IL/, 1

,?rt1 ,,1

ltr11',rtltutl Itltttiltl

lttnt
irr

lrt.tittrlorrrrrrr[', llrllrIlrr',tlir]n,(lis(()vcl'y,atttlrlcvclo;rnrcrrtof clcLailstobe ust'tl

,ilt(..,:,,t\'(I/')

e.r(l('n( ('

(r n()un phrase ("<tur sacred

llr'oup

A coherent word group spoken as a single rhythmical unit, such as

honor") or prepositional phrase ("of parting day").

e'ssary.

|74)

A Glossary of Important Literary Terms

central idea or central argument The thesis or main idca of an of a literary work. (117)

(26). The theme

character An extended verbal representation of a hurnan being; thc

irrrrcr scll tlrirt tlt' termines thought, speech, and behavior. (3,19,66-77) climax Greek for Indder.The high point ot cortflict and tension prece.cling Ilrt' r't'solrrtiitn of a story or play; the point oi tlt'r'ision, of inevitability and no rcturn. l lrc t li t-nax is sometimes mergec-l with tlrt'r llsls irr the corrsideration of drantatir' ,rntl

Tlris gloss,r ry prcsents brief definitions of terms that appear in boldface throughout tht' brxrl.. l'.rgt' rcferences indicate where readers may find additional detail and illustration, Io1',r'llrt'r with discussions about how the concepts may be utilized in studying and writ i rrli .rlrout literature.

closed-form

narrative structr-rre. (1 00) poetry Poetry written irr sPt'r'ilir' ,rntl traditional patte-rns prodtrcccl through control of rhynrc, nreter, lirrr' It'n1',llr, ,rrrrl lirrt'r',rorrpings; traditional poetry. (767-74)

reading The detatilerl sttrtly ol-il [)()('nr ()r l),r:;:',r1'('. tlt'sir',rrt'tl to explain chartrcters, ideas, style, setting, trncl so orr. (5(r (rlj) close-up In film, a canrcra view ol alr,l(t()r''s lrt',rrl .rrr,l lrl)l)('r lxxl\,, tlt,signt'rl to emclose

the sounds be ginning words) in close proximity (e.9., "pensive poets," "grown gray"). (168,175) allusion Indirect references and quotations. Authors assume that readers will recognize the original sources and relate their meaning to the new context. (13747) analytical sentence outline A scheme or plan for an essay, arranged according to topics (A, B, C, etc.) and with the topics expressed in sentences. (31) anapest A three-syllable foot consisting of two li5;ht stresses climaxed by a heavy stress; also spelled anapaest. (767) antagonist The person, idea, force, or general set of circumstances opposing the pro fagonist; an essential element of plot. (70)

.rctions The activities and events in a literary work. (3,94) alliteration The repetition of identical consonant sounds (most often

phasizethepsycholtlgical rttakt'ulritttti tr',trliott:'ol lltlrlt,tt.trltrlrlirrl', Itollrayed;

to be contrastecl

with

lortc sltol . (211)

llTllrr. comparison-contrast A technitltrt' tl1 .tttttlyzing trvo or rrro|t' t't/()r'l\s ilr ori lIr lo tlt'lt'rmine similarities and difiercnces in toPit, Ircntrrr('nt,.rrrtl tltr,rlrty. ( lf; I ()r)) complication A stage of narrtrtive arrd cl rermatic structur(' irr whir'h t ht' r, jor t or r I I it ls are brought out; the rising action of a drama. (100) conflict The opposition between two characters, between large gror-rps ol pt,oplt', or' between protagonists and larger forces such as natural objects, ideas, nrotlt,s ol lrt'havior, public opinion, and the like. Conflict may also be internal and psvclrolog
See
rr r

common measure

ical, involving choices facing a prLttaronist.It is the essence of pl()t. (94)

anticipation See Ttrocafilepsis. antithesis A rhekrrical clevice of opposition, in which one idea or word is established, ,rntl thcrr the opposite irlea or worcl is c'xpressed, as in "I trust but cloubt." (169) archetypal/synrbolic/mythic critical approach An interpretive literary approach explaining litcraturt' in tcnns of archetypal patterns (e.g., God's creation of human beings, the sacrificc of ir henr, tlre initiation of a your.rg person). (274)
The deve.lopmcnt of thought and logic in a literary work; the plan of action in accord with a major idea. (20) assonance The repetition of identical vowel sounds in different words in close proximity, as in the deep gteen sea. (167,175) atmosphere or mood The emotional aura invoked by a work. (111)

argument

contextual, private, or authorial symbols A symbol that is not derived from common historical, cultural, or religious materials, but instead is devekrped within tht' context of an individual work. (139) cosmic irony (irony of fate) Situotionnl irotry that is connected to a pessimistic or iatalistic view of life. (153) couplet A two-line group unified bv rhyme, content, or idea. (3, 169) creative nonfiction Stories based in reality but not to be taken trs absoltrte hislorir,rl
fact. (4)

crisis Thepointof uncertaintyandtension-thetttrnittgpoint-Ihat

conflicts and difficulties brought about throug;h the complicatiorrs

rt'srrlls lnrrrr Ilrt'

ol llrt'1/,r/.

ll11'

authorial symbols
.rtrthorial

See contextual symbols.

