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AP Literature Literary Elements
AP Literature Literary Elements
SCROLL THROUGH THE FLASHCARDS TO REVIEW LITERARY ELEMENTS,
DEFINITIONS AND WHY AUTHORS MAY USE THEM.
SCROLL THROUGH THE FLASHCARDS TO REVIEW LITERARY ELEMENTS,
DEFINITIONS AND WHY AUTHORS MAY USE THEM.
FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE
METAPHORMETAPHOR
COMPARING TWO UNLIKE THINGS IN ORDER TO
EMPHASIZE THE SIMILARITY
COMPARING TWO UNLIKE THINGS IN ORDER TO
EMPHASIZE THE SIMILARITY
EX: MISS EMILY GRIERSON WAS A FALLEN MONUMENT TO THE TOWN
THIS CHARACTERIZES HOW THE TOWN ISOLATED EMILY AS WELL AS
CONNOTES THEIR JUDGMENT OF HER
EX: MISS EMILY GRIERSON WAS A FALLEN MONUMENT TO THE TOWN
THIS CHARACTERIZES HOW THE TOWN ISOLATED EMILY AS WELL AS
CONNOTES THEIR JUDGMENT OF HER
FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE
CONCEITCONCEIT
AN EXTENDED METAPHOR WOVEN THROUGHOUT A PARAGRAPH OR
PIECE OF LITERATURE AS A MEANS OF STRUCTURING THE PIECE OR CONSTRUCTING MOOD, TONE OR
THEME
AN EXTENDED METAPHOR WOVEN THROUGHOUT A PARAGRAPH OR
PIECE OF LITERATURE AS A MEANS OF STRUCTURING THE PIECE OR CONSTRUCTING MOOD, TONE OR
THEME
EX: THE PEAR TREE - THEIR EYES WERE WATCHING GOD
THIS CONSTRUCTED HURSTON’S TONE TOWARD THE NATURE OF LOVE
EX: THE PEAR TREE - THEIR EYES WERE WATCHING GOD
THIS CONSTRUCTED HURSTON’S TONE TOWARD THE NATURE OF LOVE
FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE
SYNESTHESIASYNESTHESIA
THE MIXING OF SENSES USED AS A MEANS TO CONSTRUCT
MOOD OR CHARACTERIZATION
THE MIXING OF SENSES USED AS A MEANS TO CONSTRUCT
MOOD OR CHARACTERIZATION
EX: A SNEER OF COLD COMMAND - “OZYMANDIAS”
THIS CONSTRUCTS THE MOOD OF THE LEADER’S REIGN AND CONSEQUENTLY
CHARACTERIZES HIM
EX: A SNEER OF COLD COMMAND - “OZYMANDIAS”
THIS CONSTRUCTS THE MOOD OF THE LEADER’S REIGN AND CONSEQUENTLY
CHARACTERIZES HIM
FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE
METONYMYMETONYMY
THE SUBSTITUTION OF THE NAME OF AN ATTRIBUTE FOR
THE OBJECT OR CONCEPT WITH WHICH IT IS ASSOCIATED IN ORDER TO EMPHASIZE THE
SIMILARITY
THE SUBSTITUTION OF THE NAME OF AN ATTRIBUTE FOR
THE OBJECT OR CONCEPT WITH WHICH IT IS ASSOCIATED IN ORDER TO EMPHASIZE THE
SIMILARITY
EX: THE HAND THAT MOCKED THEM - OZYMANDIAS
THE HAND REPRESENTS THE RULE OF OZYMANDIAS
EX: THE HAND THAT MOCKED THEM - OZYMANDIAS
THE HAND REPRESENTS THE RULE OF OZYMANDIAS
FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE
SYNECDOCHESYNECDOCHE
USING PART TO STAND FOR THE WHOLE IN ORDER TO
EMPHASIZE THE CHARACTERISTIC OF THE PART
USING PART TO STAND FOR THE WHOLE IN ORDER TO
EMPHASIZE THE CHARACTERISTIC OF THE PART
EX: WHITE HAIR STANDING FOR ELDERLY
THIS FOCUSES ATTENTION ON THE PHYSICAL MANIFESTATION OF AGING PERHAPS BECAUSE IT IS THE MOST
UNDERSTOOD OR THE MOST FEARED
EX: WHITE HAIR STANDING FOR ELDERLY
THIS FOCUSES ATTENTION ON THE PHYSICAL MANIFESTATION OF AGING PERHAPS BECAUSE IT IS THE MOST
UNDERSTOOD OR THE MOST FEARED
FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE
IMAGERYIMAGERY
THE USE OF DESCRIPTIVE LANGUAGE TO CREATE IMAGES WITHIN THE MIND USUALLY TO
CONSTRUCT MOOD
THE USE OF DESCRIPTIVE LANGUAGE TO CREATE IMAGES WITHIN THE MIND USUALLY TO
CONSTRUCT MOOD
EX: THE OPENING PARAGRAPHS IN THE CHAPTER WHEN FRANKENSTEIN’S
MONSTER COMES TO LIFE
SHELLEY RELIES ON IMAGERY TO CREATE A FOREBODING MOOD
EX: THE OPENING PARAGRAPHS IN THE CHAPTER WHEN FRANKENSTEIN’S
MONSTER COMES TO LIFE
SHELLEY RELIES ON IMAGERY TO CREATE A FOREBODING MOOD
FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE
PERSONIFICATIONPERSONIFICATION
ATTRIBUTING HUMAN CHARACTERISTICS TO NON-LIVING OBJECTS USUALLY TO
CONSTRUCT MOOD
ATTRIBUTING HUMAN CHARACTERISTICS TO NON-LIVING OBJECTS USUALLY TO
CONSTRUCT MOODEX: THE LAME UNCERTAIN
CURVES...SUDDENLY COMMIT SUICIDE - THE YELLOW WALLPAPER
BY PERSONIFYING THE WALLPAPER, GILMAN CONSTRUCTS AN EERIE MOOD
AND FURTHER CHARACTERIZES THE SPEAKER’S STATE OF MIND
EX: THE LAME UNCERTAIN CURVES...SUDDENLY COMMIT SUICIDE -
THE YELLOW WALLPAPER
BY PERSONIFYING THE WALLPAPER, GILMAN CONSTRUCTS AN EERIE MOOD
AND FURTHER CHARACTERIZES THE SPEAKER’S STATE OF MIND
FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE
SYMBOLSYMBOL
USING AN OBJECT TO REPRESENT A COMPLEX
CONCEPT OR EMOTION IN ORDER TO CLARIFY
USING AN OBJECT TO REPRESENT A COMPLEX
CONCEPT OR EMOTION IN ORDER TO CLARIFY
EX: THE PAPERWEIGHT - 1984
THIS REPRESENTED WINSTON’S CONCEPT OF UTOPIA, A WORLD
PROTECTED FROM INTRUSION FROM OPPRESSIVE FORCES
EX: THE PAPERWEIGHT - 1984
THIS REPRESENTED WINSTON’S CONCEPT OF UTOPIA, A WORLD
PROTECTED FROM INTRUSION FROM OPPRESSIVE FORCES
FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE
ALLUSIONALLUSION
REFERRING TO SOMETHING WITHOUT DIRECTLY NAMING IT
OFTEN TO CONSTRUCT SETTING OR TONE
REFERRING TO SOMETHING WITHOUT DIRECTLY NAMING IT
OFTEN TO CONSTRUCT SETTING OR TONE
EX: MAYCOMB HAD RECENTLY BEEN TOLD IT HAD NOTHING TO FEAR BUT FEAR
ITSELF - TO KILL A MOCKINGBIRD
THIS REVEALS THE HISTORICAL CONTEXT OF THE NOVEL BY INDIRECTLY
REFERENCING A PRESIDENTIAL SPEECH
EX: MAYCOMB HAD RECENTLY BEEN TOLD IT HAD NOTHING TO FEAR BUT FEAR
ITSELF - TO KILL A MOCKINGBIRD
THIS REVEALS THE HISTORICAL CONTEXT OF THE NOVEL BY INDIRECTLY
REFERENCING A PRESIDENTIAL SPEECH
FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE
APOSTROPHEAPOSTROPHE
ADDRESSING AN OBJECT OR A ABSENT PERSON AS THOUGH PRESENT; THIS CAN BE USED
FOR MYRIAD REASONS
ADDRESSING AN OBJECT OR A ABSENT PERSON AS THOUGH PRESENT; THIS CAN BE USED
FOR MYRIAD REASONSEX: VICTOR FRANKENSTEIN’S
FREQUENT ADDRESSES TO CLERVAL WHEN TELLING HIS TALE TO WALTON
THIS SOMETIMES SERVES TO FORESHADOW EVENTS IN THE PLOT AS
WELL AS TO DEVELOP VICTOR’S RELATIONSHIP WITH CLERVAL
EX: VICTOR FRANKENSTEIN’S FREQUENT ADDRESSES TO CLERVAL WHEN TELLING HIS TALE TO WALTON
THIS SOMETIMES SERVES TO FORESHADOW EVENTS IN THE PLOT AS
WELL AS TO DEVELOP VICTOR’S RELATIONSHIP WITH CLERVAL
ELEMENTS OF STYLE
ELEMENTS OF STYLE
IRONYIRONY
THE CONTRAST BETWEEN APPEARANCE AND REALITY OFTEN TO CREATE TONE.
