A symbolic narrative in which the surface details imply a secondary meaning. Allegory often takes the form of a story in which the characters represent moral qualities. The most famous example in English is John Bunyan's Pilgrim's Progress, in which the name of the central character, Pilgrim, epitomizes the book's allegorical nature. Kay Boyle's story "Astronomer's Wife" and Christina Rossetti's poem "Up-Hill" both contain allegorical elements.
The repetition of consonant sounds, especially at the beginning of words. Example: "Fetched fresh, as I suppose, off some sweet wood." Hopkins, "In the Valley of the Elwy."
A reference to a person, place, object, or event outside the work itself.
A large, semicircular, outdoor theater, seating as many as 15,000 people, where Greek dramas were performed.
Two unaccented syllables followed by an accented one, as in com-pre-HEND or in-ter-VENE. An anapestic meter rises to the accented beat as in Byron's lines from "The Destruction of Sennacherib": "And the sheen of their spears was like stars on the sea, / When the blue wave rolls nightly on deep Galilee."
A character or force against which another character struggles. Creon is Antigone's antagonist in Sophocles' play Antigone; Teiresias is the antagonist of Oedipus in Sophocles' Oedipus the King.
In Greek drama, that part of the ode in which the chorus moves from left to right, singing and dancing.
Addressing an inanimate object, a place, or an absent or imaginary person as if it were alive or present.
Words spoken by an actor directly to the audience, which are not "heard" by the other characters on stage during a play. In Shakespeare's Othello, Iago voices his inner thoughts a number of times as "asides" for the play's audience.
The repetition of similar vowel sounds in a sentence or a line of poetry or prose, as in "I rose and told him of my woe." Whitman's "When I Heard the Learn'd Astronomer" contains assonantal "I's" in the following lines: "How soon unaccountable I became tired and sick, / Till rising and gliding out I wander'd off by myself."
A love lyric in which the speaker complains about the arrival of the dawn, when he must part from his lover. John Donne's "The Sun Rising" exemplifies this poetic genre.
The author is the person who writes the literary work. He or she should not be confused with the speaker, the voice that is heard in a poem, or the narrator, the voice that tells a work of fiction (or, sometimes, frames a play).
A narrative poem written in four-line stanzas, characterized by swift action and narrated in a direct style. The Anonymous medieval ballad, "Barbara Allan," exemplifies the genre.
Literally, French for "fine letters"; a kind of essay that often pursues a philosophical subject, frequently using figurative language traditionally considered literary.
A line of poetry or prose in unrhymed iambic pentameter. Shakespeare's sonnets, Milton's epic poem Paradise Lost, and Robert Frost's meditative poems such as "Birches" include many lines of blank verse. Here are the opening blank verse lines of "Birches": When I see birches bend to left and right / Across the lines of straighter darker trees, / I like to think some boy's been swinging them.
A strong pause within a line of verse. The following stanza from Hardy's "The Man He Killed" contains caesuras in the middle two lines:
He thought he'd 'list, perhaps,
Off-hand-like--just as I--
Was out of work-had sold his traps--
No other reason why.
An authoritative list; the literary canon comprises the standard group of works traditionally accepted as great literature.
The action at the end of a tragedy that initiates the denouement or falling action of a play. One example is the dueling scene in Act V of Hamlet in which Hamlet dies, along with Laertes, King Claudius, and Queen Gertrude.
The purging of the feelings of pity and fear that, according to Aristotle, occur in the audience of tragic drama. The audience experiences catharsis at the end of the play, following the catastrophe.
An imaginary person that inhabits a literary work. Literary characters may be major or minor, static (unchanging) or dynamic (capable of change). In Shakespeare's Othello, Desdemona is a major character, but one who is static, like the minor character Bianca. Othello is a major character who is dynamic, exhibiting an ability to change.
The means by which writers present and reveal character. Although techniques of characterization are complex, writers typically reveal characters through their speech, dress, manner, and actions. Readers come to understand the character Miss Emily in Faulkner's story "A Rose for Emily" through what she says, how she lives, and what she does.