The voice or persona used by authors when seemingly speaking for llrt.mselves. The use of the term makes it possible to discuss a narration or prest'tttation without identifying the ideas absolutely with those of the author. See ,rlso slrr'rrkcr, point ot' aiew, and third-person point of oiezu. (84,120) lr.rll.rrl A narrative poem composed of quatrainsinballad nrcosure; that is, a pattern of r,rrrrl'i, l('lrirmeter alternating with iambic trimeter and rhyminp; x-a-x-a. (3,172) lrl.rrrl. vr.r'st' t Jrrrhymed iambic pentameter. (3, 168) 3('ll

voice

crisis leads tct the clhnax-that is, to the decision made by tht' prol,rl',(,nr\l l() t1'solve the conflict. Sornetimes the crl"^ls and the climctx art- corrsirlt'nrl ,r:' lrr,,o t'lcments of the same stage of plot development. (100) cultural or universal symbols Symhols recognized ancl slurt'tl .rs ir n'srrll ol ,r trlrtmon political, social, and cultural heritage; to be contrasit'rl willr ltt ti'rrlt s.rttrrlnls. (138) dactyl A thrr'r-syllable foot consisting of a heavy strcss lolkrn,r'tl Iry tw,o lights, as in eaclr worcl of the. phrase ntttablc quotnble pnrnhlcs. (167) deconstructionist critical approach An interpretivc litt.r.rrv ,rl)l)r().1('h that rejects absolute interprt'tatiorts ancl stresses arnbiguitics rrrrtl t orrtr'.rtlit'tiorrs. (275)

l'/ll

\t,ltt...,tnuttl

lntlttttltiltl

]tlt.ttiltl

lttrt
lr
r

I t /,,
,

,rr

tt ttl lt!tltttt ltlttl I tl t t !tt tl lt t ttt

t'/

T F_e
,
I
1

rlrirrorrcrrrt.lrl (rrlrlyilrg) ot.r.(.soluli()n Ilrr. lrrr,rl :il,tl,,r,ol lrlol rllvr,loIntr.nl, lr \\ lu, tttyslt't it's ,ll('('\l)l.lit)('(1, cltitritttt'r's lirrtl llrt'il tlt,slirrit,s, ,rrrrl (lrr, \\'(,r l\ r:, ( (,rrl,1,

t'tl.Usrrallytltedcnouernelttisdolteassl-rccjilylsPossilrlt,,

c()nfrlicts are encled. (101)

lor.il or(ln:.,ril,,r

,ril

dialogue Conversations and speeches in literary works. (3) dilemma TWo ci-roices facirrg a ltrotagonist,rrrrully in a trtrgic situatiotr, rvitlr dirneter A line of two nrctrical fcct. (167)
discursive

flict. to5t

r.rtlr, choice being unacceptable or damaging; a cause of both intcrnal .rntl t'rtt,r.rr, , ,,rr rl

economic determinist/Marxist critical approach An interpretive litcrary approar.rr based on the theories of Karl Marx, stressing that literature is b be judged'fiom a.

poetry l)ot'[rv cottccrrrcd mainly with thought and with sor-ial or l)olrtr, ,rl analysis .rrrtl t.orrrrrrt'r.rtary. (3) documentirtiolr ( ir',r rr t ing rccognition to the ideas ancl worcls of others, eithcr t 6 * rr rr. lr tt'x t t r,r l, l',r l'r r t lrt't ical, gr f6otnote references. (248-53) doublc t'trletrtlrc ("double meaning") Deliberate ambiguity, often sexual ancJ trsr,rl It, lrrrrrronrtrs. (152) drirrrr.r An irrdividual play; also plays considered as a group; one of the three,r,rJ,,r gt'rrlt's of imaginative literature. (3) d r'r rrtatic irony A special kind of si f uatl onal irony inwhich a character perceives lr is . hcr pligl'rt in a lirnited way while the atrdience and one or more oithc otirer c6,rr acters understand it entirely. (153) dramatic,or objective point of view A third-perso n narrcttionreporting speech ancl .r, . tion but excludi'5; comme'tary on the actio's antJ thoughts oi the characters. (84, s;,i dynamic character A character who undergoes adaptattn, change, or growth, rrrr like the stntic clmracter, who remains constant. ht i short story, there is usually ..lr one dynamic character, whereas jn a nooel there may be many. (70)
r

