Norton Vocab A91 to A101

80 terms by marlanaernst

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different associations of a particular word


a word has a basic, prosaic (factual) meaning prior to the associations it connotes

Lexical Set

Words that Habitually recur together


a words stylistic level which can be distinguished by degree of technicality but also by degree of formality


The repetition of an initial consonant sound or consonant cluster in consecutive or closely positioned words


the repetition of words or groups of words at the beginning of consecutive sentences clauses or phrases


the repetition of identical or near identical stressed vowel sounds in words whose final consonants differ, producing half rhyme


the inversion of already established sequence


the repetition of final consonants words or stressed syllables whose voewl sounds are different


a word that sounds identical to another word but has a different meaning


verbal sounds that imitate and evoke the sounds they denotate


the repetition of identical vowel sounds in stressed syllables whose intial consonants differer


saying one thing and meaning another


juxtaposition of opposeds terms in clauses or sentences that are next to or near each other


a sudden and sometimes ridiculous descent of tone


a picture allegorically expressing a moral or a verbal picture open to such interpretation


the figure by whcih something distatsteful is described in alternative, less repugnant terms


overstatement exaggeration


a subset of allegory; wheras allegory says one thing and means another, irony says one thing and means its opposite


understatement by denying the contrary


the identification or implicit identification of one thing with another with which it is not literally identifiable


using a word to denote another concept or other concepts by virtue of habitual associatioN


denying that one will discuss a subject while actually discussing it; also known as praeteritio


conjunction of normally incompatible terms


an apparent contradiction that requires thought to reveal an inner consistency


circumlocution; the use of many words to express what could be expressed in few

personification or prosoponpoeia

the attribution of human qualities to nonhuman forces or objects


a sometimes irresolvable doubleness of meaning in a single word or expression


a wounding remark, often expressed ironically


cmoparision, usually using the wrold "like or "as


something that stands for something else, and yet seems necessarily to evoke that other thing


using a part to express the whole


impression, figure, mold


a syntacticpu8n whereby the one word is revealed to have more than one sense in the sentence as a whole


the special force devoted to the voicing of one syllable in a word over others


in french verse a line of twelve syllables, and, by analogy, in english verse a line of six stresses


a three syllable foot following the rhythmic patter in english verse of two unstressed followed by one stressed


a pause or breathing space within a line of verse, generally occuring between syntactic units


a three syllable foot fof one unstressed followed two unstressed


a two stress line rarely used as the meter of the whole

end stopping

the placement of a cmoplete syntactic unit within a complete metrical pattern


the opposite of end stopping, the enjambment occurs when the syntactic unit does not end with the metrical pattern


six stress line is the meter of classical latin epic


describes a breaking of the expected metrical patter by at least one extra syllable


the basic foot of englicsh verse, two syllables, unstressed stressed


an entire line with just one stress


in english verse, a five stress line


a two syllable foot following two stressed syllables


the smallest unit of soundc in a prounounced work


a line wiht four stresses


a line with four stresses


a two syllable vfoot stressed unstressed

ballad stanza

usually a quatrain, in alternating iambic tetrameter and iambic trimeter


a form consisting usually of three stanzas followed by a four line envoi; last line of the first stanza establishes a refrain which is repeated

blank verse

unrhymed iambic pentameter lines, no stanzas, broken into uneven units determined by sense rather than form


two consecutive rhyming lines usually containing the same number of stresses

ottava rima

an eight line stancza rhyming abababcc using iam pent


a stanza of four lines, usually rhyming abcb abab or abba


usually a single line repeated as the last line of consecutive stanzas

rhyme royal

a stanza form seven iam pent lines rhyming ababbcc


a form combining variable number of untits of rhymed line to produce a fourteen tline poem usually in rhyming iam pent

spenserian stanza

stanza developed by spenser for the faerie queene, nine iam lines, first eight are pent, follwed by one hex


stanza or group of three lines, used in larger forms such as terza rimea,petrarchan sonnet an dvillanelle

terza rima

a sequence ofrhyumed tercets linked by rhyme thus aba bcb cdc


a tercet rhming on the same sound


a fixed form usually five tercets and quatrains employing only rhyme sounds altogether ryming aba for the tercets anabaa for teh quatrains, two refrains


the repetition of elements serving an identical grammatical function in one senentence, tehe effect is to arrest the flow of the sentnece


the rarrangement or inversion of the expect word order in a sentence or clause


the subordination by the use of subordinate clauses of different elemnts of a sentence to a single main verb


the coordination by the use of coordination conjunctions of different main clauses ina single sentence


every work has, implicitly or explicityly, a here and now from which it is narrated words that refer to or imply this point from which the voice of the work is projected are examples of deixis

first person narration

narrative in which the voice narrating refers to itself with forms of teh first person prounoun

froame narrative,

some narratives particulary colletion, involve frame narrative that explains teh genisis of a perspective on the main narrative or narratives to follow

free indirect style

a narratorial voice that manages without explicit referecnce to imply and often implicitly to comment on the voice of a character in the narrative itself

omniscient narrator

all knowing a narrator who has complete access to both the deds and the thought of all characters


a story may be todl in different orders


the sequence of events in a story as narrated

stream of conciousness

usually first person narrative that seems to give the reader access to the narrators mind as it perceives or reflects on events

third person

characters are referred to explicitly or implicitly by use of third person nnouns


according to a theory supposedly derived from the events represented in a play should have unity of time that thake up no more tmie that the time of the play or at most a day, space should be within a single city, no subplot

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