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Tuesday 28 November 2023

Cases indicate the grammatical functions of nouns and pronouns according to their relation with rest of the words in a sentence.

In modern English, there are only three kinds of cases.

  • Subjective Case
  • Objective Case
  • Possessive Case

Subjective Case (Nominative Case)

When a noun or a pronoun works as a subject in the sentence, a subjective case appears.

Example:

  • Louis works in the management.
  • He works very hard for the company.
  • I love to watch movies in my free time.
  • Reading is a very good habit.

Objective Case

When a noun or a pronoun works as an object in the sentence, an objective case appears.

Example:

  • Robert does not eat burgers.
  • He loves pizza.
  • Robert told me that.
  • Alex follows Robert.

Possessive Case

Possessive cases indicate a relationship of possession or belongingness between two nouns or a noun and a pronoun.

Example:

  • Robin’s house is near the river. (Two nouns related in the basis of possession.)
  • His brother lives in the city. (A pronoun and a noun)
  • My family does not approve this.
  • Shaun’s wife has passed away.

Note: The pronoun changes its form in different cases.

SubjectiveObjectivePossessive
I
We
You
He
She
They
It
Who
Me
Us
You
Him
Her
Them
It
Whom
My, mine
Our, ours
Your, yours
His
Her, hers
Their, theirs
Its
Whose

There is another kind of case. It is called the vocative case. This case is similar to the subjective case in term of spelling. The vocative case indicates a person being addressed directly by his/her name. This name is separated by a comma.

Example:

  • Robert, could you please open the door?
  • You, watch out the bus.
  • Listen to me, Russel.
  • How are you, Susan?

Mood

The mood in English grammar does not refer to the emotion of the action or anything like that. Instead, the mood of the verbs refers to whether or not something is a fact. The intention of the speaker/writer is understood by the mood of the verbs.

In English, there are mainly three kinds of mood:

  • Indicative mood
  • Imperative mood
  • Subjunctive mood

Each of the types has a particular function.

Indicative Mood

Indicative mood tells the reader/listener something factual. This mood is generally used in making a statement or asking for a statement by a question. The statement can be factual or presumed to be factual.

Example:

  • Michel was the greatest musician.
  • Where are you going?
  • I am going to Texas.

Imperative Mood

Imperative mood makes a verb into a command or request. It always uses the second person as the subject of the sentence and most of the time the subject remains hidden.

Example:

  • Bring the bottle over here.
  • Make me a cup of tea, please.
  • Let her take her own decisions. (Here, ‘let’ is the verb of this sentence, not ‘take’.)

Subjunctive Mood

Subjunctive mood indicates the possibility, wishes, or hypothetical statements. It is almost the opposite of the indicative mood. This mood usually mixes the tense of the verbs and does not follow the common usage of the tense.

Subjunctive has some different structures from the other structures of sentences.

Conditionals generally use the subjunctive mood.

Example:

  • If you change this dress, I will take you with me.
  • If I were in your shoes, I would not do it.
  • If they were in America, they could not escape from it.
  • If they had taken the vaccine, they would not have been affected.

Some certain verbs + the conjunction that requires the next clause to use the subjunctive mood and the clause uses the base form of the verb in it.

The verbs are:  

Advise – demand – prefer – require – ask – insist Propose – stipulate – command – recommend  Suggest – decree – order – request – urge – move

Structure:

Subject + the verbs of the above box (any tense) + THAT + subject + base verb + .  .  .  .  .

Example:

  • He insisted that I stay at home.
  • The office requires that we complete our work timely.
  • She commanded that he stop drinking alcohol.
  • I recommend that you wake up early.

Note: There are some clauses also which require the verb of the next clause to be in base form.

The clauses are:

It is/was + past participle form of the verb of the above box + THAT

It is/was urgent + THAT

It is/was necessary + THAT

It is/was important + THAT

Example:

  • It is important that you invite him to the party.
  • It was necessary that I make a fence.
  • It was recommended that you meet the principal.