A group of characters in Greek tragedy (and in later forms of drama), who comment on the action of a play without participation in it. Their leader is the choragos. Sophocles' Antigone and Oedipus the King both contain an explicit chorus with a choragos. Tennessee Williams's Glass Menagerie contains a character who functions like a chorus.
The turning point of the action in the plot of a play or story. The climax represents the point of greatest tension in the work. The climax of John Updike's "A&P," for example, occurs when Sammy quits his job as a cashier.
A type of form or structure in poetry characterized by regularity and consistency in such elements as rhyme, line length, and metrical pattern. Frost's "Stopping By Woods on a Snowy Evening" provides one of many examples. A single stanza illustrates some of the features of closed form:
Whose woods these are I think I know.
His house is in the village though.
He will not see me stopping here
To watch his woods fill up with snow.
A type of drama in which the characters experience reversals of fortune, usually for the better. In comedy, things work out happily in the end. Comic drama may be either romantic--characterized by a tone of tolerance and geniality--or satiric. Satiric works offer a darker vision of human nature, one that ridicules human folly. Shaw's Arms and the Man is a romantic comedy; Chekhov's Marriage Proposal is a satiric comedy.
The use of a comic scene to interrupt a succession of intensely tragic dramatic moments. The comedy of scenes offering comic relief typically parallels the tragic action that the scenes interrupt. Comic relief is lacking in Greek tragedy, but occurs regularly in Shakespeare's tragedies. One example is the opening scene of Act V of Hamlet, in which a gravedigger banters with Hamlet.
An intensification of the conflict in a story or play. Complication builds up, accumulates, and develops the primary or central conflict in a literary work. Frank O'Connor's story "Guests of the Nation" provides a striking example, as does Ralph Ellison's "Battle Royal."
In a literary work, the ending, where the effects of the climactic action or decision are often shown.
A struggle between opposing forces in a story or play, usually resolved by the end of the work. The conflict may occur within a character as well as between characters. Lady Gregory's one-act play The Rising of the Moon exemplifies both types of conflict as the Policeman wrestles with his conscience in an inner conflict and confronts an antagonist in the person of the ballad singer.
The associations called up by a word that goes beyond its dictionary meaning. Poets, especially, tend to use words rich in connotation. Dylan Thomas's "Do Not Go Gentle into That Good Night" includes intensely connotative language, as in these lines: "Good men, the last wave by, crying how bright / Their frail deeds might have danced in a green bay, / Rage, rage against the dying of the light."
A customary feature of a literary work, such as the use of a chorus in Greek tragedy, the inclusion of an explicit moral in a fable, or the use of a particular rhyme scheme in a villanelle. Literary conventions are defining features of particular literary genres, such as novel, short story, ballad, sonnet, and play.
A pair of rhymed lines that may or may not constitute a separate stanza in a poem. Shakespeare's sonnets end in rhymed couplets, as in "For thy sweet love remembered such wealth brings / That then I scorn to change my state with kings."
Essays that use narration and description to meditate upon, analyze, evaluate, or reflect on various subjects and experiences.
A stressed syllable followed by two unstressed ones, as in FLUT-ter-ing or BLUE-ber-ry. The following playful lines illustrate double dactyls, two dactyls per line:
The dictionary meaning of a word. Writers typically play off a word's denotative meaning against its connotations, or suggested and implied associational implications. In the following lines from Peter Meinke's "Advice to My Son" the references to flowers and fruit, bread and wine denote specific things, but also suggest something beyond the literal, dictionary meanings of the words:
To be specific, between the peony and rose
Plant squash and spinach, turnips and tomatoes;
Beauty is nectar and nectar, in a desert, saves--
and always serve bread with your wine.
always serve wine.
The resolution of the plot of a literary work. The denouement of Hamlet takes place after the catastrophe, with the stage littered with corpses. During the denouement Fortinbras makes an entrance and a speech, and Horatio speaks his sweet lines in praise of Hamlet.
Deus ex machina
A god who resolves the entanglements of a play by supernatural intervention. The Latin phrase means, literally, "a god from the machine." The phrase refers to the use of artificial means to resolve the plot of a play.
