25+Literary+Terms

==**Useful in Studying Shakespearean Tragedy ** ==

**T** his select glossary defines terms commonly used in scholarly discussions of Shakespeare's plays. Understsanding these terms and how they are used is essential in reading and writing about Shakespearean drama. For additional information, consult a dictionary of literary terms.

˘ / ˘ / ˘ / ˘ / ˘ So foul and fair a day I have not seen. || (2) figurative (i.e. not literal) language which conveys word pictures and evokes imaginative and emotional response. Metaphor, simile and personification are the most common figures of speech. Others are metonymy, onomatopoeia, oxymoron. Shakespeare's tragedies are marked by recurring images, related word pictures that support or extend thematic ideas. For example, Hamlet's metaphorical reference to Denmark as "an unweeded garden" is echoed often in later dialogue. See also Metaphor, Motif, and Symbol. || Subtypes of Metaphor: (1) Simile, a stated comparison often using "like" or "as". For example Lear refers to his daughter Goneril's cruel unkindness as "sharp-toothed... like a vulture." (2) Personification, attributing human qualities and behaviour to animals, inanimated objects or abstract concepts. For example, Macbeth personifies his fortress as a strong warrior mocking the attacking enemy when he boasts, "Our castle's strength/ Will laugh a siege to scorn." ||
 * **Allusion** || a casual reference to something well known from earlier literature, mythology, history, etc. For example, Othello, about to murder Desdomona, says, "I know not where is that Promethean heat/ That can thy light relume." He refers or alludes to Prometheus, the mythological Titan who stole fire from the gods to give life to mankind. See Imagery. ||
 * **Aside** || a commont or spoken thought, usually brief, intended only for the audience (or occasionally for one other character on stage). The audience is aware that other characters do not hear these comments. See Soliloquy. ||
 * **Blank Verse** || unrhymed iambic pentameter verse, the most popular poetic form for drama in Shakespeare's time. See also Rhyming couplet. ||
 * **Catastrophe** || the final incident in a tragedy, when the main conflict ends with the protagonist's death. ||
 * **Catharsis** || according to Aristotle, a "cleansing" of emotions, particularly pity and terror, experienced by the audience at the conclusion of a tragedy. Identifying with the protagonist's problem, and feeling part of his/her tragic end, may evoke in the audience feelings of elation and spiritual renewal. ||
 * **Comic Relief** || a humourous episode or scene in a serious play that allows relief from tension, sometimes by providing satiric commentary on the main action. The comic episode may also heighten suspense by delaying incidents anticipated by the audience. An example is the Porter's scene in Macbeth, just before the discovery of King Duncan's murder. ||
 * **Dramatic Irony** || the effect produced when the words or actions of a character have significance unknown to himself or herself, but known to the audience. The term is sometimes applied to any situation (such as disguise or mistaken identity) when one or more characters are ignorant of facts known to the spectator. Othello's frequent use of the word "honest" in addressing Iago exploits dramatic irony in a way that is increasingly frightful and heart-wrenching. ||
 * **Figurative Language** || figures of speech. See Imagery, Word Play. ||
 * **Foil** || a character whose qualities and actions set off by contrast those of a more important character. A foil character may also serve as the unwitting dupe of a Machiavellian, as Roderigo is to Iago. ||
 * **Hubris** || pride, supreme overconfidence. In tragedy, the protagonist, because of an error in judgement (see Tragic Flaw) may be blinded by pride and overconfidence and fall to destruction. ||
 * **Iambic Pentameter** || a line of verse cnosisting of five metrical feet, each having two syllables, one unaccented and one accented (˘ / ). Blank verse is made up of unrhymed iambic pentameter lines, and is the most common verse form for drama in shakespeare's time. Macbeth's first comment is a regular iambic pentameter line: ˘
 * **Imagery** || (1) mental impressions created by skillful use of diction that appeals to any of the five senses;
 * **Machiavellian** || a dissembling villain for whom the end- his own success- justifies the means. He does anything necessary to serve his own desires, covering his schemes with hypocritical shows of selflessness, honesty, loyalty. Iago, Edmund, Claudius and Macbeth are examples of Machiavellians. ||
 * **Metaphor** || a figure of speech (see Imagery) based on a comparison that is implied rather than directly stated. For example, Iago tells us he will use a little "web" to "ensnare as great a fly as Cassio," implying that his clever schemes will deceive and destroy his rival, Lieutenant Cassio.
 * **Mood** || the feeelings evoked in the audience by a dramatist's creation of atmosphere through dialogue and action. For example, the opening scene of Hamlet, late at night on the battlements of Elsinore, creates an atmosphere of mystery and suspense. Anxious sentries talk uneasily about a ghostly visitor. The mood evoked in the audience is one of nervous excitement and anticipation. ||
 * **Motif** || a recurring idea that resonates through a literary work, often punctuating an important theme. The guilt-ridden, troubled sleep of Macbeth and Lady Macbeth is an effective motif in the last two acts of the play. See also Imagery, Symbol. ||
 * **Nemesis** || retributive justice, appropriate punishment for wickedness. In Greek ythology, Nemesis was a goddess of vengeance. The term sometimes extends to include appropriate reward for virtue. ||
 * **Pathetic Fallacy** || the representation of nature as being in sympathy with, or affected by the emotions and actions of human beings. The onset of Lear's stormy madness is reflected in the real storm thundering over his head. ||
 * **Paradox** || an apparent contradiction which may nevertheless contain the truth. When Iago says, "I am not what I am," the paradox suggests his hypocritical, dissembling nature, and supports the "appearance vs. reality" motif that dominates the play, Othelo. ||
 * **Pathos** || the quality in drama that arouses pity or sadness in the spectator who imagines and participates in the suffereings of a character. Lear's return to reason, awakening in the care of his wronged daughter Cordelia, is a scene of great pathos. ||
 * **Rhyming Couplet** || a pair of consecutive rhyming lines, often used by Shakespeare to mark the end of an incident or scene, or to emphasize a significant idea (often in a proverbial expression). ||
 * **Soliloquy** || a speech expressing a character's thoughts, usually when he or she is alone on stage. A soliloquy may reveal character, comment on the current situation, or explain the character's plans, thereby preparing the audience of subsequent events. ||
 * **Symbol** || a specific object, person or incident that exists as itself, but also carries a general meaning beyond itself. Hamlet's philosophical comments in the graveyard are extended and emphasized when he takes up the skull of Yorick. His memories of the dead jester confirm his melancholy views about death. The skull or death's head is a traditional symbol for the transitory nature of human life and achievement, a recurring motif of the play. See also Imagery, Motif. ||
 * **Tragic Flaw** || a weakness in the protagonist's otherwise noble nature, one that may lead to an error in judgement and subsequent downfall. ||
 * **Word****Play** || witty and humourous dialogue that depends on sound-alike words or multiple meanings. Puns, quibbles and riddles are examples. More serious and traditional figures of speech, such as oxymoron and metonymy are somtimes included under this general heading. ||