|A Glossary of Litterary Terms, Page 3||Robert A.
February 5, 2010
Invective. Speech or writing that abuses, denounces, or attacks. It can be directed against a person, cause, idea, or system. It employs a heavy use of negative emotive language. Example:
An example of dramatic irony (where the audience has knowledge that gives additional meaning to a character's words) would be when King Oedipus, who has unknowingly killed his father, says that he will banish his father's killer when he finds him.
Irony is the most common and most efficient technique of the satirist, because it is an instrument of truth, provides wit and humor, and is usually at least obliquely critical, in that it deflates, scorns, or attacks.
The ability to detect irony is sometimes heralded as a test of intelligence and sophistication. When a text intended to be ironic is not seen as such, the effect can be disastrous. Some students have taken Swift's "Modest Proposal" literally. And Defoe's contemporaries took his "Shortest Way with the Dissenters" literally and jailed him for it. To be an effective piece of sustained irony, there must be some sort of audience tip-off, through style, tone, use of clear exaggeration, or other device.
Juvenalian Satire. Harsher, more pointed, perhaps intolerant satire typified by the writings of Juvenal. Juvenalian satire often attacks particular people, sometimes thinly disguised as fictional characters. While laughter and ridicule are still weapons as with Horatian satire, the Juvenalian satirist also uses withering invective and a slashing attack. Jonathan Swift and Alexander Pope are Juvenalian satirists.
Lampoon. A crude, coarse, often bitter satire ridiculing the personal appearance or character of a person.
Literary quality. A judgment about the value of a novel as literature. At the heart of this issue is the question of what distinguishes a great or important novel from one that is less important. Certainly the feature is not that of interest or excitement, for pulp novels can be even more exciting and interesting than "great" novels. Usually, books that make us think--that offer insight into the human condition--are the ones we rank more highly than books that simply titillate us. In non-literary fiction, plot is emphasized. If the value of the novel lies in how clever the plot twists are or how thrilling the story is, then it is more likely to be classified as fiction than literature. If you don't ever want to read the book again because now you know how it comes out, you have just read fiction, not literature. If you want to read the book again even though you know the plot and the ending, you might just be reading literature. If the book causes you to think, maybe even grow wiser, you are very likely reading literature. Yeah, I know how Hamlet comes out--spoiler alert--pretty much everybody of importance is dead at the end, but I still want to read it or watch it again.
Metaphysical Poetry. The term metaphysical was applied to a style of 17th Century poetry first by John Dryden and later by Dr. Samuel Johnson because of the highly intellectual and often abstruse imagery involved.
Chief among the metaphysical poets are John Donne, George Herbert, Richard Crashaw, Andrew Marvell, and Henry Vaughan. While their poetry is widely varied (the metaphysicals are not a thematic or even a structural school), there are some common characteristics:
Meter. The rhythmic pattern produced when words are arranged so that their stressed and unstressed syllables fall into a more or less regular sequence, resulting in repeated patterns of accent (called feet). See feet and versification.
Mock Epic. Treating a frivolous or minor subject seriously, especially by using the machinery and devices of the epic (invocations, descriptions of armor, battles, extended similes, etc.). The opposite of travesty. Examples:
Multicultural novel. A novel written by a member of or about a cultural minority group, giving insight into non-Western or non-dominant cultural experiences and values, either in the United States or abroad. Examples:
Novel. Dare we touch this one with a ten foot pole? Of course we dare, provided that you accept the caveat that novels are so varied that any definition is likely to be inadequate to cover all of them. So here is a place to start: a novel is an extended prose fiction narrative of 50,000 words or more, broadly realistic--concerning the everyday events of ordinary people--and concerned with character. "People in significant action" is one way of describing it.
Another definition might be "an extended, fictional prose narrative about realistic characters and events." It is a representation of life, experience, and learning. Action, discovery, and description are important elements, but the most important tends to be one or more characters--how they grow, learn, find--or don't grow, learn, or find.
Compare the definition of a romance, below, and you will see why this definition seems somewhat restrictive.
Novella. A prose fiction longer than a short story but shorter than a novel. There is no standard definition of length, but since rules of thumb are sometimes handy, we might say that the short story ends at about 20,000 words, while the novel begins at about 50,000. Thus, the novella is a fictional work of about 20,000 to 50,000 words. Examples:
Persona. The person created by the author to tell a story. Whether the story is told by an omniscient narrator or by a character in it, the actual author of the work often distances himself from what is said or told by adopting a persona--a personality different from his real one. Thus, the attitudes, beliefs, and degree of understanding expressed by the narrator may not be the same as those of the actual author. Some authors, for example, use narrators who are not very bright in order to create irony.
Petrarchan Conceit. The kind of conceit (see above) used by Italian Renaissance poet Petrarch and popular in Renaissance English sonnets. Eyes like stars or the sun, hair like golden wires, lips like cherries, etc. are common examples. Oxymorons are also common, such as freezing fire, burning ice, etc. If you wonder where Shakespeare got the images he criticizes in Sonnet 130 ("My mistress' eyes are nothing like the sun), take a look at Petrarch's Sonnet 69, which includes the following lines (these translated by Charles Tomlinson in 1874): "Her golden hair was streaming in the wind," "Her walk was not the step of mortal thing, / But of angelic form," "her accents clear had in their music more than human sound."Picaresque novel. An episodic, often autobiographical novel about a rogue or picaro (a person of low social status) wandering around and living off his wits. The wandering hero provides the author with the opportunity to connect widely different pieces of plot, since the hero can wander into any situation. Picaresque novels tend to be satiric and filled with petty detail. Examples:
First, political realities might make it dangerous for the real author to admit to a work. Beatings, imprisonment, and even execution are not unheard of for authors of unpopular works.
Second, an author might have a certain type of work associated with a certain name, so that different names are used for different kinds of work. One pen name might be used for westerns, while another name would be used for science fiction.
Lastly, an author might choose a literary name that sounds more impressive or that will garner more respect than the author's real name. Examples:
Regional novel. A novel faithful to a particular geographic region and its people, including behavior, customs, speech, and history. Examples:
Roman a clef. [French for "novel with a key," pronounced roh MAHN ah CLAY] A novel in which historical events and actual people are written about under the pretense of being fiction. Examples:
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