FORMS: VERBAL, DRAMATIC, SITUATIONAL
THE CONTRAST BETWEEN APPEARANCE AND REALITY OFTEN TO CREATE TONE.
FORMS: VERBAL, DRAMATIC, SITUATIONAL
EX: ALAS THERE LIES MORE PERIL IN THINE EYE THAN TWENTY THOUSAND OF
THEIR SWORDS - ROMEO AND JULIET
THIS REVEALS SHAKESPEARE’S TONE TOWARD OBSTACLES IN LOVE
EX: ALAS THERE LIES MORE PERIL IN THINE EYE THAN TWENTY THOUSAND OF
THEIR SWORDS - ROMEO AND JULIET
THIS REVEALS SHAKESPEARE’S TONE TOWARD OBSTACLES IN LOVE
ELEMENTS OF STYLE
ELEMENTS OF STYLE
CONNOTATION
CONNOTATION
THE IMPLIED FEELING OF A WORD, OFTEN BASED ON
SOUND, USED IN ORDER TO CREATE TONE OR MOOD
THE IMPLIED FEELING OF A WORD, OFTEN BASED ON
SOUND, USED IN ORDER TO CREATE TONE OR MOOD
EX: GALUMPHING - “JABBERWOCKY”
CARROLL’S USE OF PORTMANTEAU WORDS MIXED THE SOUNDS AND
CREATED MOOD FOR A FANTASTICAL WORLD
EX: GALUMPHING - “JABBERWOCKY”
CARROLL’S USE OF PORTMANTEAU WORDS MIXED THE SOUNDS AND
CREATED MOOD FOR A FANTASTICAL WORLD
ELEMENTS OF STYLE
ELEMENTS OF STYLE
PARADOXPARADOX
A SEEMINGLY SELF-CONTRADICTORY STATEMENT THAT HOLDS AN ELEMENT OF
TRUTH
A SEEMINGLY SELF-CONTRADICTORY STATEMENT THAT HOLDS AN ELEMENT OF
TRUTH
EX: IGNORANCE IS TRUTH - 1984EX: IGNORANCE IS TRUTH - 1984
ELEMENTS OF STYLE
ELEMENTS OF STYLE
DIALECTDIALECT
FORM OF LANGUAGE SPECIFIC TO A REGION, OFTEN USED IN
LITERATURE TO DEVELOP CONTEXT
FORM OF LANGUAGE SPECIFIC TO A REGION, OFTEN USED IN
LITERATURE TO DEVELOP CONTEXT
EX: THE DIALOGUE - THEIR EYES WERE WATCHING GOD
THIS DEVELOPS THE CULTURAL CONTEXT OF THE NOVEL
EX: THE DIALOGUE - THEIR EYES WERE WATCHING GOD
THIS DEVELOPS THE CULTURAL CONTEXT OF THE NOVEL
ELEMENTS OF FICTION
ELEMENTS OF FICTION
FLASHBACKFLASHBACK
THE TELLING OF A STORY AS THOUGH LOOKING BACK, OFTEN USED TO IMPLY A
MORAL OR LESSON LEARNED
THE TELLING OF A STORY AS THOUGH LOOKING BACK, OFTEN USED TO IMPLY A
MORAL OR LESSON LEARNED
EX: FRANKENSTEIN, THEIR EYES WERE WATCHING GOD, TO KILL A
MOCKINGBIRD
EX: FRANKENSTEIN, THEIR EYES WERE WATCHING GOD, TO KILL A
MOCKINGBIRD
ELEMENTS OF FICTION
ELEMENTS OF FICTION
ANECDOTEANECDOTE
THE USE OF A SHORT (BRIEF) STORY TO ELABORATE OR EXPLAIN FURTHER OR TO
SHIFT MOODS
THE USE OF A SHORT (BRIEF) STORY TO ELABORATE OR EXPLAIN FURTHER OR TO
SHIFT MOODS
EX: MISSES TUTTI AND FRUTTI - TO KILL A MOCKINGBIRD