A variant of a language that is different from the one generally taught in school; may include distinctive pronunciations of words, original vocabulary, or grammatical constructions that are not considered standard.
The conversation of characters in a literary work. In fiction, dialogue is typically enclosed within quotation marks. In plays, characters' speech is preceded by their names.
The selection of words in a literary work. A work's diction forms one of its centrally important literary elements, as writers use words to convey action, reveal character, imply attitudes, identify themes, and suggest values. We can speak of the diction particular to a character, as in Iago's and Desdemona's very different ways of speaking in Othello. We can also refer to a poet's diction as represented over the body of his or her work, as in Donne's or Hughes's diction.
A type of poem in which a speaker addresses a silent listener. As readers, we overhear the speaker in a dramatic monologue. Robert Browning's "My Last Duchess" represents the epitome of the genre.
Latin for the characters or persons in a play. Included among the dramatis personae of Miller's Death of a Salesman are Willy Loman, the salesman, his wife Linda, and his sons Biff and Happy.
A character who changes in some significant way during the course of the work.
A lyric poem that laments the dead. Robert Hayden's "Those Winter Sundays" is elegiac in tone. A more explicitly identified elegy is W.H. Auden's "In Memory of William Butler Yeats" and his "Funeral Blues."
The omission of an unstressed vowel or syllable to preserve the meter of a line of poetry. Alexander uses elision in "Sound and Sense": "Flies o'er th' unbending corn...."
Also called the Shakespearean sonnet, a poem of fourteen lines, falling into three quatrains (four lines each) and a concluding couplet (two lines). The rhyme scheme is abab cdcd efef gg. The first three quatrains develop an idea or image, and the closing couplet comments on it.
A run-on line of poetry in which logical and grammatical sense carries over from one line into the next. An enjambed line differs from an end-stopped line in which the grammatical and logical sense is completed within the line. In the opening lines of Robert Browning's "My Last Duchess," for example, the first line is end-stopped and the second enjambed:
That's my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now....
A long narrative poem that records the adventures of a hero. Epics typically chronicle the origins of a civilization and embody its central values. Examples from western literature include Homer's Iliad and Odyssey, Virgil's Aeneid, and Milton's Paradise Lost.
A brief witty poem, often satirical. Alexander Pope's "Epigram Engraved on the Collar of a Dog" exemplifies the genre:
I am his Highness' dog at Kew;
Pray tell me, sir, whose dog are you?
Epiphany, story of
A short story depicting a character who faces a conflict that leads him or her to a sudden insight or profound understanding.
The first stage of a fictional or dramatic plot, in which necessary background information is provided. Ibsen's A Doll's House, for instance, begins with a conversation between the two central characters, a dialogue that fills the audience in on events that occurred before the action of the play begins, but which are important in the development of its plot.
Aspects of setting that occur outside the characters.
A brief story with an explicit moral provided by the author. Fables typically include animals as characters. Their most famous practitioner in the west is the ancient Greek writer Aesop, whose "The Dog and the Shadow" and "The Wolf and the Mastiff" are included in this book.
Like myths, a form of short fiction that focuses on supernatural beings and events. Unlike myths, fairy tales contain giants, trolls, fairy godmothers, and talking animals rather than gods and goddesses. They do not attempt to explain the natural world or to affirm civic values, but instead focus on the struggle between clearly defined good and evil.
In the plot of a story or play, the action following the climax of the work that moves it towards its denouement or resolution. The falling action of Othello begins after Othello realizes that Iago is responsible for plotting against him by spurring him on to murder his wife, Desdemona.
Poetic meters such as trochaic and dactylic that move or fall from a stressed to an unstressed syllable. The nonsense line, "Higgledy, piggledy," is dactylic, with the accent on the first syllable and the two syllables following falling off from that accent in each word. Trochaic meter is represented by this line: "Hip-hop, be-bop, treetop--freedom."
Feminist criticism posits that our civilization has been predominantly male centered and therefore literature reflects patriarchal (male-dominated) themes.
