Literature Encyclopedia

Literature Encyclopedia

If you would like to prepare for school subjects or simply increase your general knowledge, then enjoy our literature encyclopedia. We tried to focus only on very important terms and definitions. We also kept our terminology very brief so that you absorb the concept more quickly and easily.

Literature Glossary (Page 1)

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ACCURACY RATE: This is the rate, shown as a percent, at which students accurately read the text.
ADJECTIVE: A word or phrase which is added or linked to a noun to describe or modify it. It may come before or after the noun - the red dress/the dress was red.
ADVERB: A word or phrase which describes or modifies a verb. Many adverbs have a suffix -ly: happily, quickly.
AFFIX: An attachment to the end or beginning of base or root word. A generic term that describes prefixes and suffixes.
AGE EQUIVALENT SCORES: In a norm-referenced assessment, individual student's scores are reported relative to those of the norming population. This can be done in a variety of ways, but one way is to report the average age of people who received the same score as the individual child. Thus, an individual child's score is described as being the same as students that are younger, the same age, or older than that student (e.g. A 9 year old student my receive the same score that an average 13 year old student does, suggesting that this student is quite advanced). See also grade equivalent scores.
ALLEGORY: A symbolic narrative in which the surface details imply a secondary meaning. Allegory often takes the form of a story in which the characters represent moral qualities. The most famous example in English is John Bunyan's Pilgrim's Progress, in which the name of the central character, Pilgrim, epitomizes the book's allegorical nature. Kay Boyle's story "Astronomer's Wife" and Christina Rossetti's poem "Up-Hill" both contain allegorical elements.
ALLITERATION: The repetition of initial phoneme either across syllables or across words. For example, "Happy hippos hop on Harry." See onset.
ALLOMORPH: An alternative manifestation of a morpheme (a set of meaningful linguistic units). Allomorphs vary in shape or pronunciation according to their conditions of use, but not as to meaning. In English, the negative prefix in has several allomorphs, such as incapable, illogical, improbable, irreverent.
ALLOPHONE: A phonetic variant of a phoneme in a particular language. For example, [p] and [ph] are allophones of the phoneme /p/; [t] and th] are allophones of the phoneme /t/.
ALPHABETIC PRINCIPLE: Understanding that spoken words are decomposed into phonemes, and that the letters in written words represent the phonemes in spoken words when spoken words are represented in text.
ANAPEST: Two unaccented syllables followed by an accented one, as in com-pre-HEND or in-ter-VENE. An anapestic meter rises to the accented beat as in Byron's lines from "The Destruction of Sennacherib": "And the sheen of their spears was like stars on the sea, / When the blue wave rolls nightly on deep Galilee.".
ANTAGONIST: A character or force against which another character struggles. Creon is Antigone's antagonist in Sophocles' play Antigone; Teiresias is the antagonist of Oedipus in Sophocles' Oedipus the King.
APOSTROPHE : A punctuation mark indicating: Contraction: two words shortened into one eg do not = don't, can not= can't Possession: Applied to all possessives marked by s, except its. Eg the girl's frock (belonging to the girl).
ASIDE: Words spoken by an actor directly to the audience, which are not "heard" by the other characters on stage during a play. In Shakespeare's Othello, Iago voices his inner thoughts a number of times as "asides" for the play's audience.
ASSESSMENT: Using data to determine abilities and knowledge about a particular topic. A distinction should be drawn between a test, which is just a tool used in assessment, and assessment.
ASSONANCE: The repetition of similar vowel sounds in a sentence or a line of poetry or prose, as in "I rose and told him of my woe." Whitman's "When I Heard the Learn'd Astronomer" contains assonantal "i's" in the following lines: "How soon unaccountable I became tired and sick, / Till rising and gliding out I wander'd off by myself.".
AUBADE: A love lyric in which the speaker complains about the arrival of the dawn, when he must part from his lover. John Donne's "The Sun Rising" exemplifies this poetic genre.