lilrrr Nlrrltotr l)t( ltll'(':i, tlrovit's. (707 221) f irst-pcrsorr point of view The use of an "l," or first-pcrson, sltrttkt'r or itttr t.ttltti n'lto tells about things ihat he or she has seen, done, spoken, heard, thought, arnrl alstr learned about in other ways. (82, 85, 88, 120) flashback or selective recollection A method of narration in which past cvcrrts rtrt' introduced into a present action. (102) flat character A character, usually minor, who is not individual but rather ttse l.ttI a Ittl structural, static and unchanging; distinguished fr<>m round charscter. (7(l) foot, feet A measured combination of heavy and light sfresses, such as tht' i,ttrrl', which contains a light ancl a ht'avy stress. (167) formalist critical approach St't' Nr'it' t't il icnl lfttrtntlisf critical approach. framing (enclosing) setting I'ht' s.r rrrc lt',r tr t rt's rrl topic or setting used at both tht' lr.' ginning and ending ttf it work stt ,ls ltt "lt,ttttt"' or "t'ltt.lose" the work. (11.1 ) free verse From the Frenclr z,t'rs liltrr,l)(x'l ly lll,rl is ttol writtetr according to set Ptrl terns. See als<'t oTten-fornt Po(trV. (3, 17 I 'it)

freewriting

See brnitrslLsrtttittt.

haiku

ApoeticformderivedfronlJapartt'st"lr''ttlilr.rr'rllv(()rrl'rrrrirrl'thlcclinesof

5'

7, andS syllables. (3)

heavy-stressrhymeorrisingrhyme Arhynrt',stttlt,r"tlt1'ttttttl't,ttttlr:;ttl ,lll,ll)l('sts, endingwithastrongstress'Therhymcstttaylrt'l)nttlttrt'rltt'tllt.ttr"'t'll'rl'h'lt't'ttls' like sky andfly, or with multisyllabic wortls in wlrrt lr llrr',tr r lttl l,rll" otr lltl l,tsl

hero,heroine Themajormaleandfemaleprotag,tlttistsitt,ttr,ttt,tlttlot ,lr,rttt,t Iltc

termsareoftenusedtodescribeleadingcharactersitt,trlvt'ttltttr"'.rtr(lr{rrrr,rlr(t':,.
(70) heroic couplet Also called the neoclassic couplet. Tivo successivt' rltv
rr r ir r1',

syllable, such as decline and confine. (167)

ltt

rr

", oI rrtr,,/'rr

editing

economic perspective. (27, 36, 271)

See montagc.

setting See t'ranin;q setting. A long narrrative poem elevating character, speech, and action. (3) "pi. epigran'r A short, pithy poem, often satiric. (3) essay A sltort arrd tightly org,anizt'cl written composition dealing with a topic such as a t'harat.tt'r., st'tting, or p1rjpl of vic:w. (.16) examination A rvritlt'rt or ortrl tcst or incluiry designed to discover a person,s understandi'g aucl capat'itv t. tleal with a particular topic or set of bpics. (222-33) , explication de texte A rncth.d of ciose reading in which words aniphrases are stud_ ied ir-r great detail. The New CriticallfLn'mgtiit critical method of the twentieth ce'tury was an outgrowtl-r of the methods of explicatiort de texte. (267) exposition The stage of dramatic or narrative structure that introduces all things .ec_ - essary for the development of the pbr. (100)
enclosing

pentameter;thesecondlineisusuallyend-stopped.Coupletswrittcrrlx'ltvllrt l('(rll and 1800 are often called "heroic," regardless of their topic nlatt('r ( I ()()) historical critical approach See to1tical lhistorical critical aytproach-

humor

The capacity to cause laughter. (150) hymn, hymnal stanza A hymn is a religious song, consisting of one .rrlLl rar('ly llr()r'(' than six replicating rhythmical stanzas. The hymnal stanza usually cotrsists ol iambic lines and alternating rhymes; sometimcs called common ftrcasLtra. (3,172) hyperbole or overstatement A rhetorical figure in which emphasis is achit'vt'tl through exaggeration. (152) iamb Atwo-syliable/oof consisting of a light stress followed by a heavy slrt'ss (r'1',
the winds).
(1'67)

idea or image,

theme

A thought, opinion, or principle; in literature, a unifyirrll itrttl

lrtlt.tl

fcct

See/oof.

It'r'inist critical approach An interpretive literary approach designed to raise con-

lir'liorr

lr1',rrr,rliv*

st'i.usness about the importance and unique natureof -omen in iiterature. (27,270) Nnrrttti1es based in the imagination of the author, not in literal, reportorial l,rr ls, ()nc of the three n-rajor genres of imaginative (2)

t.r rrr,

l.r'guage words and expressions-ihat conform to a particular pattern or ,.rrr,lr

;ts rnataphor, simile, andparalletism. (127) l lrc

literature.

