| verse | poetic language that includes meter and sometimes rhyme; organized in lines with a consistent number of syllables; used for hight status characters, great affairs of war and state, and tragic moments |
| prose | ordinary written language with no meter or rhyme; organized in sentences; used for low status characters, proclamations, accusation, letters, comedic moments, and to express madness |
| Shakespeare | born in 1564 in Stratford-on-Avon, recieved a classical education, began as an actor, and wrote 38 plays, 4 lengthy poems, and a sonnet cycle |
| meter | the pattern of stressed and unstressed syllables; responsible for creating rhythm of a line; total number of metrical feet in a line of verse |
| foot | a group of syllables that forms one complete unit of a metrical patern |
| iambic pentameter | the most common metrical pattern in Shakespeare; lines of five feet, 10 syllables |
| blank verse | unrhymed iambic pentameter |
| free verse | no regular meter |
| sonnets | 14 line poem, usually written in iambic pentameter; organized in 3 quatrains and a couplet;; typical rhyme scheme is abab cdcd efef gg |
| Italian/petarchan sonnet | has an octave and a sestet |
| quatrain | 4 line stanza, usually rhymed |
| couplet | a pair of rhyming verse lines |
| first quatrain | introduction of a sonnet |
| second quatrain | refection and development of the issue in the sonnet |
| third quatrain | shows the complication of the sonnet |
| concluding couplet | conclusion of a sonnet; is the most pronounced break or turn |
| aside | a character’s remark, either to the audience or another character, that the other characters on stage are not supposed to hear |
| monologue | an extended speech by a single character that is uninterrupted by others |
| soliloquy | a speech a character gives when she/he is alone on stage; a monologue to represent a character’s thoughts |
| foil | a character whose personality or attitudes are in sharp contrast to those of another character in the same work |
| allusion | reference to an event, person, place, or another work of literature |
| Janus | roman god of gates and doors and beginnings and ends; depicted with a double-faced head; worshipped at times of beginning; represents the transition between primitive life and civilization, the countryside and city, peace and war, and the growing up of young people |
| tragedy | a serious play representing the disastrous downfall of the hero; achieves catharsis by arousing pity and terror in the audience |
| hamartia | tragic flaw or error |
| hubris | excessive pride leading to devine retribution |
| classical tragic hero | a good man that is important to society; the hero suffers a fall brough by tragic flaw and comes to some kind of understanding of what has happened |
| tragic flaw | defect of character that leads to the hero’s disasterous downfall; something in his nature |
| Moors | muslim people of Arab and Berber descent from northwest Africa; invaded Spain and established a civilization in Andalusia; dark or very black; symbolize something other than human, often something devilish |
| cuckold | a man whose wife is unfaithful to him; represented with horns growing out of his forehead |
| Othello | written around 1604; fascination with evil |
| setting of Othello | journey from Venice, Italy to Cyprus; Venice=order, rule of reason; Cyprus=disorder, rule of passion |
| ethos | the appeal of writer’s character (credibility, integrity, authority) and appearing fair and well-balanced |
| logos | the appeal to reason of logic; facts |
| pathos | the appeal to the audience’s emotions |
| connotation | associations and implications that go beyond the literal meaning of a word, which derive from how the word has been commonly used and the associations people make with it |
| denotation | the literal, dictionary definition of a word |
| image | a word, phrase, or figure of speech (especially a simile or metaphor) that addresses the senses, suggesting mental experiences of sights, sounds, smells, tastes, feelings, or actions; offer sensory impressions to the reader and also convey emotions and moods (foundation for pathos) |
| intimation | hinting at a meaning, but not stating it explicity |
| metaphor | a comparison made by referring to one thing in terms of another |
| repetition | the repeating of sounds, phrases, clauses, words, and ideas |
| leading questions | a question which subtly prompts the respondent to answer in a particular way |
| assumptive questions | these questions include guesses which limit independent thought and/or potential answers ex. How much will gas prices go up next year?This question does not allow for the possibility that gas prices may go down |
| linked statements | associates something with one part of the sentence, but not the otherex. Would you prefer to live in Alba or in Barta, where the crime rate is very low?The link with Barta makes it more desirable even though Alba’s crime rate could be equal or even lower |
| implication questions | asking questions that lead the respondent to think of consequences of current or past events links the past with the future in an apparently inexcaple chain of cause and effectex. If you vote for that party, what do you think will happen to taxes? |
| ask for agreement | directly and clearly asks for agreement and makes it easier to say ‘yes’ than ‘no’.ex. Do you agree that we need to save the whales? |
| tag questions | short questions added to the end of statements that disguise a command as a questionex. You’ll come to dinner tonight, won’t you? |
Terms from Othello Pktt & Rhetoric Pkt
September 13, 2019