 

Saturday 25 November 2023

Privacy policy




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Tuesday 31 January 2023

Word Definition

In traditional grammar, word is the basic unit of language. Words can be classified according to their action and meaning, but it is challenging to define. 

word refers to a speech sound, or a mixture of two or more speech sounds in both written and verbal form of language. A word works as a symbol to represent/refer to something/someone in language to communicate a specific meaning.

Example : ‘love’, ‘cricket’, ‘sky’ etc.

'[A word is the] smallest unit of grammar that can stand alone as a complete utterance, separated by spaces in written language and potentially by pauses in speech.' (David Crystal, The Cambridge Encyclopedia of the English Language. Cambridge University Press, 2003)

Morphology, a branch of linguistics, studies the formation of words. The branch of linguistics that studies the meaning of words is called lexical semantics.

There are several criteria for a speech sound, or a combination of some speech sounds to be called a word.

  • There must be a potential pause in speech and a space in written form between two words.
    For instance, suppose ‘ball’ and ‘bat’ are two different words. So, if we use them in a sentence, we must have a potential pause after pronouncing each of them. It cannot be like “Idonotplaywithbatball.” If we take pause, these sounds can be regarded as seven distinct words which are ‘I,' ‘do,' ‘not,' ‘play,' ‘with,' ‘bat,' and ‘ball.'
  • Every word must contain at least one root. If you break this root, it cannot be a word anymore.
    For example, the word ‘unfaithful’ has a root ‘faith.' If we break ‘faith’ into ‘fa’ and ‘ith,' these sounds will not be regarded as words.
  • Every word must have a meaning.
    For example, the sound ‘lakkanah’ has no meaning in the English language. So, it cannot be an English word.       

Sunday 24 July 2022

Civil Peace by Chinua Achebe

Civil Peace
2011
Discuss the Symbolic significance of the title of the story " Civil peace" by Achebe
2014
Why does Jonathan, the central Character of Achebes Short story 'Civil Peace 'count himself ' extra ordinary Lucky's after facing a painful experience of war?

2015

Discuss the Symbolic significance of the title of the story " Civil peace" by Achebe

2017
Civil peace draws our attention towards the deadly aftermaths and shocks of the post war time.Do you agree?

2018
Why does Jonathan, the central Character of Achebes Short story 'Civil Peace 'count himself ' extra ordinary Lucky's after facing a painful experience of war?

2019
Chinua Achebe blends irony with optimism in Civil peace to draw attention to the critical issues prevailing in Nigeria. Explain with reference to the text.

Tuesday 21 June 2022

Register in stylistics

Register in Stylistics : Language Registers

Register in linguistics refers to the patterns of communication used in particular settings and for specific purposes. It is often an indicator of the formality or official nature of an occasion, or a mark of authority.

Linguists make the distinction that register varies with use, rather than with the user. For example, most people's speech contains pointers, lexical, syntactical, and phonological, of their class or social status. Such speech changes register when it is altered to fit an occasion, such as appearing in court or speaking to a bureaucrat, writing a scientific paper, making a business presentation, or interacting with an older relative or small child.

Register is marked by changes in syntax, accent or phonology, vocabulary, morphology. The study of register is commonly thought of as sociolinguistics, though it is also studied by other disciplines such as pragmatic grammar and stylistics. 

Register is also identified by non-linguistic markers, such as body language and attire, The term has been used since the 1960s, when linguist Michael Halliday identified three variables or types of factors that affect register: Tenor, Field and Mode

Tenor: The relationship between the speakers matters, such as when a student is talking to a teacher, an offender to a police officer, an office worker to a superior, or a parent to an infant (baby talk). Here register is generally a marker of formality or intimacy, and commonly affects phonology, pragmatic rules, and accent.

Field: The subject of conversation or discourse matters, as particular situations call for particular kinds of vocabulary, mood etc. These variations are often called jargon, but are sometimes simply the form of a particular profession. For instance, priests use liturgical language, lawyers use 'legalese'. Philosophers use the language of subjectivity or rationality, while programmers have their own lexicon.