Images are references that trip;gcr the mind to ittst' Iorit'lltct rttt'rtto ries of sights (olsucl), sounds (auditory), tastes (gusfnfory), srnt'lls (o//rt, /r'ttl),,ttrtl sensations of touch (tactile). "Image" refers to a single menta I ( r('ir I i( )rr ' " l r r r,rgt'ry" refers to images throughout a work or throughout the works ol ,t r't,t ilt't or'8r()uP of writers. Images may be liternl (descrtptive and pictorial) tntl tttr'lrtltltoricol (figurative and suggestive). (3) imaginative literature Literature based in the imaginatirttr ol tltt' rvritt'r; the genres

izing concept or motif. (717-26)

imagery

lilrtr ", r r|l

l,

'r

ur, r\ I'1lr'11 ,lpcJ expreSSitx-r. (210)

written dramatic text on which a film is based, inctuding directions

of imagir.rative literature are ftctirtn, poetry, ar.d dranrn. (2) imperfect fbot A metrical foot consisting of a single syllirblt', t'itlrt'r heavily or light-

ly stressed. (167)

incidents

Seencllorts.

,L-

t7)

\ r ,/,'.

,,rr

tt ttl Iurltttt lt!nl I t!t t,il v l, I

trr

\ (,/,, .r,' tl t4 I'ttl'tttlttttl I tlt'ttttll lr'tttt:'

irrctlrrgruily IIrt'rlisr'Ir'1t,rn(V l)('t\\,(\'n \\'ll,rl isotrlirr,rIrly

wllilt

is irtttrally ('xp('ri('11(('tl. l'lrc rt'srrltirrg !,,1p nrr: ut, illthough sometimes the resr,rlt mily bc cntlstr()plri(. ( ll;0) irrtellectual critical approach See topticnlf intallccttutl t'tilictl LrltltnLrclr. internal rhyme The occurrence of rhyming words witllin a singlr' lint' ol vcr':,r' ( lr,; irony Broadly, a means of indirection. Language that states thc opl-r1r5,i11' ol r,r,lr,rl r., r.
,

\1,((l(rl.rr,l is v11,r*1 ollt'rr ,r r,ur;,r' ol ,urrrr

()r lrr)iln,rll\'(

rilc1t,r.

I lrt, rrrrrrr[rt,r It,r, rcfcrring to a

0t leet Withirl a lirtc ()i traclitionAl vt'rst', stttlt

line containing five

]s

ttttttlttt l't ttltttttt

t t t

ianrbs, ctr analtcst ic td rtuncl L'r,

rcft:rring to 'r I

of four anaPests. (767) metrical foot See /ool.

r

metrics

(167) monometer A line consisting of one metrical foot'

See ProsodY.

tended tsoarbal irontl.The placement of characters in a state uf igrroruntt'i:; ,/r,r maticironv,whileanemphasisonpowerlessnessissifrdfrounlirotrtl.(I5I 5'l)

,"."*g"
mood

journal

irony of fate Sr'('{ rrr/,/i l,'{u/l/. irony of situation Scc siltttrliornl irotnl. Italian or Petrirr:rcharr sonnet Sec srrnrrcf.
A ttott'lrtxrk or word-processclr file for recgrdin6; resPonses and observ.tlr.rr
t

"takes," ()r se [ror editing The ecliiing or assembling of the various camera a continuous film. Today much montage is t'itrrit'tl arately filmed scenes, to malke out ttuough the use of computcrs' (211)
See atmosPhere.

approach that is tort moral/intellectual critical approach An intcrpretive literary nn6l v11111'5' (265) cerned primarily with content music of

thll, lol l)urlx)s('sof writing,maybeusedinthedevelopmentof essays. ('13, l, light slrt'ss lrr spccch and in metrical scansion, the less emphasized syllable.s,,rs rrr
Slr,rkt'slrt'.rrc's "That time of yea\" in which that andttf are pronounced rnore lislrt ly tlr,rn lirna and ycnr. (167)

Poetry See ProsodY' 'Amythis story tlrat tlcals with the- relationships of gotls a -yin, -yif,otogy, rnyino, among heic,es. A nryt6 t'ay .rls. bea set of beliefs .r

lilces irnd dislikes The preferences and aversions that readers develop for anrl t,' works of literature. (56-65)

lirnerick A brief

to humanity , or with batties to all the stories and assumptions among societies. ltlyiholog,y rcfers collt't'tivt'ly bt'liefs and rca ingle g.o.rp o. .ndb". of gr()rps. A systt''r .f beliefs, either of (2). ligious or historical doctrine is amythos'
see archetqpnlIsymbolicInttlthic crit

poem of five lines, usually comic and often bawdy, combinirrli

mythi; critical approach

ittl

rr|t|tnut lt.

anapests and iambs. (3)

timited point of view or limited-omniscient point of view A third-person naration in whicll the actions and thoughts of the protagonist are the focus of attention. (85, U7) line The basic poetic unit of length, appearing as a row of words on a page, and coniainir-rg phrases and sentences. Lines in the closed poetic form are composed of determinable numbers of metrical feet; lines in the open poetic form are variable, depending on content and rhythmical speech patterns. (167)

llts ()r' 'r( ti()rrs Whilt' a narration/ narrative fiction is prinrarilv ( r('ir liv(' (rll(l narrationmay bc rt'p.rtttrial and histoiical , narrqti,e t'ictiort imaginative. (2)
The relating or recounting of
eve

narrator

See sPeakt'r.

