LITERATURE NON-FICTION EDITORIAL ORATION FICTION SHORT STORY NOVEL NARRATIVE EPIC METRICAL TALES LYRIC BALLAD SONNET ELEGY DRAMATIC TRAGEDY MELODRAMA COOMEDY PROSEPOETRY ORNAMENTS OF POETRY: LINE OR VERSE a single line of poetry

STANZA a group of verses forming asingle unit RHTYHM the arrangement of words sothat the accented syllables will come at regular intervals. METER the regular recurrence ofaccented and unaccented syllables - the rhythm in verses (e.g. iambicpentameter) FEET groups of regularly recurringaccented and unaccented syllables. RHYME similarity of sound, usually atthe end of lines. It is a matter ofpronunciation, not spelling. IAMBS metrical foot of oneunaccented syllable followed by oneaccented syllable.

FIGURES OF SPEECH- intentionaldeviation from the usual forms of expression to make the ideas concrete, vivid, beautiful or amusing. SIMILE comparison of unlike objects using like andas. METAPHOR - comparison of unlike objects without using like andas. PERSONIFICATION a kind of metaphor which consists of giving personal attributes to inanimate objects or abstract ideas. APOSTROPHE an address to the absent as if present, or the inanimate as if human. METONYMY a figure of speech in which one word is put for another which it suggests. ANTITHESIS contrast of words or ideas. HYPERBOLE an exaggeration. ONOMATOPOEIA sound fitting to the meaning. ALLITERATION repetition of consonant sounds at or near the beginning of the words ASSONANCE vowel rhyme or similarity of vowel sounds. SYNECDOCHE a part is used for the whole. IRONY involves a contrast of what is expected and what actually happens. Irony of statement Understatement Paradox Irony of Situation Dramatic Irony ELEMENTS OF FICTION 1. PLOT more than a simple sequence of events. It is a sequence of interrelated events linked by a causality. Freytags Pyramid Climax Rising ActionFalling Action Exposition DenouementPLOT STRUCTURES: 1.Dramatic Plot a.Parallel b.Episodic 2.En Medias Res CHARACTER a fictional representation of a person usually (but not necessarily) a psychologically realistic depiction. Interaction between characters creates the conflict that drives a storys plot. Characters are developed in two ways: 1.Readers can be told about the characters 2. Revealed through actions, dialogue, or thought. Hero/ Heroine / Protagonist Central or main character Antagonist the force that opposes the protagonists efforts. Round Character - well developed, closely involved in and responsive to the action. Flat Character barely developed or stereotypical. Foil a supporting character who presents a contrast with the protagonist. Stock Character easily identifiable types. Caricatures characterized by single dominant trait. Dynamic Character -grows and changes in the course of the story, developing as they react to events and other characters. Static Character remains essentially unchanged. Character Motivation reasons behind that characters behavior. Identifying a Character: 1.What the narrator says about the character 2.What other character/s say/s about the character 3. What the character says about him/herself 4.What the character actually does SETTING establishes its historical, geographical and physical location It tells: WHERE a work is set WHEN a work takes place a variety of physical and cultural features Setting may be important that t is the key factor influencingthe characters or the plot development A contrast between situation and setting can create interest, thus,the setting may enhance the plot. THREE SETTING CONTEXTS: 1.HISTORICALCONTEXT a particular historical period, the events associated with it,and the cultural norms of that period. 2. GEOGRAPHICAL CONTEXT tells where the story takes place; helps in explaining things such as language use, customs, and behavior of the character/s. 3. PYSICAL CONTEXT includes time of the day, indoors/outdoors, weather, and general atmosphere. The various physical attributes of setting combine to create an atmosphere, or mood, that may be critical to a story. POINT OF VIEW the angle or vantage point from which events are presented. The narrators voice is not the same as the authors voice. TYPES OF POINT OF VIEW 1. First Person uses I or WE to tell the story. This narrator may be a major or a minor character, or someone who has no part at all. Sometimes, First Person Narrators may be unreliable self-serving, mistaken, confused, unstable or even mad. Major character telling his/her own story: Every morning I lay on the floor in the front parlour watching her door. (James Joyce Araby) Minor character as witness/non-participant: And so she died...We did not even know she was sick; we had long since given up trying to get information... (William Faulkner A Rose for Emily) 2. THIRD PERSON one who is not a character in the story. Three Categories: 1.Omniscient all-knowing 2.Limited Omniscient focusing only on what a single major or minor character experiences. 