Mode: The medium of communication matters, such as whether it is spoken or written, and if either, on the level of formality or professionalism needed to be conveyed. Instant messaging, for example, is less formal than a handwritten letter, and a professional presentation is different from a coffee shop conversation. Here and in register determined by field, authority and expertise is being conveyed as much as formality.

There are five language registers or styles. Each level has an appropriate use that is determined by differing situations. It would certainly be inappropriate to use language and vocabulary reserve for a boyfriend or girlfriend when speaking in the classroom. Thus the appropriate language register depends upon the audience (who), the topic (what), purpose (why) and location (where).

You must control the use of language registers in order to enjoy success in every aspect and situation you encounter.

1. Static Register
This style of communications RARELY or NEVER changes. It is “frozen” in time and content. e.g. the Pledge of Allegiance, the Lord’s Prayer, the Preamble to the US Constitution, the Alma Mater, a bibliographic reference, laws .

2. Formal Register
This language is used in formal settings and is one-way in nature. This use of language usually follows a commonly accepted format. It is usually impersonal and formal. The common format/s for this register are speeches. e.g. sermons, rhetorical statements and questions, speeches, pronouncements made by judges, announcements.

3. Consultative Register
This is a standard form of communications. Users engage in a mutually accepted structure of communications. It is formal and societal expectations accompany the users of this speech. It is professional discourse. e.g. when strangers meet, communications between a superior and a subordinate, doctor & patient, lawyer & client, lawyer & judge, teacher & student, counselor & client.

 4. Casual Register
This is informal language used by peers and friends. Slang, vulgarities and colloquialisms are normal. This is “group” language. One must be member to engage in this register. e.g. buddies, teammates, chats and emails, and blogs, and letters to friends.

5. Intimate Register
This communications is private. It is reserved for close family members or intimate people. e.g. husband & wife, boyfriend & girlfriend, siblings, parent & children.

Rule of Language Use:
One can usually transition from one language register to an adjacent one without encountering repercussions. However, skipping one or more levels is usually considered inappropriate and even offensive.

In linguistics, a register is a variety of a language used for a particular purpose or in a particular social setting. For example, when speaking in a formal setting an English speaker may be more likely to adhere more closely to prescribed grammar, pronounce words ending in -ing with a velar nasal instead of an alveolar nasal (e.g. "walking", not "walkin'"), choose more formal words (e.g. father vs. dad, child vs. kid, etc.), and refrain from using the word ain't, than when speaking in an informal setting.

As with other types of language variation, there tends to be a spectrum of registers rather than a discrete set of obviously distinct varieties – there is a countless number of registers that could be identified, with no clear boundaries. Discourse categorization is a complex problem, and even in the general definition of "register" given above (language variation defined by use not user), there are cases where other kinds of language variation, such as regional or age dialect, overlap. As a result of this complexity, there is far from consensus about the meanings of terms like "register", "field" or "tenor"; different writers' definitions of these terms are often in direct contradiction of each other. Additional terms such as diatype, genre, text types, style, acrolect, mesolect and basilect among many others may be used to cover the same or similar ground. Some prefer to restrict the domain of the term "register" to a specific vocabulary (Wardhaugh, 1986) (which one might commonly call jargon), while others argue against the use of the term altogether. These various approaches with their own "register" or set of terms and meanings fall under disciplines such as sociolinguistics, stylistics, pragmatics or systemic functional grammar.

History and Use
The term register was first used by the linguist Thomas Bertram Reid in 1956, and brought into general currency in the 1960s by a group of linguists who wanted to distinguish between variations in language according to the user (defined by variables such as social background, geography, sex and age), and variations according to use, "in the sense that each speaker has a range of varieties and choices between them at different times" (Halliday et al., 1964). The focus is on the way language is used in particular situations, such as legalese or motherese, the language of a biology research lab, of a news report, or of the bedroom.

M.A.K Halliday and R. Hasan (1976) interpret 'register' as 'the linguistic features which are typically associated with a configuration of situational features – with particular values of the field, mode and tenor...'. Field for them is 'the total event, in which the text is functioning, together with the purposive activity of the speaker or writer; includes subject-matter as one of the elements'.