NewCritical/formalistcritic:rlaPproachAninterpretiveliteraryapproachbnsed lit()l {,r/,/l(;rfi()rr ric texte, streising the form and details of
on the French practict,

literary research

See research.

literature Written or oral compositions that tell stories, dramatize situations,

erary works. G,22'267) the proposition that literature is New Historicism The stuclv ol litt'r'irtttrt' hased on

express

emotions, and analyze and advocate ideas. Literature is designed to engage readers emotionally as well as intellectually, with the major flenres being t'iction, poet rt1, tlrnmn, and nont'iction prose, and with mtrny separate sub-forms. (passi.n) long shot ln film, a distant camL.ra view, incltrding not only characters but also their strllorrrrtiings; Io be trrntrastecl with at closc up. (212) lyric A stanzait' p()('ln, oft('n rhyming ancl most usually with repeating metrical pattcrrrs, rlcsigrrcti [o lrc sung; a song. (3) .fhe major mover participant in a work's action who either causes things to happen or who is the subjcct of major events. If the first-person narrator is also a major mover, such as tl:re Ttrtttagorrisf, that fact gives first-hand authenticity to the narra-

i. their 6istorical context' sis in literary study is hetrct' [. ,rrr,rlyzt: w,rrks prose Ag.enre cotrsistin;,, ol t'ss,tvs, ,rttit lt's, antl btloks about real as opnonfiction
-

aninseparableaspecttlftltt'llisttlr.it..rlllt'rirltlirrwhichitiswritten.Theempha(266)

for"atofi.tior'ralo.currencesut'ttl novel A long work of prose ficti()Il' (2) objective point of .riew See drnmntic lttittl ol i'it 't'

obir'tls; ottCol lltt'ttt'liorgt'trrt-'sof literature'(3)

octave SeesonnetodeAstanzaicPoeticformwitlrvariablcst.lttz.ts,()ll('|l(l||.rI'lril.':,.'l'lri...rllrr1lit..(.}) n'ltt' lt lltl r'lrr'rtlr't ttt ttttttttlttt ' Omniscient pOint of view Athird-perstttt ttilrrttliitt'itt .tr ltrrIt.,, ll..l( llllll:,, ll}(.1 with no apparent limitations, may descrilr(' iIlIt'rtlitrtt.', rrr,r1',rl:,t,rlt"'rrtlrt'llt.tt tlt tions,andspeechesof anyoralloithecharactt'rs,.rrrtl
l,rrrr:,ltttrltttr':;r;tltll open-formpoetry IroemsthatdonotLmploytracliti.rr.rltl.strl srr"tl:;. ltit' that instead use otier mctlr.ds .l .t1",tttiz,tlt.tr'
rhyme or meter, but uerse. (174-76) outline See analytical sentence outline'
as

tion. (80)

nermost thoughts (when necessary)' (84'

U7)

malapropism

The comic use of an irnproperly pronounced word, so that what comes out is another but incorrect word. Exarnples are odorous for otl.ious (Shakespeare), and pineapple for Ttinnncle (Sheridan). The incorrect word must be close enough to the correct word so that the resernblance is immediately recognized, along with lltt'error, so that the malapropism will provoke immediate laughter. (151) l\4,rrrist critical approach See econontic tlatanninistf Mnrxist critical altproach.

overstatement

rrrcr'lr.rrrics of

verse

See prosody.

;";i"

rrrll.rlrlrrrr ("carrying out a change") f igurntitte languttge that ecluates a thing with ''r )nr.llrirrs t'lse and then describes it as something else, thereby enhancing under',t,rr( I nl, .rrrtl insight. (3, 127-36)
r

A short alleiory designed to illustrate a religi..s trtrtS, (2) ed with Jesus as recorded in the Gospels' same gra.rr.atit.l parallelism A fig"u-;i;i*ch in which the
(169)

SeehYPerbole'

'r.sl l.rr.s

.[te

rr associat-

are repeated

pentameter A line of five metrical feet'

(167)

l'/ .t

I (,/rr,.,r,l tl ttl lntlttttlrtttl

I tlt ttttU lt ttjt

\ L/r,.

.,/,

tt ttl liltlrtt lttttl I tlr'trrt tl It t ttt

|'i\

lr('fs()ll.f l,tllttlot llltl:,^;l,ltt:ttl,ttttln(;r(1'k llrlrr,rn,llor or.,l)(,tl.r.t ol ,r,.lrrr \ r'r l'('rrrr

l,r, l,,r:,r,rl orrll ,,', ()urPercePtionsand onourinstrumentalobservatti()lt, lro[ 0rr olrit'fl iVr'rr',rlilt rl ., lr Tlre criticai consequence of this analysis is heuce the rr'rrrlt'r.ri's/; or rst' t t il i rtl rr 1t1t1,a1, 1, in which readers must make "transactions" with literarv \v()rks. (')7()) picture poetry Poems in which the line lengths are arranged to or.rIlinr'.r lirrrl, rrr ..rt houette, such as a bourlut't of flowers, a swan, an altar, and s() on. ( l7(r) plagiarism TItt' prt'st'ntatiotr as one's own of the words and ideas ol others u,itlr.rrr recognition .rnti tlot rrrucntatiolq literary and professional theft. (2tl ,253\
f