THIS PROVIDES COMIC RELIEF JUST BEFORE THE SCENE WHEN THE
CHILDREN ARE ATTACKED
EX: MISSES TUTTI AND FRUTTI - TO KILL A MOCKINGBIRD
THIS PROVIDES COMIC RELIEF JUST BEFORE THE SCENE WHEN THE
CHILDREN ARE ATTACKED
ELEMENTS OF FICTION
ELEMENTS OF FICTION
POINT OF VIEWPOINT OF VIEW
THE LENS THROUGH WHICH A STORY IS TOLD
STYLES: 1ST AND 3RD PERSON, LIMITED AND
OMNISCIENT
THE LENS THROUGH WHICH A STORY IS TOLD
STYLES: 1ST AND 3RD PERSON, LIMITED AND
OMNISCIENT
THE POINT OF VIEW IS CHOSEN AS A MEANS OF DEVELOPING THEME AND
TONE
THE POINT OF VIEW IS CHOSEN AS A MEANS OF DEVELOPING THEME AND
TONE
ELEMENTS OF POETRY
ELEMENTS OF POETRY
STRUCTURE/ FORM
STRUCTURE/ FORM
THE FORM OF VERSE THAT DICTATES THE PROSODY,
OFTEN USED TO CONSTRUCT MOOD AND TONE
THE FORM OF VERSE THAT DICTATES THE PROSODY,
OFTEN USED TO CONSTRUCT MOOD AND TONE
EX: FREE VERSE (“SUICIDE NOTE”), SONNET (“OZYMANDIAS”), QUATRAIN,
SESTET, COUPLET, REFRAIN
EX: FREE VERSE (“SUICIDE NOTE”), SONNET (“OZYMANDIAS”), QUATRAIN,
SESTET, COUPLET, REFRAIN
ELEMENTS OF POETRY
ELEMENTS OF POETRY
CONTROLLING IMAGE
CONTROLLING IMAGE
AN EXTENDED IMAGE USED TO CREATE STRUCTURE AND
MOOD
AN EXTENDED IMAGE USED TO CREATE STRUCTURE AND
MOOD
EX: A BIRD IN WINTER - “SUICIDE NOTE”
THIS DEVELOPS THE BARREN AND DESOLATE MOOD OF THE POEM
EX: A BIRD IN WINTER - “SUICIDE NOTE”
THIS DEVELOPS THE BARREN AND DESOLATE MOOD OF THE POEM
ELEMENTS OF POETRY
ELEMENTS OF POETRY
REPETITION REPETITION
THE REPEATING OF WORDS OR SOUNDS IN ORDER TO CREATE
STRUCTURE, MOOD, TONE, AND THEME
THE REPEATING OF WORDS OR SOUNDS IN ORDER TO CREATE
STRUCTURE, MOOD, TONE, AND THEME
EX: ASSONANCE, CONSONANCE, ALLITERATION (SOUNDS)
EX: ASSONANCE, CONSONANCE, ALLITERATION (SOUNDS)
ELEMENTS OF POETRY
ELEMENTS OF POETRY
SOUNDSOUND
THE USE OF THE SOUNDS OF WORDS TO CREATE MOOD
THE USE OF THE SOUNDS OF WORDS TO CREATE MOOD
EX: CACOPHONY, EUPHONY, DISSONANCE
EX: CACOPHONY, EUPHONY, DISSONANCE
ELEMENTS OF POETRY
ELEMENTS OF POETRY
METERMETER
THE RHYTHM OF VERSE, DETERMINED BY THE NUMBER
OF SYLLABLES PER LINE, OFTEN USED TO CREATE
MOOD AND TONE
THE RHYTHM OF VERSE, DETERMINED BY THE NUMBER
OF SYLLABLES PER LINE, OFTEN USED TO CREATE
MOOD AND TONE
EX: IAMBIC PENTAMETER, FOOT, CADENCE, CAESURA
EX: IAMBIC PENTAMETER, FOOT, CADENCE, CAESURA