Mode is 'the function of the text in the event, including both the channel taken by language – spoken or written, extempore or prepared – and its genre, rhetorical mode, as narrative, didactic, persuasive, 'phatic communion', etc.'

The tenor refers to 'the type of role interaction, the set of relevant social relations, permanent and temporary, among the participants involved.' These three values – field, mode and tenor – are thus the determining factors for the linguistic features of the text. 'The register is the set of meanings, the configuration of semantic patterns, that are typically drawn upon under the specified conditions, along with the words and structures that are used in the realization of these meanings'.

Register, in the view of M.A.K. Halliday and R. Hasan, is one of the two defining concepts of text. 'A text is a passage of discourse which is coherent in these two regards: it is coherent with respect to the context of situation, and therefore consistent in register; and it is coherent with respect to itself, and therefore cohesive'.

Register as formality scale
One of the most analyzed areas where the use of language is determined by the situation is the formality scale. Writers (especially in language teaching) have often used the term "register" as shorthand for formal/informal style, although this is an aging definition. Linguistics textbooks may use the term "tenor" instead (Halliday 1978), but increasingly prefer the term "style" – "we characterize styles as varieties of language viewed from the point of view of formality" (Trudgill, 1992) – while defining "registers" more narrowly as specialist language use related to a particular activity, such as academic jargon. There is very little agreement as to how the spectrum of formality should be divided.

In one prominent model, Martin Joos (1961) describes five styles in spoken English:
Frozen: Printed unchanging language such as Biblical quotations; often contains archaisms. Examples are the Pledge of Allegiance, wedding vows, and other "static" vocalizations that are recited in a ritualistic monotone. The wording is exactly the same every time it is spoken.

Formal: One-way participation, no interruption. Technical vocabulary or exact definitions are important. Includes presentations or introductions between strangers.

Consultative: Two-way participation. Background information is provided – prior knowledge is not assumed. "Back-channel behavior" such as "uh huh", "I see", etc. is common. Interruptions are allowed. Examples include teacher/student, doctor/patient, expert/apprentice, etc.

Casual: In-group friends and acquaintances. No background information provided. Ellipsis and slang common. Interruptions common. This is common among friends in a social setting.

Intimate: Non-public. Intonation more important than wording or grammar. Private vocabulary. Also includes non-verbal messages. This is most common among family members and close friends.

Diatype
The term diatype is sometimes used to describe language variation which is determined by its social purpose (Gregory 1967). In this formulation, language variation can be divided into two categories: dialect, for variation according to user, and diatype for variation according to use (e.g. the specialised language of an academic journal). This definition of diatype is very similar to those of register.
The distinction between dialect and diatype is not always clear; in some cases a language variety may be understood as both a dialect and a diatype.

Diatype is usually analysed in terms of field, the subject matter or setting; tenor, the participants and their relationships; and mode, the channel of communication, such as spoken, written or signed.

Thursday 9 June 2022

COLORFUL IDIOMS & PHRASES


1. Out of the blue– randomly, without warning, surprisingly

Example: “That storm came out of the blue and I didn’t have an umbrella!”

2. Green with envy– to be very jealous, envious

Example: “Katie was green with envy when she saw you got a new car for your birthday.”

3. Gray area– something that is unclear, undefined

Example: The issue of allowing mobile phones in the classroom is a gray area right now- it could go either way.

4. Caught red-handed– to catch someone in the act of doing something

Example: “He was caught red-handed while stealing those candy bars.”

5. Green thumb– to be skilled at gardening

Example: “My mother has a green thumb- she can make anything grow!”

6. Black sheep– to be the outcast, odd one out, unlike the others

Example: “Rachel is the black sheep in the family because she is an artist whereas everyone else is an economist.”

7. Once in a blue moon– very rarely

Example: “Once in a blue moon you will see that mean professor smile.”

8. Take the red eye– a late night flight that arrives early in the morning

Example: “I took the red eye from California to New York last night and now I am exhausted.”

9. Tickled pink– to be extremely pleased

Example: “Your grandma was tickled pink that you called on her birthday!”

