Literary Terms for 1st semester, English 11 AA
D.I.D.L..S.:
Diction
Imagery
Details
Language
Sentence Structure
Antithesis:
The juxtaposition of contrasting ideas in parallel structure. Ex: One small step for man,
one giant leap for mankind.
Rhetoric:
The specific word choices of a character or author that are purposeful and persuasive.
Ex: Antigone uses rhetoric designed to appeal to the people in her speeches to Creon.
Diction:
The word choices an author or speaker uses. A style of speaking of writing dependent on
choice of wording. Ex: “The mouse zoomed across the floor.” Vs. “The mouse ran
across the floor.”
Rhetorical Appeals:
The way a persuasive writer or speaker shades his/her argument with meaning. Often,
the same argument will be made, using multiple appeals.
Ethos: appeal to one’s character or sense of ethics (“gut”)
Pathos: appeal to one’s emotions (“heart”)
Logos: appeal to one’s sense of logic (“brain”)
Repetition:
An “umbrella term” that describes purposefully repeated words, phrases, or sentences in
writing.
Parallel structure:
Sentence structures that purposely repeat themselves to make a point.
Anaphora:
Repetition of a word of phrase at the beginning of clauses of sentences.
Antimetabole:
Ab, ba – repetition of words in the same sentence in reverse order.
Satire:
A work that ridicules an important subject for the betterment of humanity.
Parody:
A work that purposefully ridicules a serious subject by handling a low subject with
“mock dignity” or an important subject in a trivial matter.
Hyperbole:
Deliberate and purposeful exaggeration to enhance (often humorously) what is being
said.
Litotes:
Deliberate and purposeful understatement to enhance the power of what is being said.
Aristotelean Tragedy:
24 hour time limit: the dramatic action must be limited to 24 hours
Significance of characters: the major characters must be significant
Heroic Flaw: the tragic hero must have a flaw which leads to his downfall
Catharsis: the audience must experience a transfer of emotion from the actors
Chorus:
A character or group of characters used in classical drama to represent the words
of the people.
Strophe & Antistrophe:
Literally “to turn” and “to turn the other way.” The two movements of some of the
chorus parts in Ancient Greek drama. The strophe sings & moves from left to right, and
the antistrophe sings & moves from right to left.
Anagnorisis:
The startling dramatic moment in which a character realizes who s/he really is. Ex: In
Oedipus Rex, the moment at which Oedipus realizes his true identity.
Dramatic Irony:
In either literature or drama, dramatic irony is a situation in which the audience
understands something that a character does not. Especially if that knowledge will lead
to the character’s demise. Ex: in Oedipus Rex, the audience knows of his awful fate
from the beginning, and the tension comes as we witness his discovery. Ex: In a horror
movie, the audience witnesses a monster approaching a victim from behind, while he is
blissfully unaware.
Situational Irony:
A series of events (or situations) in which something occurs that is different, usually the
opposite, of what is expected. A classic irony is one in which the opposites are in fact
circular and perfectly suited to shed (ironic) light on one another; in the words of Robert
Harris, English prof, the purpose is to “create a reversal between expectation and its
fulfillment.” Ex: In “The Gift of the Magi,” the woman sells her hair to buy her husband
a watch chain, and he sells his watch to buy her a pair of combs.
Verbal Irony:
When the author intentionally makes a character’s words the opposite of what is
intended. Often confused for “sarcasm,” verbal irony is more circular and carries more
significant meaning. Often used in humor, irony is, “an instrument of truth, provides wit
and humor, and is usually at least obliquely critical, in that it deflates, scorns, or attacks.”
Having the ability to detect irony is often used as a measurement of intelligence – so if
you have questions about these definitions, work with me until you get it, get it?
Narrative Structure:
the order of events in a story. The author’s conscious ordering of plot.
Linear Narrative Structure:
a plot order that mirrors a linear progression of time.
Non-linear Narrative Structure:
a plot order that does not follow a narrative structure.
Multiple narrators (same story from various points of view)
Epistolary narrative (story told through letters written by different people)
Frame narrative (in which the ending comes first and last, with the main
narrative told in
flashback)
Point of view: the perspective from which the story is being told
(1st, 2nd, 3rd person; limited/omniscient)
Biographical Criticism:
An approach to literature that suggests that knowledge of the author’s life
experiences aid in the understanding of his or her work.
Cultural Criticism:
An approach to literature that focuses on the historical, social, and political
contexts in which the work was written.
Connotation:
Implications that go beyond the literal meaning of a word (i.e. a “crucible”)
Allegory:
A figurative work in which the surface narrative carries a secondary symbolic
storyline that is often more compelling than the surface storyline.
Characterization – the method by which an author develops a character
Indirect Characterization – the readers must deduce for themselves what the character
is like, based on actions, words, dialogue, thoughts, looks, and interactions with other
characters
Direct Characterization – the author explains directly what the character is like, either
through the narrator or through another character
Well-rounded Character – the author reveals a great deal about the character, achieving
realism
Flat Character – the author reveals little about the character, achieving a stereotypical or
minor effect, often in order to emphasize the depth of another character
Dynamic Character – a character that changes during the course of the story, usually
due to a series of events in the plot, and crystallized by an epiphany
Fixed Character – a character that does not change during the course of the story, either
because the character is unimportant, or because his/her lack of change emphasizes the
main character’s growth
Foil Character:
A minor character that seems equal in age, station, even appearance, to the
protagonist, but who holds competing values. Like literal aluminum foil, the
character often serves to “reflect” the protagonist’s values to the reader/audience.
Universality/Universal Theme:
The quality of a great work of literature that appeals to audiences across time and
culture. Ex: In Antigone, the conflict of individual vs. the state (or moral law vs.
man-made law) is universal.
Anagnorisis:
The startling dramatic moment in which a character realizes who s/he really is. Ex: In
Oedipus Rex, the moment at which Oedipus realizes his true identity.
1. Strunk & White rule #4 is about conjunctions and independent clauses. Which of
the following sentences is not correct?
a. The dawn broke early that day, but the sun could not be seen due to cloud
cover.
b. He spoke of peace, and of change.
c. Several students wanted to make a change, but most of the students were
too scared to act.
d. Many dogs like to sleep, while others prefer to run.
e. Chickens lay eggs, and eggs come from chickens.
2. Strunk & White rule #5 is about independent clauses and commas. Which of the
following sentences is not correct?
a. The dawn is lovely; the dark is profound.
b. Track runners train year-round, while volleyball players train only in the
summer and fall.
c. Sleep is essential for healthy teenagers, unfortunately their parents don’t
realize it often enough.
d. Take care with your learning; knowledge can change your life.
e. Brittani walked to the store, and her mind was filled with dreams of her
future.