An imagined story, whether in prose, poetry, or drama. Ibsen's Nora is fictional, a "make-believe" character in a play, as are Hamlet and Othello. Characters like Robert Browning's Duke and Duchess from his poem "My Last Duchess" are fictional as well, though they may be based on actual historical individuals. And, of course, characters in stories and novels are fictional, though they, too, may be based, in some way, on real people. The important thing to remember is that writers embellish and embroider and alter actual life when they use real life as the basis for their work. They fictionalize facts, and deviate from real-life situations as they "make things up."
A form of language use in which writers and speakers convey something other than the literal meaning of their words. Examples include hyperbole or exaggeration, litotes or understatement, simile and metaphor, which employ comparison, and synecdoche and metonymy, in which a part of a thing stands for the whole.
A narrator who is also a character in the work and who uses "I" or "we" to tell the story. First-person narrators can report their own thoughts but not the thoughts of others. They may offer evaluations and judgments of characters and events.
An interruption of a work's chronology to describe or present an incident that occurred prior to the main time frame of a work's action. Writers use flashbacks to complicate the sense of chronology in the plot of their works and to convey the richness of the experience of human time. Faulkner's story "A Rose for Emily" includes flashbacks.
Usually, a character who has only one outstanding trait or feature.
A character who contrasts and parallels the main character in a play or story. Laertes, in Hamlet, is a foil for the main character; in Othello, Emilia and Bianca are foils for Desdemona.
A metrical unit composed of stressed and unstressed syllables. For example, an iamb or iambic foot is represented by an unaccented syllable followed by an accented one. Frost's line "Whose woods these are I think I know" contains four iambs, and is thus an iambic foot.
Hints of what is to come in the action of a play or a story. Ibsen's A Doll's House includes foreshadowing as does Synge's Riders to the Sea. So, too, do Poe's "Cask of Amontillado" and Chopin's "Story of an Hour."
Formalist criticism looks at a text as existing by itself. Formalists pay little attention to biographical or historical information, using instead a process called close reading to look at the various parts of the work in detail.
The imaginary wall of the box theater setting, supposedly removed to allow the audience to see the action. The fourth wall is especially common in modern and contemporary plays such as Hansberry's A Raisin in the Sun, Wasserstein's Tender Offer, and Wilson's Fences.
Poetry without a regular pattern of meter or rhyme. The verse is "free" in not being bound by earlier poetic conventions requiring poems to adhere to an explicit and identifiable meter and rhyme scheme in a form such as the sonnet or ballad. Modern and contemporary poets of the twentieth and twenty-first centuries often employ free verse. Williams's "This Is Just to Say" is one of many examples.
In literary criticism, a type or form of literature.
The physical movement of a character during a play. Gesture is used to reveal character, and may include facial expressions as well as movements of other parts of an actor's body. Sometimes a playwright will be very explicit about both bodily and facial gestures, providing detailed instructions in the play's stage directions. Shaw's Arms and the Man includes such stage directions. See Stage direction.
The common folk who could not afford seats and thus stood at the foot of the stage to watch Elizabethan theater productions.
A Japanese poetic form consisting of seventeen syllables, generally divided into three lines (in the original Japanese).
A figure of speech involving exaggeration. John Donne uses hyperbole in his poem: "Song: Go and Catch a Falling Star."
An unstressed syllable followed by a stressed one, as in to-DAY. See Foot.
A concrete representation of a sense impression, a feeling, or an idea. Imagery refers to the pattern of related details in a work. In some works one image predominates either by recurring throughout the work or by appearing at a critical point in the plot. Often writers use multiple images throughout a work to suggest states of feeling and to convey implications of thought and action. Some modern poets, such as Ezra Pound and William Carlos Williams, write poems that lack discursive explanation entirely and include only images. Among the most famous examples is Pound's poem "In a Station of the Metro":
The apparition of these faces in the crowd;
Petals on a wet, black bough.
The pattern of related comparative aspects of language, particularly of images, in a literary work. Imagery of light and darkness pervade James Joyce's stories "Araby," "The Boarding House," and "The Dead." So, too, does religious imagery.