10. White lie– a small lie that is told to be polite or avoid hurting someone’s feelings

Example: “I didn’t like her dress, but I told a white lie because I didn’t want to offend her.

Wednesday 11 May 2022

How postcolonial literature change our mind discourse?

Postcolonialism:
Postcolonialism or postcolonial studies is an academic discipline that analyzes, explains, and responds to the cultural legacy of colonialism and imperialism. Postcolonialism speaks about the human consequences of external control and economic exploitation of a native people and its lands. 
So, the term ‘postcolonialism’ is not the same as ‘after colonialism’ ,as if colonial values are no longer to be reckoned with. It does not define a radically new historical era, nor does it herald a brave new world where all the ills of the colonial past have been cured. Rather, ‘postcolonialism’ recognises both historical continuity and change.

Postcolonial theory:
Postcolonial theory addresses the following issues:
 Colonialism’s strategies of representation of the native.
 The epistemological underpinnings of colonial projects (colonial histories, anthropology, area studies, cartography)
 The feminization, marginalization and dehumanization of the native.
 The psychological effects of colonialism on both the colonizer and the colonized.
 The role of apparatuses such as education, English literature, historiography and art and architecture in the execution of the colonial project.
How postcolonial Literature change our mind discourse:
 After studing postcolonial literature, our perspective about the West totally changed. Before the understanding of postcolonial literature, we think that Europe is a well manner country and full of civilization. We have a great desire to go and live there.
 But when we read postcolonial literature with the perspective of postcolonial theorist like Edward Said, Gayatri Spivak and Homi K. Bhabha, we come to know the reality.
 Postcolonial theorist exposed the mask of West. For a long time, they ruled over Asia, Africa and many other poor countries on the name of civilization.
 They entered in these countries with the slogan that we came here for your civilization. But postcolonial theorist exposed their reality. They have their own lust of power. They gathered money, ivory and gold from these countries and back to their homes. They destroyed their ancestors literature by calling it poor literature.
 They imposed their own culture, values, language and power on these countries with power and dismantle their original culture and values.
 After all, we can clearly understand their Delima after reading the theory of Homi K. Bhabha, Gayatri Spivak and Edward Said.

Key theorists:
 Edward Said
 Homi k. Bhabha
 Gayatri Spivak
 Edward Said:
To describe the us-and-them "binary social relation" with which Western Europe intellectually divided the world—into the "Occident" and the "Orient"—the cultural critic Edward Said developed the denotations and connotations of the term Orientalism (an art-history term for Western depictions and the study of the Orient). This is the concept that the cultural representations generated with the us-and-them binary relation are social constructs, which are mutually constitutive and cannot exist independent of each other, because each exists on account of and for the other.

Orientalism(1978):
Edward Said’s “Orientalism” refers to the sum of west’s representation of the East. It is the production of ideas, knowledge and opinions about the orient--ideas which were preliminary to governance, military conquest and political control over the geographical territory of the orient. Orientalist knowledge came first, political control later. 
As Said outs it:
Orientalism was ultimately a political vision of reality whose structure promoted the difference between the familiar (Europe, West, "us") and the strange (the 
Orient, the East, "them”).

Shape of Orientalism:
 Orientalism construct  binary divisions.
 Orientalism is a western fantasy.
 Orientalism is legitimating.
 There is ‘latent’ and ‘menifest’

Gayatri Spivak:
In establishing the Postcolonial definition of the term Subaltern, the philosopher and theoretician Gayatri Chakravorty Spivak cautioned against assigning an over-broad connotation; that:
“subaltern is not just a classy word for "oppressed", for The Other, for somebody who's not getting a piece of the pie. . . . In postcolonial terms, everything that has limited or no access to the cultural imperialism is subaltern---. . .  so let them speak, use the hegemonic discourse. They should not call themselves subaltern”.
— Interview with Gayatri Chakravorty Spivak: New Nation Writers Conference in South Africa (1992) 
 Known for harnessing deconstructive critical thought, feminism and Marxism for postcolonial purposes.
 Can the Subaltern speak—spivak worries about the inability of subaltern to represent themselves.
 She argues that since the subaltern can not speak for herself because the ‘double bind’ of colonialism and patriarchy silence her, any intellectual project must seek to make visible the position of the marginalized.
 She also argues that the appropriation of the marginalized into single ‘discipline’ such as postcolonial studies condemns them to perpetual marginality, always the subject the subject of somebody else’s discourse.

