LIST I | LIST II | ||
A. | The School of Abuse | I. | Thomas Wilson |
B. | An Apology for Poetry | II. | Stephen Gesson |
C. | A Defence of Rhyme | III. | Philip Sidney |
D. | The Art of Rhetoric | IV. | Samuel Daniel |
LIST I | LIST II | ||
A. | Fin-de-siecle | I. | God from the machine |
B. | Deucox machina | II. | Comic drama |
C. | Commedia dell'arte | III. | A name which is different from his/her real name is used by an author |
D. | Nom de pluma | IV. | end of a century |
LIST I | LIST II | ||
A. | Verbal Irony | I. | The introduction of a structural feature that serves to sustain a double meaning throughout the work. |
B. | Structural Irony | II. | A mode of narrative writing in which the author builds up the illusion of representing reality and then shatters it. |
C. | Dramatic Irony | III. | A statement in which the meaning that the speaker implies differs from the meaning that is expressed |
D. | Romantic Irony | IV. | A situation in which the reader audience shares with the authors knowledge of circumstances of which the character is ignorant. |
LIST I | LIST II | ||
A. | Motif | I. | It is a general concept in a literary text which is designed to involve and persuade the reader to believe in it. |
B. | Plot | II. | It is the general locate, historical time and social circumstances in which the action occurs |
C. | Setting | III. | It is a conspicuous elements which occurs frequently in works of literature |
D. | Theme | IV. | It is constituted by its events and actions that achieve particular artistic and emotional effects. |