Initiation, story of
A short story about a person moving from innocence to experience.
Aspects of setting that occur inside the minds and hearts of the characters.
The beginning of a work; usually establishes the setting (time and place) and introduces one or more of the main characters.
A contrast or discrepancy between what is said and what is meant or between what happens and what is expected to happen in life and in literature. In verbal irony, characters say the opposite of what they mean. In irony of circumstance or situation, the opposite of what is expected occurs. In dramatic irony, a character speaks in ignorance of a situation or event known to the audience or to the other characters. Flannery O'Connor's short stories employ all these forms of irony, as does Poe's "Cask of Amontillado."
Irony of situation
A discrepancy between what is said and what is done or between what is expected and what actually happens.
Legends recount the amazing achievements of people who are sometimes imagined creations but sometimes based on men and women who actually lived. Legends—which are often combined with the entertaining tall tale—frequently praise and confirm traits a society particularly values.
A form of language in which writers and speakers mean exactly what their words denote. See Figurative language, Denotation, and Connotation.
A type of poem characterized by brevity, compression, and the expression of feeling. Most of the poems in this book are lyrics. The anonymous "Western Wind" epitomizes the genre:
Western wind, when will thou blow,
The small rain down can rain?
Christ, if my love were in my arms
And I in my bed again!
Marxist readings of literature refer to the theories of social and economic reformer Karl Marx. Literary critics who subscribe to Marx's theories read literary texts to discover the impact of unfair distribution of wealth and power on their themes and characters.
Plays with stereotyped villains and heroes who represent the extremes of good and evil.
A subgenre of creative nonfiction that uses as its subject matter events from the writer's past.
A comparison between essentially unlike things without an explicitly comparative word such as like or as. An example is "My love is a red, red rose,"
From Burns's "A Red, Red Rose." Langston Hughes's "Dream Deferred" is built entirely of metaphors. Metaphor is one of the most important of literary uses of language. Shakespeare employs a wide range of metaphor in his sonnets and his plays, often in such density and profusion that readers are kept busy analyzing and interpreting and unraveling them. Compare Simile.
The measured pattern of rhythmic accents in poems. See Foot and Iamb.
A figure of speech in which a closely related term is substituted for an object or idea. An example: "We have always remained loyal to the crown." See Synecdoche.
A speech by a single character without another character's response. See Dramatic monologue and Soliloquy.
The factor or factors that cause a character to think, act, or speak in a certain way.
Myths often tell the stories of ancient deities, sometimes describing their exploits, sometimes explaining how a particular god or goddess came into being. Some myths address the mysteries of nature, including the creation of the universe and its diverse population.
An essay that tells a story
A poem that tells a story. See Ballad.
The voice and implied speaker of a fictional work, to be distinguished from the actual living author. For example, the narrator of Joyce's "Araby" is not James Joyce himself, but a literary fictional character created expressly to tell the story. Faulkner's "A Rose for Emily" contains a communal narrator, identified only as "we." See Point of view.
New-historist criticism is related to sociological criticism and reader-response criticism in that its proponents point out the impact of the politics, ideologies, and social customs of the author's world on the themes, images, and characterizations of the work.
Prose works that are based on fact.
A narrator who, like a camera, shows only external events and conversations but does not go inside the minds of characters or offer evaluations and judgments.
An eight-line unit, which may constitute a stanza; or a section of a poem, as in the octave of a sonnet.
A long, stately poem in stanzas of varied length, meter, and form. Usually a serious poem on an exalted subject, such as Horace's "Eheu fugaces," but sometimes a more lighthearted work, such as Neruda's "Ode to My Socks."
A narrator who knows everything, can report both external actions and conversations as well as the internal thoughts of all characters, and often provides evaluations and judgments of characters and events.
The use of words to imitate the sounds they describe. Words such as buzz and crack are onomatopoetic. The following line from Pope's "Sound and Sense" onomatopoetically imitates in sound what it describes:
When Ajax strives some rock's vast weight to throw,
The line too labors, and the words move slow.
