121.
Psychological Realism: It is the realistic writing that probes
deeply into the complexities of characters’ thoughts and
motivations. Henry James is considered the founder of psychological
realism. His novel The Ambassadors is considered to be a
masterpiece of psychological realism.
122.
Pun: The use of a word or phrase to suggest tow or more meaning at
the same time. Puns are generally humorous.
123.
Quatrain: Usually a stanza or poem of four lines. A quatrain may
also be any group of four lines unified by a rhyme scheme.
Quatrains usually follow an abab, abba, or abcb rhyme scheme.
124.
Quintain: the five-line stanza.
125.
Realism: The attempt in literature and art to represent life as it
really is, without sentimentalizing or idealizing it. Realistic
writing often depicts the everyday life and speech of ordinary
people. This has led, sometimes, to an emphasis on sordid
details.
126.
Refrain: 叠句: A word phrase, line or group of lines repeated
regularly in a poem, usually at the end of each stanza. Refrains
are often used in ballads and narrative poems to create a songlike
rhythm and to help build suspense. Refrains can also serve to
emphasize a particular idea.
127.
Renaissance: The term originally indicated a revival of classical
(Greek and Roman) arts and sciences after the dark ages of medieval
obscurantism.
128.
Rhyme: It’s one of the three basic elements of traditional poetry.
It is the repetition of sounds in two or more words or phrases that
appear close to each other in a poem. If the rhyme occurs at the
ends of lines, it is called end rhyme. If the rhyme occurs within a
line, it is called internal rhyme. Approximate rhyme is rhyme in
which only the final consonant sounds of the words are identical. A
rhyme scheme is the pattern of rhymes in a poem. Interlocking rhyme
is a rhyme scheme in which an unrhymed line in one stanza rhymes
with a line in the following stanza. Interlocking rhyme occurs in
an Italian verse form called terza rima.
129.
Rhythm: It is one of the three basic elements of traditional
poetry. It is the arrangement of stressed and unstressed syllables
into a pattern. Rhythm often gives a poem a distinct musical
quality. Poets also use rhythm to echo meaning.
130.
Romance: Any imagination literature that is set in an idealized
world and that deals with a heroic adventures and battles between
good characters and villains or monsters.
131.
Romanticism: A movement that flourished in literature, philosophy,
music, and art in Western culture during most of the 19th century,
beginnigogom.
132.
Satire: A kind of writing that holds up to ridicule or contempt the
weaknesses and wrongdoings of individuals, groups, institutions, or
humanity in general. The aim of satirists is to set a moral
standard for society, and they attempt to persuade the reader to
see their point of view through the force of laughter.
133.
Scansion诗的韵律分析: The analysis of verse in terms of meter.
134.
Sentimentalism: Sentimentalism came into being as a result of a
bitter discontent on the part of certain enlighteners in social
reality.
135.
Septet: the seven-line stanza. Chaucerian stanza: ababbcc.
136.
Sestet: the six-line stanza. 3couplets/ a quatrain + a couplet/ 2
triplets.
137.
Setting: The time and place in which the events in a short story,
novel, play or narrative poem occur. Setting can give us
information, vital to plot and theme. Often, setting and character
will reveal each other.
138.
Short Story: A short story is a brief prose fiction, usually one
that can be read in a single sitting. It generally contains the six
major elements of fiction—characterization, setting, theme, plot,
point of view, and style.
139.
Simile: (a figure of speech) A comparison make between two things
through the use of a specific word of comparison, such as like, as
than, or resembles. The comparison must be between two essentially
unlike things.
140.
Skaz: It’s a Russian word used to designate a type of first person
narration that has the characteristics of the spoken rather than
the written word. In this kind of novel, the narrator is a
character who refers to himself as “I” and addresses the reader as
“you”. He or she uses vocabulary and syntax characteristic of
colloquial speech, and appears to be relating the story
spontaneously rather than delivering a carefully constructed and
polished written account.
141.
Soliloquy: In drama, an extended speech delivered by a character
alone onstage. The character reveals his or her innermost thoughts
and feelings directly to the audience, as if thinking aloud.
142.
Song: A short lyric poem with distinct musical qualities, normally
written to be set to music. In expresses a simple but intense
emotion.
143.