AUDIENCE: The people addressed by the text. The term refers to listeners, readers of books and film/TV audiences.
AUTOBIOGRAPHY: A life story of an individual written by the person.
BABUIN: A fanciful monster, silly creature, or a leering face drawn in the margins of a medieval manuscript. We get our modern word baboon from this French term for the little grotesque creatures that illuminators drew and doodled. Typically, the babuin is engaged in silly antics, such as playing or interacting with the letters on the page, chasing other babuins, or even engaging in copulatory and scatological activities.
BACHIC FOOT: A three-syllable foot of poetry consisting of a light stress followed by two heavy stresses. This verse pattern was not unknown in Greek verse, but is fairly rare in English verse. An example of a phrase that corresponds in meter to the Bachic foot is "that strong king." The bachic foot is also called a bachius or a molossus, and poetry written in bacchic feet is said to be written in bachic meter. See meter and palimbacchius.
BACHIC METER: Poetry in which each foot is a three-syllable foot consisting of three heavy stresses. It is rare in English. The individual three-syllable foot is called a molossus.
BACHIUS: Another term for a bachic foot.
BACK VOWEL: A vowel made with the topmost portion of the tongue in the back of the oral cavity. These include the vowel sounds found in ooze, oomph, go, law, and father.
BACK-FORMATION: (1) The process of creating a new word when speakers (often mistakenly) remove an affix or other morpheme from a longer word. For instance, English speakers created the verb burgle by mistakenly thinking the word burglar as an agent noun derived from a verb. (2) Linguists call any word formed by this previously described process a "back-formation." For extended discussion see Algeo on pages 260-62.
BAD QUARTO: In the jargon of Shakespearean scholars, a "bad quarto" is a copy of the play that a disloyal actor would recreate from memory and then submit for publication in a rival publishing house without the consent of the author. These bad quartos are often grossly inaccurate, but may contain useful stage directions not included in the original. See quartos, folios, and octavos, below.
BALANCED LITERACY: An approach to reading instruction that strikes a compromise between Phonics approaches and Whole Language approaches - ideally, the most effective strategies are drawn from the two approaches and synthesized together.
BALLAD: In common parlance, song hits, folk music, and folktales or any song that tells a story are loosely called ballads. In more exact literary terminology, a ballad is a narrative poem consisting of quatrains of iambic tetrameter alternating with iambic trimeter. Common traits of the ballad are that (a) the beginning is often abrupt, (b) the story is told through dialogue and action (c) the language is simple or "folksy," (d) the theme is often tragic-though comic ballads do exist, and (e) the ballad contains a refrain repeated several times. One of the most important anthologies of ballads is F. J. Child's The English and Scottish Popular Ballads. Famous medieval and Renaissance examples include "Chevy Chase," "The Elfin Knights," "Lord Randal," and "The Demon Lover." A number of Robin Hood ballads also exist. More recent ballads from the 18th century and the Scottish borderlands include "Sir Patrick Spens," "Tam Lin," and "Thomas the Rhymer." See also ballade and common measure.
BALLAD MEASURE: Traditionally, ballad measure consists of a four-line stanza or a quatrain containing alternating four-stress and three-stress lines with an ABCB or ABAB rhyme scheme. Works written in ballad measure often include such quatrains. As an example, the opening stanza to "Earl Brand" illustrates the pattern.
BALLAD OPERA: An eighteenth-century comic drama featuring lyrics set to existing popular tunes. The term originated to describe John Gay's The Beggar's Opera of 1728.
BALLADE: A French verse form consisting most often of three eight-line stanzas having the same rhyme pattern, followed by a four-line envoy. In a typical ballade, the last lines of each stanza and of the envoy are the same. Among the most famous ballades are Chaucer's "Ballade of Good Advice" and Rossetti's translation of François Villon's "Ballade of Dead Ladies," which asks in each stanza and in the envoy, "Mais ou sont les nieges d'antan?" ("But where are the snows of yesteryear?") The ballade first rose to prominence in the 14th and 15th centuries, popularized by French poets like Guillaume de Machaut and Eustache Deschampes. It was perfected in the 16th century by François Villon, but it later fell into disrepute when 17th century poets like Moliere and Boileau mocked its conventions. See envoy, ballad.