Most often, however, onomatopoeia refers to words and groups of words, such as Tennyson's description of the "murmur of innumerable bees," which attempts to capture the sound of a swarm of bees buzzing.
A type of structure or form in poetry characterized by freedom from regularity and consistency in such elements as rhyme, line length, metrical pattern, and overall poetic structure. E.E. Cummings's "[Buffalo Bill's]" is one example. See also Free verse.
In ancient Greece, the round area at the foot of the amphitheater where dramas were performed and where the chorus generally danced and sang.
A brief story that teaches a lesson often ethical or spiritual. Examples include "The Prodigal Son," from the New Testament, and the Zen parable, "Learning to Be Silent." See Fable.
A humorous, mocking imitation of a literary work, sometimes sarcastic, but often playful and even respectful in its playful imitation. Examples include Bob McKenty's parody of Frost's "Dust of Snow" and Kenneth Koch's parody of Williams's "This is Just to Say."
A quality of a play's action that stimulates the audience to feel pity for a character. Pathos is always an aspect of tragedy, and may be present in comedy as well.
The speaker in any literary work that uses the first-person point of view.
The endowment of inanimate objects or abstract concepts with animate or living qualities. An example: "The yellow leaves flaunted their color gaily in the breeze." Wordsworth's "I wandered lonely as a cloud" includes personification.
Also called the Italian sonnet, a lyric poem of fourteen lines divided into two parts: an octave (the first eight lines) with the rhyme scheme abbaabba, and a sestet (the final six lines) with the rhyme scheme cdecde (or some variation).
The unified structure of incidents in a literary work. See Conflict, Climax, Denouement, andFlashback.
Point of view
The angle of vision from which a story is narrated. See Narrator. A work's point of view can be: first person, in which the narrator is a character or an observer, respectively; objective, in which the narrator knows or appears to know no more than the reader; omniscient, in which the narrator knows everything about the characters; and limited omniscient, which allows the narrator to know some things about the characters but not everything.
Articles or objects that appear on stage during a play. The Christmas tree in A Doll's House and Laura's collection of glass animals in The Glass Menagerie
The main character of a literary work--Hamlet and Othello in the plays named after them, Gregor Samsa in Kafka's Metamorphosis, Paul in Lawrence's "Rocking-Horse Winner."
Psychoanalytic criticism views the themes, conflicts, and characterizations of a work primarily as a reflection of the needs, emotions, states of mind, and subconscious desires of the author.
A metrical foot with two unstressed syllables ("of the").
A four-line stanza in a poem, the first four lines and the second four lines in a Petrachan sonnet. A Shakespearean sonnet contains three quatrains followed by a couplet.
Reader-response criticism focuses on the meaning that is created when a reader interacts with a text.
Plays presenting everyday life—crises, conflicts, and emotional responses to which ordinary people can relate.
A reliable narrator convinces readers that he or she is reporting events, actions, and conversations accurately without prejudice. An unreliable narrator raises suspicions in the minds of readers that events, actions, and conversations may be reported inaccurately and that evaluations may be made with prejudice, intentional or unintentional.
The point at which a character understands his or her situation as it really is. Sophocles' Oedipus comes to this point near the end of Oedipus the King; Othello comes to a similar understanding of his situation in Act V of Othello.
The sorting out or unraveling of a plot at the end of a play, novel, or story. See Plot.
The point at which the action of the plot turns in an unexpected direction for the protagonist. Oedipus's and Othello's recognitions are also reversals. They learn what they did not expect to learn. See Recognition and also Irony.
The matching of final vowel or consonant sounds in two or more words. The following stanza of "Richard Cory" employs alternate rhyme, with the third line rhyming with the first and the fourth with the second:
Whenever Richard Cory went down town,
We people on the pavement looked at him;
He was a gentleman from sole to crown
Clean favored and imperially slim.
The recurrence of accent or stress in lines of verse. In the following lines from "Same in Blues" by Langston Hughes, the accented words and syllables are underlined:
I said to my baby,
Baby take it slow....