Phctrotnenology 'fhc philosophical Lrosition that knorvlt'(l1l(' (,)n

Str' ,t lso r'/)r'l/l{'/ . (71'i) I't'lr.rr.rch.rn sonnet Sccsrrlitrt,l.

prosotly Iltt'srttttttls,rrltl l'ltytlttrrs ol 1xr1'11'y. (:], l()7, l(),\) prohrgonist I'hc ccntralch.rracter and foct-ts of irrterest itr a rtat'rativt'ot tlt;rrtt,t. (l(l) psychological/psychoanalytic critical approach An interprctive litcrary aPPr'().r( ll
stressing how psychology may be used in the explanation of both authors antl literary works. (272) pyrrhic A metrical foot consisting of two unaccented syllables' (167) quatrain A four-line stanza or pcletic unit united by content, rhythm, and /or t ltvtttt'. (3,177) reader-response critical approach An intcrpretive literary approach basctl irr llrt

plausibility 5t'1, Itt olutbilitrt. plot 'l-ht' P1,111 or rlrou rtrl work for a story or a play, with the actions resulting

proposition that literary r,vorks,rrt'rrot lirllv crt'rrtccl until readers rnake lrtlttsrtr /r,rrt witl.r tlrem Ltv tttttttrlizitr:l tlrt'nr in llrt'lililrt ol tltt'ir orvtr knowledge and exP('ri('rt( ('.
Sce also
ph t:n ot

ror r r

I ,,

lit'r',rlrlt',trrtl authentic human resporlses to aconflict.lt is causation, corrflitt,

realism or

verisimilitude

rr.

cerns. AlSo,

llttt', lilr'lil'r', ol Ptrrlrilble situations allLl (oll (.71,11(D the theorV urrclcrlvirrg tltc ttst'ol l',rlil1' ltt lilt'rittttrc.
s1n'nl;L'r

tt c

tol o'4r1. (27

.l'ltt'ttst'ol

6)

slx)rls(',()l)P()sition,andinteractionthatmakeaplotoutofaseriesofactions.(9.1 (r,rl Po('rrr/ Poet, poetry A variable literary genre of imaginative literature that is chtrr,r. I.rizcc'l by the rhythmical qualities of ianguage. while poems may be shor[ (rrr cltrding cpi qrarns and haiku of just a few lines) or long (eplcs of thousands of lirrt.., the essence of poetry is ctrmpression, economy, and force, in contrast with tht' t'r pansiveness of prose. There is no bar to the topics tl'rat poets may consider, irrr(l poems may range from the personal and lyric to the public and discursive. A yor'nt is one poetic work. A 1tLx,t is a person who writes poems. Poetry nay refer to tlr,. poems of one writer, to poems of a number of writers, kr all poems generally, or li the aesthetics of poetry considered as an art. (3) poetic form The organization and style of poetry, ranging from trad:ition a\ clLtscd lttrtt r: suclr as the sonncf, the cttuplet, and the bnllad, to new and experimental opcn fonn:, such as those of Whitman and e. e. cummings. (167-82) point of view The syteake r, actice, ttnrrator, or pLtrsono of a work; the position from whir'lr details are perceived and related; a centralizirlg mind or intelligence; not to be con ftrsed with opinions or beliefs. (78-93) point-of-view character The central figure orprrrfagoiTist in alinritatl,poirttttt'-aicut nur nrlirttr; thc charactc'r abotti whom cvcnts turn; the focus of attention in the narrar r

reliable narrator An objective

r I

and who therefore is to be relierl on lor' u r rc li nb c t L1 rrat o r. (83)

n,llost't lt,tt,tr ltt ,rtt(l itll('l'('sts are not susPcct, ,lt ,rr ( ur,rl(' lr,rt t.tliott; t otllritstccl with an

representative character Aflttt chnrnctt't'r'r'itlr tlrc rltt,rltltr", ol ,tll ollrct tttctttlrt'rs of ;t group (i.e., clerks, cowboys, detectives, ett''); 'r :;lt'tt ttltlltt t "tll ,eseaiCh,iit"rary TheSysternaticuseof primary.lll(l s('(t'tr,l,rt\"orrr(t"'li'r 'r""r"l'rr)(1' (ll- l'r (' l) in studying literary backgrounds and problctrts

resolution Seedinttttunatt.t. revieworreviewessay AgeneralessayabolltasPecificworL,,tl"l()lrlrol tror [ '.,tlrrttl

literature generally, and about qualities of Performaltcc. A tt'r'it'rr trt,t\ I'r' tttlt'tttl ed for a general or a specific audience, and may be philosoplrit,tl, lrr't:,urr,rl, |rrlil ical, sociological, or religious, depending on the audience ftlr w llt tt t t I ltt' t t't'tlrr t't'
is writirrg. (197-206)

rhetorical

rhyme

tion. (li5)

priv;rte syrnbols St't' rrlift'rlrrrrl s.tltttlnls.