Homi k. Bhabha:

 Bhabha believes that colonial discourse is conflictual, ambivalent and full of contra dictions.
 The contradictory psychie relations between the colonizer and colonized moving, for Bhabha, between fear and desire of the other—prevent any stable and unchanging identities for the colonizer and colonized.
 The colonizer can construct his identity only through the stereotypes of the other i.e, the identity of the colonizer is dependent upon the relationship with the oppositional native/other.
 Steorotypes indicate a fractures nature of colonial power. 

Key Terms in Bhabha’s theory:
 Ambivalence:
Ambivalence of colonial discourse can be seen in contradictory representation of the colonized. Colonized subject is simultaneously beyond comprehension and yet completely controllable as a subject of colonial power.

Mimicry:
Bhabha’s concept of mimicry elaborates the unstable nature of colonial discourse. Colonial power requires that native should adopt the forms and habits of colonial master.
Hybridity:
Hybridity is fundamentally associated with the emergence of post-colonial discourse and its critiques of cultural imperialism. It is the second stage in the history of hybridity, characterized by literature and theory that study the effects of mixture (hybridity) upon identity and culture. The principal theorists of hybridity are Homi k. Bhabha, Néstor García Canclini, Stuart Hall, Gayatri Spivak, and Paul Gilroy, whose works respond to the multi-cultural awareness that emerged in the early 1990s.

Conclusion:
To conclude we can say that postcolonialism realized that even though the colonial era has finished yet, but the practices have not come to an end and now has turned it face into neo-colonialism.
In postcolonial perspective, literary works emerged to unveil subjugation, injustice, violence, discrimination, inequality, to sound the marginal and subaltern people, so that from postcolonial productions yielded social and political products.
Postcolonial Literature is a kind of literary work which describes realistic experience of what really happens around uss and to remind don’t just shut our eyes. It is believe that one vice could lead into a betterment for our future and society.

Wednesday 25 November 2020

Types of Poems

●Define poetry?

 Poetry is a form of literature that uses aesthetic and rhythmic qualities of language --- such as phonaesthetics, sound symbolism, and metre -- to evoke meanings in addition to, or in place of, the prosaic ostensible meaning.  

●What is an aubade?

 Aubade is a love poem welcoming or lamenting the arrival of the dawn. One of the finest aubades in literature occurs in Act II, Scene III, of Shakespeare's play Cymbeline. It begins with the famous words, "Hark, hark! The lark at heaven's gate sings". Donne's "The Sun Rising" is also an aubade. 

●What is a ballad?

 A narrative poem, often of folk origin and intended to be sung, consisting of simple stanzas and usually having a refrain. The Anonymous medieval ballad, "Barbara Allan", exemplifies the genre. 

●What is a folk ballad?

Folk ballad is a song that it traditionally sung by the common people or a region and forms part of their culture. Folk ballads are anonymous and recount tragic, comic, or heroic stories with emphasis on a central dramatic event. Examples include "Barbara Allan" and "John Henry". 

● Define a carol?

 A carol is a hymn or poem often sung by a group, with an individual taking the changing stanzas and the group taking the burden or refrain. Examples include "The Burning Babe" and "The Twelve Days of Christmas" 

●What is a dramatic monologue?

A dramatic monologue is a poem in which an imagined speaker addresses a silent listener. It is a 'mono-drama in verse'. Examples include Robert Browning's "My Last Duchess" and T.S. Eliot's "The Love Song of J. Alfred Prufrock".

●Define elegy?

 An elegy is a mournful, melancholic or plaintive poem, especially a funeral song of a lament for the dead. It usually ends in consolation. Examples include John Milton's "Lycidas" and W.H. Auden's "In Memory of W.B. Yeats". 

● Define an epic?