Lulu said to Leonard
I want a diamond ring
A set of conflicts and crises that constitute the part of a play's or story's plot leading up to the climax. See Climax, Denouement, and Plot.
Poetic meters such as iambic and anapestic that move or ascend from an unstressed to a stressed syllable. See Anapest, Iamb, and Falling meter.
A comic drama in which the source of humor is frequently mistaken identity and unexpected discoveries.
A character who shows many different facets, often presented in depth and with great detail.
A literary work that criticizes human misconduct and ridicules vices, stupidities, and follies. Swift's Gulliver's Travels is a famous example. Chekhov's Marriage Proposal and O'Connor's "Everything That Rises Must Converge," have strong satirical elements.
Explanations at the beginning of a play that provides details of the setting.
A six-line unit of verse constituting a stanza or section of a poem; the last six lines of an Italian sonnet. Examples: Petrarch's "If it is not love, then what is it that I feel," and Frost's "Design."
A poem of thirty-nine lines and written in iambic pentameter. Its six-line stanza repeat in an intricate and prescribed order the final word in each of the first six lines. After the sixth stanza, there is a three-line envoi, which uses the six repeating words, two per line.
The time and place of a literary work that establish its context. The stories of Sandra Cisneros are set in the American southwest in the mid to late 20th century, those of James Joyce in Dublin, Ireland in the early 20th century.
Short story, nonrealistic
A form of short fiction that began in the nineteenth century and has continued to evolve. The nonrealistic short story has the fully developed characters, settings, and plots of the realistic short story but also includes supernatural and absurd elements. Unbound by realistic dimensions of time and space, unfettered by the laws of physics or even by the conventions of human psychology, authors of nonrealistic short stories tease and push their own imaginations—and those of their readers—in new and sometimes unsettling directions.
Short story, realistic
A form of short fiction that originated during the nineteenth century and ahs continued to evolve. The realistic short story differed from earlier forms of fiction in many ways. Nineteenth-century realistic short stories focused on scenes and themes enacted by ordinary people. Characters were developed more fully; rather than representing one primary quality, the central figures of short stories exhibited the complexities and contradictions of real people. Plots, too, were expanded to become more intricate and to suggest the internal working of characters' souls and minds as well as to depict their external actions. Settings became more than briefly sketched backdrops; times and places were described in vivid detail. Most importantly, realistic short stories moved away from teaching one particular moral or lesson.
A figure of speech involving a comparison between unlike things using like, as, or as though. An example: "My love is like a red, red rose."
Sociological criticism argues that interpretation of literature is profoundly affected both by the societal forces that surround authors and by the societal forces that surround readers. (See also feminist criticism and Marxist criticism.)
A speech in a play that is meant to be heard by the audience but not by other characters on the stage. If there are no other characters present, the soliloquy represents the character thinking aloud. Hamlet's "To be or not to be" speech is an example. See Aside.
A fourteen-line poem in iambic pentameter. The Shakespearean or English sonnet is arranged as three quatrains and a final couplet, rhyming abab cdcd efef gg. The Petrarchan or Italian sonnet divides into two parts: an eight-line octave and a six-line sestet, rhyming abba abba cde cde or abba abba cd cd cd.
A metricalfoot represented by two stressed syllables, such as KNICK-KNACK.
A playwright's descriptive or interpretive comments that provide readers (and actors) with information about the dialogue, setting, and action of a play. Modern playwrights, including Ibsen, Shaw, Miller, and Williams tend to include substantial stage directions, while earlier playwrights typically used them more sparsely, implicitly, or not at all. See Gesture.
The spectacle a play presents in performance, including the position of actors on stage, the scenic background, the props and costumes, and the lighting and sound effects. Tennessee Williams describes these in his detailed stage directions for The Glass Menagerie and also in his production notes for the play.
A division or unit of a poem that is repeated in the same form--either with similar or identical patterns or rhyme and meter, or with variations from one stanza to another. The stanzas of Gertrude Schnackenberg's "Signs" are regular; those of Rita Dove's "Canary" are irregular.