probability or plausibility

standard that literature should be about what is likely, comuron, Irontt.tl, ancl usual-the theory being that such literature is relevant to the majority oi lrrrrnan beings. (71) problem A qucstion or issue about the interpretation or understanding of a work.
(160-66)

-l'he

figure See figuratitte language. The repetition of identical or closely related sounds in the syllablt's ol tlillt'r' (l6fi) ent words, most often in concluding syllables at the ends 6f ling5. of a poem's rhyme,:usually indicated by assigr.ring, a lcttt'r' rhyme scheme The pattern of tl-re alphabet to each rhyming sound. (168) rhythm 'l'he varying speed, intensity, elevation, pitch, louduess, and expressivct]t'" of speech, especially poetry. (167) romanc; (1) Lengthy Spanish and French stories of the sixteenth and st'vt'ttlt't'ttllr
r

procatalepsis or anticipation A rhetorical strategy whereby the writer raises an objection and then answers it, the idea being b strerrp;then an argument by ctealing

with possible objections beforc

Prose

Imaginative prose narratives (short stories and novels) that focus u1 ()rlc or a few characters who undergo a change or development as they interact rvillr other characters and deal with their problems. (2) f 'lr)s(' l)(rcnr Anoltt:rrJLtrm poem laid out not as separate lines but as a prose para1ir, r1,11, 1lt,' intention being to emphasize the poetic nature of tl-re subject through the ttrl.tt"ill' .rntl the rhythm of expression, not through any traditional prosodic de-

fiction

a clissenter can raise them. (16'l)

centuries.(2)Modernformulaicstoriesdescribingthegrowthof anenthtrsi,tslit krvr' relationship. (2) ( round charactei A character who profits from experience and under!.()('s ,r ll, rrll(' t )l' but not necessarily the protagonist ' (70) development; usually ( scan, scansion Tl're act of determining the prevailing rhythm of a pot'ttt. l t ', ) lislt'tt,'t ("votr") second-person point of view A narration in which a second-persott is the protagonist and the speaker is sorneone (e.g., doctor, Pirr('rrl, l'ilt ltrl Lrvt'r, etc.) with knowledge that the protagonist does not Possess or tt ttt lt't :rl, tt I ,rlrotr t his or her own actions. (83,87, 88)
r t

selective

rrrr",

(17,1)

recollection See t'lashback. sestet See sortltcf. setting The natural, manufactured, and cultural envirolrnrclrI irt n'lri.ll characters live ( nr-rd *o,r", including all the artifacts they use in their livt's. lOfJ I l(r) Shakespearean sonnet See sonrtcf.

lTlt

ttt

lt ttl ltttltttt lttlll

verst' Stt ltir'l trt r' ltor'1r11. sll()rtslory At'omperct,c()llccntrittedwork()ilrnrriltiv('littiorrllr,tl

slr.rlrt.tl
Pact. (2)

thcsis trt,r\',rl:','{otrl,rrrl

clcscription, dialogue, and commentary. Poc usecl tlre tt'rrrt "lrrit'l lrtrrsl l,rlr" l,'r the short story, and emphasized that it should create a pow('rlttl .tlltl tttttltlrl rrrr

simile Afigureof comparison,using"like"withnounsand

"as" withclitttst's,,t:, tt' "the trees were bent by the wind like actors botuing after a perforrnllrl('('." ( l2li) situation The basic circumstaltces in a literary work out of which the actiott tt tttl . I alopiue spring. (3) sittrational irony or irony of situation A type of irony emphasizing that humarr 1,,' ings are t'nntt'slrt'tl itt forces beyond their comprehension and control. (152)
r

third-person point of view A third-person rncthod oi It.rrratiott (i.c., s/rr', lrt', il, Ilt,'11 , them, etc.),in which the speaker or narrator is not a part of the story, r"tnliLt' Llrt' irr volvement of tl're narratr>r c'>f a first-pcrsort poirtt of tticztt. Because the thirtl-pt'r'sort speaker may exhibit great knowledge and understanding, together witlr otlrt'r' qualities of character, l-re or sl're is often virtually identified with the author, lrttl llri:; identification is not easily clecided. See also authorial ztoice, omniscient ytitrl rtl ,'ir''r'

se rrtclrcc or tltesis St.rternClrt Arr itttt'otlttt tot-y st'ltlt'ttt t' llt,tl to be developed in the body of an essay. (2E)

third-person objective point of vit'w St't'drtrttrntit' yoitt of ttiazu. tone The technitlues alrtl tllotlt's ol Ptt'st'ttlitliott tlt;rt reveal or create
(1