Sonnet: A fourteen-line lyric poem, usually written in rhymed
iambic pentameter. A sonnet generally expresses a single theme or
idea.
144.
Speech: It was defined by Aristotle as the faculty of observing all
the available means of persuasion.
145.
Spenserian
stanza: A nine-line stanza with the following rhyme scheme:
ababbabcc. The first eight lines are written in iambic pentameter.
The ninth line is written in iambic hexameter and is called an
alexandrine.
146.
Spondee扬扬: It consists of two stressed syllables.
147.
Sprung Rhythm: A term created by the poet Gerard Manley Hopkins to
designate a variable kind of poetic meter in which a stressed
syllable may be combined with any number of unstressed syllables.
Poems with sprung rhythm have an irregular meter and are meant to
sound like natural speech.
148.
Stanza: It’s a structural division of a poem, consisting of a
series of verse lines which usually comprise a recurring pattern of
meter and thyme.
149.
Stereotype: A commonplace type or character that appears so often
in literature that his or her nature is immediately familiar to the
reader. Stereotypes, also called stock characters, always look and
act the same way and reveal the same traits of character.
150.
Stream of consciousness: “Stream-of-Consciousness” or “interior
monologue”, is one of the modern literary techniques. It is the
style of writing that attempts to imitate the natural flow of a
character’s thoughts, feelings, reflections, memories, and mental
images as the character experiences them. It was first used in 1922
by the Irish novelist James Joyce. Those novels broke through the
bounds of time and space, and depicted vividly and skillfully the
unconscious activity of the mind fast changing and flowing
incessantly, particularly the hesitant, misted, distracted and
illusory psychology people had when they faced reality. The modern
American writer William Faulkner successfully advanced this
technique. In his stories, action and plots were less important
than the reactions and inner musings of the narrators. Time
sequences were often dislocated. The reader feels himself to be a
participant in the stories, rather than an observer. A high degree
of emotion can be achieved by this technique.
151.
Style: An author’s characteristic way of writing, determined by the
choice of words, the arrangement of words in sentences, and the
relationship of the sentences to one another.
152.
Suspense: The quality of a story, novel, or drama that makes the
reader or audience uncertain or tense about the outcome of
events.
153.
Symbol: A symbol is a sign which suggests more than its literal
meaning. In other words, a symbol is both literal and figurative. A
symbol is a way of telling a story and a way of conveying meaning.
The best symbols are those that are believable in the lives of the
characters and also convincing as they convey a meaning beyond the
literal level of the story. If the symbol is obscure or ambiguous,
then the very obscurity and the ambiguity may also be part of the
meaning of the story.
154.
Symbolism: Symbolism is the writing technique of using symbols.
It’s a literary movement that arose in France in the last half of
the 19th century and that greatly influenced many English writers,
particularly poets, of the 20th century. It enables poets to
compress a very complex idea or set of ideas into one image or even
one word. It’s one of the most powerful devices that poets employ
in creation.
155.
Synecdoche: A figure of speech that substitutes a part for a
whole.
156.
Terza rima: An Italian verse form consisting of a series of
three-line stanzas in which the middle line of each stanza rhymes
with the first and third lines of the following stanza.
157.
Theme; The general idea or insight about life that a writer wishes
to express in a literary work. All the elements of a literary
work-plot, setting, characterization, and figurative
language-contribute to the development of its theme.
158.
Tone: The attitude a writer takes toward his or her subject,
characters, or audience. The tone of a speech or a piece of writing
can be formal or intimate; outspoken or reticent; abstruse or
simple; solemn or playful; angry or loving; serious or ironic.
159.
Tragedy: In general, a literary work in which the protagonist meets
an unhappy or disastrous end. Unlike comedy, tragedy depicts the
actions of a central character who is usually dignified or
heroic.
160.
Triplet: The three-line stanza. Tercet: aaa, bbb, ccc, and so on;
terza rima: aba, bcb cdc, and so on.
161.
Trochee扬抑格: the reverse of the iambic foot.
162.
Villanelle维拉内拉诗: An intricate verse form of French origin,
consisting of several three-line stanzas and a concluding four-line
stanza.
163.
Wit:
A brilliance and quickness of perception combined with a cleverness
of expression. In the 18th century, wit and nature were
related-nature provided the rules of the universe; wit allowed
these rules to be interpreted and expressed
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