A character who does not change in any significant way during the course of a literary work.
In Greek drama, that part of the ode in which the chorus moves from right to left onstage.
The pattern formed by the events and actions in a literary work.
The way an author chooses words, arranges them in sentences or in lines of dialogue or verse, and develops ideas and actions with description, imagery, and other literary techniques. See Connotation, Denotation, Diction, Figurative language, Image, Imagery, Irony, Metaphor, Narrator, Point of view, Syntax, and Tone.
What a story or play is about; to be distinguished from plot and theme. Faulkner's "A Rose for Emily" is about the decline of a particular way of life endemic to the American south before the civil war. Its plot concerns how Faulkner describes and organizes the actions of the story's characters. Its theme is the overall meaning Faulkner conveys.
A subsidiary or subordinate or parallel plot in a play or story that coexists with the main plot. The story of Rosencrantz and Guildenstern forms a subplot with the overall plot of Hamlet.
An object or action in a literary work that means more than itself, that stands for something beyond itself. The glass unicorn in The Glass Menagerie, the rocking horse in "The Rocking-Horse Winner," the road in Frost's "The Road Not Taken"--all are symbols in this sense.
A figure of speech in which a part is substituted for the whole. An example: "Lend me a hand." See Metonymy.
The grammatical order of words in a sentence or line of verse or dialogue. The organization of words and phrases and clauses in sentences of prose, verse, and dialogue. In the following example, normal syntax (subject, verb, object order) is inverted:
"Whose woods these are I think I know."
A story that narrates strange happenings in a direct manner, without detailed descriptions of character. Petronius' "The Widow of Ephesus" is an example.
A three-line stanza, as the stanzas in Frost's "Acquainted With the Night" and Shelley's "Ode to the West Wind." The three-line stanzas or sections that together constitute the sestet of a Petrarchan or Italian sonnet.
Theater of the absurd
Plays with actions that lead in no predictable direction and in which the motivations of characters are often contradictory or absent altogether. Conversations and speeches often ramble disjointedly.
The idea of a literary work abstracted from its details of language, character, and action, and cast in the form of a generalization. See discussion of Dickinson's "Crumbling is not an instant's Act."
A sentence or group of sentences, usually appearing near the beginning of an essay, indicating what a writer plans to say about his or her topic.
The implied attitude of a writer toward the subject and characters of a work, as, for example, Flannery O'Connor's ironic tone in her "Good Country People." See Irony.
A type of drama in which the characters experience reversals of fortune, usually for the worse. In tragedy, catastrophe and suffering await many of the characters, especially the hero. Examples include Shakespeare's Othello and Hamlet; Sophocles' Antigone and Oedipus the King, and Arthur Miller's Death of a Salesman. See Tragic flaw and Tragic hero.
A weakness or limitation of character, resulting in the fall of the tragic hero. Othello's jealousy and too trusting nature is one example. See Tragedy and Tragic hero.
A privileged, exalted character of high repute, who, by virtue of a tragic flaw and fate, suffers a fall from glory into suffering. Sophocles' Oedipus is an example. See Tragedy and Tragic flaw.
A play in which elements of comedy and tragedy are mixed.
Words, phrases, and sentences that connect one paragraph or section to the next.
An accented syllable followed by an unaccented one, as in FOOT-ball.
A figure of speech in which a writer or speaker says less than what he or she means; the opposite of exaggeration. The last line of Frost's "Birches" illustrates this literary device: "One could do worse than be a swinger of birches."
The idea that a play should be limited to a specific time, place, and story line. The events of the plot should occur within a twenty-four hour period, should occur within a give geographic locale, and should tell a single story. Aristotle argued that Sophocles' Oedipus the King was the perfect play for embodying the unities.
A discrepancy between what is said and what is meant or between what is said and what the reader knows to be true.
A nineteen-line lyric poem that relies heavily on repetition. The first and third lines alternate throughout the poem, which is structured in six stanzas --five tercets and a concluding quatrain. Examples include Bishop's "One Art," Roethke's "The Waking," and Thomas's "Do Not Go Gentle into That Good Night."