not see inside the charactersÕ minds and hearts |
| Octave | Eight lines with a rhyme scheme |
| Olfactory | (smell) |
| Omniscient POV | narrator is a third person not involved in the story, knowledge is unlimited, can interpret behavior, and comment on the significance of the story, can see inside the charactersÕ minds and hearts |
| Organic | (internal sensation) |
| Paradox | An apparent contradiction that is nevertheless somehow true |
| Perfect rhyme | the rhyme in which the rime sounds are identical |
| Point of view | is determined by who tells the story and how the story is told |
| Protagonist | the central or main character, the character on whom the story focuses |
| Quatrain | Four lines with a rhyme scheme |
| Refrain | the patterned repetition of whole words, phrases, lines, or groups of lines |
| Rhyme | the combination of assonance and consonance in the repetition of the accented vowel sound and all succeeding sounds |
| Rhyme scheme | the fixed pattern of rhymes characterizing a whole poem or its stanzas |
| Round characters | are comprehensive and many-sided; they have the three- dimensional quality of real people. |
| Sarcasm | bitter or cutting speech, intended to wound anotherÕs feelings |
| Satire | ridicule of human folly in order to bring about change |
| Sestet | Six lines with a rhyme scheme |
| Situational irony | A situation in which there is an incongruity between appearance and reality |
| Situational irony | A situation in which there is an incongruity between expectation and fulfillment |
| Situational irony | A situation in which there is an incongruity between the actual situation and what would seem appropriate |
| Static characters | remain essentially the same person from the beginning of the story to the end; they do NOT grow |
| Stock characters | are stereotypical figures who has recurred so often in fiction that we recognize them at once as a familiar type or role |
| Tactile | (touch) |
| Theme | Theme is the central idea or unifying generalization implied or stated by a literary work |
| Third-person limited POV | a third person not involved in the story, knowledge is limited to what he/she can see, hear, smell, taste and touch; what he/she thinks or feels; and what he/she can interpret behavior, cannot see inside the charactersÕ minds and hearts |
| Tone | The writerÕs or speakerÕs attitude toward the subject, the audience, or himself/herself, the emotional coloring, or emotional meaning, of a work |
| Verbal irony | saying the opposite of what one means |
| Visual | (sight) |