(84,87, 88)

song St't'/r7r'i, sonnct A lt rt llt't'n-lirle

.
r

48-5e)
;r p.1r,1

poem, traditionally in iantbic pentameter, which may be dir.'itl t't I f rt't rvt't'n t hc first eight iines and the last six (an Italisn or Petrnrchan sonnet, con l.rirrirrrg livc ernd rhymes), or which may develop through three cluatrains autl ,r t r rrrr'lrrcling couplet (a Shakespe nre an sonnet, containing seven end rhyrnes). (3, 17 I ) sourrd 'l-he spoken, musical, and special sound effects of film. (214) slrcaker The nsrrtttor of a story or poem, the poirrt of aieru, often an indepenclent char acter who is completely imagir-red and consistently maintained by the author. lrr addition t<> narrating the essential events of the work (justifying status as the rrl7r rotor), the speaker may also introduce other aspects of his or her knowledge, and may interject judgments and opinions. Often the character of the speaker is of trs much interest as the actions or incidents. (78)

topicsentence Thescntenct'clcterrrrinirrl',or irrlrrrrlttt ittr'llrr'strbjectmatterof

graph. (30)

topical/historicalcriticalapproach Alrirrlt'rIn'lir'''lilr'r'rr'\"rl)|r'()'{r(llthatstressestltt'

tracking
trait,

relationship of literature to its hiskrrit irl 1't'r'io'l lit't"rl:'o Nr''r' l /ir;/or-it ls tn' (21,266) The use of the camera to follow, tl)t' Ittovctncltl:, ()l .r( lot:' ,tll(l ( ()llv('yanccs

in film. (213)
A typical rnode of behavior; thc sttltl-v ol rrr,riot description of character. (67) the trimeter A line consisting of three metrical feet. ( 167)

traits

triplet

See tercet.

trochee,

trochaic

A two-syllable foot consisting of a hcavy strt'ss lollott I r I I't' ,r lrlilrl

speech See dialogue. stanza A group of distinct poetic lines, such

atic. (167)

stress,suchastherhythmsofwordsllketalent,presttIL'L',anr.l
as a

/trr|r'lrrl tlt','t

quatrain, forming a separate unit within a longer poem. The meters and rhymes are usually repeating and system-

understatement Thedeliberateunderplayingorundervaluingof arr,rs:.ttltrtrtor r(lr\r

to create emphasis. (152)

static character A character who undergoes no change; contrasted with a dynamic

character. (70)

universal symbol See culturnl symbol. unreliable narrator Anarratrlr who has something to gain or lose frottt lltl t"'.ttr"' brought out in a narration, and who may express antagonism or l,tvolili:'ttt lot
other ctraracters. The account of events by sucl'r a narrator is thereforc stls[)('( [ ,r I )( I unreliable, as contrasted wlth a relisble narratttr. (83) unstressed syllable See /igllf sfress. value, values The attachment of wortl-r, significance, and desirability to an idea so tlr,rl the idea is judged not only for its significance as thought but also for its irrtpor tance as a goal, ideal, or standard. (118,1'22) vehicle The image or reference of t'igures ttf spet'ch, such as a metaphor or sitttilr', rl r'' the vehicle that carries or embodies the tcrror. (131) verbal irony Language stressing the importance of an idea by statint llrt'o1r|1 r"111' of what is meant. (152)

stereotype A character who is so ordinary and unoriginal that he or

she seems to

Irave been cast in a mold; a representatitte cl-raracter. (71) stock clraracter A flnf chnrnctt'r in a standard role with standard traits, such as the iratt'polict' captirin, thc borcd hotel clerk, the sadistic criminal, and so on; astereotVpc. (7{t)

stress The er.nplrasis givcn to a syllable, either strong or light. (167-69) structuralist critical approach An interpretive literary approach attempting to find
relationships and similarities among elements that appear to be separate and discrete. (269)
I

structure The arrangement and placement of materials in a work. (99-107) symbol, symbolism A specific word, idea, or object that may stand for ideas, values,
persons/ or ways of life. (137-47) tenor (figurative language) The sense, or meaning, oI a metaphor, symbol, or other

verisimilitude ("like

truth")

See renlisnt.

versification

SeeprosodY.

villanelle
visual

rhetorical figure. See also aehicle.

(-1.3'1.)

Aclosed,t'orm poem of nineteen lines, composed of iivt' /t'ti r'/', ,ttttl cluding qtLatrnfu' The form requires that certain lines be reprer tttl irr ' r s1 r.r t I it

It'rcet or triplet A three-iine group united by content or rhyme. (3,770) It'rz:r rima A threeline stanzaic form with the pattern a b a,b c b, c d c, and so on. (170) lr'lr,rrncter A line consisting of four metrical feet. (167) llrt'rtrt' Sct'idea.

and that only two final rhyming sounds occur throughout. ( 1, l7{)) poetry Poetry tl'rat draws power from the appearance ot Iltt' r't'r'st'ort the page, often utilizing split words, short lines, capital letters, artrl so orr. ( l(r7)
See spcnker.

voice