 An epic is a lengthy narrative poem, ordinarily concerning a serious subject containing details of heroic deeds and events significant to a culture or nation narrated in elevated style. For example, Homer's "Iliad" is an epic. 

● What is a mock epic?

 A mock epic is a satire or parody that mocks common classical stereotypes or heroes and heroic literature. Typically, a mock epic either puts a fool in the role of the hero or exaggerates the heroic qualities to such a point that they become absurd. Examples include John Dryden's "Mac Flecknoe" and Alexander Pope's "The Rape of the Lock". 

●What is an epigram?

An epigram is a short, satirical and witty poem (statement) usually written as a couplet or quatrain but can also be a one lined phrase. It is a brief and forceful remark with a funny ending. Examples include Walter Savage Landor's "Dirce" and Ben Jonson's "On Gut". 

●What is an epithalamion?

 An epithalamion is a lyric ode in honour of a bride and bridegroom usually containing suggestive language and innuendo. Examples include Theocritus' "The 18th Idyll" and Edmund Spenser's "Epithalamion". 

●What is a hymn? 

 A hymn is a religious poem praising God or the divine, often sung. In English, the most popular hymns were written between the 17th and 19th centuries. Examples include Isaac Walts' "Our God, Our Help" and Charles Welsey's "My God! I Know, I Feel Thee Mine". 

●What is a lyric? 

 A lyric is a short poem which expresses personal emotions or feelings, often in a song-like style or form. It is typically written in the first person. Examples include John Clare's "I Hid My Love" and Louise Bogan's "Song for the Last Act". 

●Define an ode.?

An ode is a long, often elaborate stanzaic poem of varying line lengths and sometimes intricate rhyme schemes devoted to the praise of a person, animal, place, thing or idea. Examples include P.B. Shelley's "Ode to the West Wind" and John Keats' "Ode on a Grecian Urn". 

●What is a sonnet?

 A sonnet is a poem of fourteen lines using any of a number of formal rhyme schemes. In English, a sonnet has 3 quatrains followed by a couplet and ten syllables per line. (iambic pentameter). It usually expresses a single, complete thought, idea or sentiment. Examples include P.B. Shelley's "Ozymandias" and John Keats' "When I Have Fears".


Some Important literary terms in one line

Narrative
consisting of or characterized by the telling of a story
Character
an imaginary person represented in a work of fiction
Alliteration
use of the same consonant at the beginning of each word
Repetition
the continued use of the same word or word pattern
Apostrophe
an address to an absent or imaginary person
Ballad
a narrative poem of popular origin
Stanza
a fixed number of lines of verse forming a unit of a poem
Dialogue
the lines spoken by characters in drama or fiction
Rhyme
correspondence in the final sounds of two or more lines
Rhythm
alternation of stressed and unstressed elements in speech
Theme
a unifying idea that is a recurrent element in literary work
Symmetry
balance among the parts of something
Climax
the decisive moment in a novel or play
Denouement
the resolution of the main complication of a literary work
Plot
the story that is told, as in a novel, play, movie, etc.
Diction
the manner in which something is expressed in words
Elegy
a mournful poem; a lament for the dead
epic
a long narrative poem telling of a hero's deeds
Setting
the context and environment in which something is situated
Epithet
descriptive word or phrase
Figurative
not literal
Hyperbole
extravagant exaggeration
Exaggeration
the act of making something more noticeable than usual
Irony
incongruity between what might be expected and what occurs
Literal
limited to the explicit meaning of a word or text
Lyric
of or relating to poetry that expresses emotion
Metaphor
a figure of speech that suggests a non-literal similarity
Simile
a figure of speech expressing a resemblance between things
Oxymoron
conjoining contradictory terms
Paradox
a statement that contradicts itself
Pastoral
a literary work idealizing the rural life
Pathos
a quality that arouses emotions, especially pity or sorrow
Rhetoric
using language effectively to please or persuade
Satire
witty language used to convey insults or scorn
Soliloquy
a dramatic speech giving the illusion of unspoken reflection
Symbol
something visible that represents something invisible
Vignette
a brief literary description