3.Objective remains entirely outside the characters minds, recording the action as a camera would. Third Person Narrator (he, she, it, or they) Omniscient able to move at will from character to character and comment about them. In a house in a suburb, in a city, there were a man and his wife who loved each other very much... (Nadine Gordimer Once Upon a Time) Limited Omniscient restricts focus to a single character The wagon went on. He did not know where they were going. (William Faulkner Barn Burning) Objective simply reports the dialogue and the actions of the characters. Youll be drunk, the waiter said. The old man looked at him. The waiter went away. (Ernest Hemingway A Clean, Well-Lighted Place) STYLE the way in which a writer selects and arranges words to express ideas and to communicate a particular theme. Stream of Consciousness a style that mimics thought, allowing ideas to run into one another as random associations are made, so that readers may follow and participate in the thought processes of the narrator. style may emphasize on sound and rhythm of words Style must be consistent with the writers purpose and with the effect he or she hopes to create. Foreshadowing the cropping of important hints to prepare the reader for what is to come and help him anticipate for the outcome. TONE the attitude of the speaker or author of a work toward the subject matter, characters or audience. LANGUAGE (LEVELS OF DICTION) how formal or informal a storys language is. may reveal insights about the storys theme. 1.Formal characterized by elaborate, complex sentences; a learned vocabulary; a serious, objective, detached tone. - avoids contractions, shortened word forms, regional expressions, slang, and may used one or we instead of I. Formal diction may indicate erudition, a high educational level, a superior social or professional position or emotional detachment. 2. Informal consistent with everyday speech, characterized by slang, contractions, colloquial expressions, shortened word forms, incomplete sentences, and a casual, conversational tone. - Informal style tends to narrow the distance between readers and text. IMAGERY AND FIGURATIVE LANGUAGE Imagery words and phrases that describe what is seen, heard, smelled, tasted or touched; can have a significant impact in a story. - A pattern of repeated imagery can help to convey a particular impression about a character or situation; or is used to reinforce the theme. SYMBOL a person, object, action, place or event that in addition to its literal or denotative meaning suggests a more complex meaning or range of meanings. Archetypal Symbols Conventional / Cultural Symbols Symbols enrich meanings, expanding the possibilities for interpretation and for reader interaction with the text. Literary Symbols may derive additional associations through their use in a particular literary work. Purpose of Symbols Symbols expand the possible meanings of a story, thereby heightening the interest and involving readers in active participation in the text. Symbols encourage readers to probe the story for values and ideas, to consider and weigh the suitability of a variety of interpretations. It serves as a hot spot that invites questions and exploration, thus, reinforcing and enriching the storys theme. ALLEGORY attempts to communicate a doctrine, message, or moral principle by making it into a narrative in which the characters personify ideas, concepts, qualities, or other abstractions. An allegory is a story with two parallel and consistent levels of meaning one literal and one figurative, which offers some moral or political lessons. If a SYMBOL has multiple symbolic associations as well as literal meaning, an ALLEGORICAL FIGURE a character, object, place or event in the allegory has just one meaning within an ALLEGORICAL FRAMEWORK the ideas that convey the allegorys message. Ex. Stories that is based on or resembles Christian doctrines like salvation, crucifixion, etc. THEME is its central or dominant idea. It would have to convey the values and ideas expressed by the story. - it is a general observation about humanity, giving the storys theme meaning outside the story itself. CONFLICT makes a plot gripping. 4 Sources of Conflict: 1.Man against Man 2.Man against Society 3.Man against Nature 4.Man against himself Other Terms: FLASHBACK dramatic device by which the author interrupts the episode to present a situation or incident which occurred at an earlier time. POETIC JUSTICE an outcome of event that rewards the virtues and punishes the vicious. MORAL the lesson or teaching that is brought out through the action or is explicitly stated or implied by one of the characters.