BALTIC: An east-European branch of the Indo-European language family-usually grouped with the Slavic languages as "Balto-Slavic.".
BALTO-SLAVIC: A branch of Indo-European including the Slavic and Baltic languages.
BARD: (1) An ancient Celtic poet, singer and harpist who recited heroic poems by memory. These bards were the oral historians, political critics, eulogizers, and entertainers of their ancient societies. They were responsible for celebrating national events such as heroic actions and victories. (2) The word in modern usage has become a synonym for any poet. Shakespeare in particular is often referred to as "the Bard" or "the Bard of Avon" in spite of the fact he wrote in the Renaissance, long after the heyday of Celtic bards. The modern day has seen a sort of revival of bardic performance since 1822, when the ancient bardic performance contests were revived in Wales. These contests are called in Welsh Eisteddfodau (singular Eisteddfod). In modern Welsh, the term bardd refers to any participant who has competed in an Eisteddfod. See also skald and rhapsodoi.
BASAL READER: A kind of book that is used to teach reading. It is based on an approach in which words are used as a whole. The words are used over and over in each succeeding lesson. New words are added regularly.
BASE MORPHEME: A free or bound morpheme, to which other meaningful sounds can be added to form words. Examples of base morphemes include base in basic, or frame in reframe.
BATHOS: Not to be confused with pathos, bathos is a descent in literature in which a poet or writer-striving too hard to be passionate or elevated-falls into trivial or stupid imagery, phrasing, or ideas. Alexander Pope coined the usage to mock the unintentional mishaps of incompetent writers, but later comic authors and poets used bathos intentionally for mirthful effects. One of the most common types of bathos is the humorous arrangement of items so that the listed items descend from grandiosity to absurdity. In this technique, important or prestigious ideas precede an inappropriate or inconsequential item. For instance, "In the United States, Usama bin Laden is wanted for conspiracy, murder, terrorism, and unpaid parking tickets." Many modern humorists like Lewis Grizzard make liberal use of bathos, but the technique is common in older literature as well. Famous examples appear in Lord Byron's mock-epic Don Juan and Alexander Pope's satires.
BATTLE OF HASTINGS: This battle in 1066 CE marks the rough boundary between the end of the Anglo-Saxon (Old English) period from about 450-1066 CE and the beginning of the Middle English period from about 1066-1450. No other historical event except perhaps the Great Vowel Shift (c. 1400-1450 CE) has had such a potent influence on the development of English.
BEAST FABLE: A short, simple narrative with speaking animals as characters designed to teach a moral or social truth. Examples include the fables of Aesop and Marie de France, Kipling's Jungle Books and Just So Stories, George Orwell's Animal Farm, Richard Adams' Watership Down, and Rudyard Kipling's The Jungle Book, and Chaucer's "Nun's Priest's Tale." Contrast with fable, below.
BEASTS OF BATTLE: A motif common in medieval Germanic literature (including Anglo-Saxon, Old Norse, and continental German poems) in which a raven, a wolf, and an eagle (or vulture) appear in short sequence-often one right after another. Because these three creatures scavenge the bodies of fallen warriors, they together serve as quick foreshadowing that a battle is about to occur.
BEAT: A heavy stress or accent in a line of poetry. The number of beats or stresses in a line usually determines the meter of the line. See meter.
BECHDEL/WALLACE MEASURE: A test or thought experiment proposed by Liz Wallace in 1985 but popularized by comedian Alison Bechdel. The test illustrates how many narratives tend focus character development and agency in male characters but reduce female characters to passive or supporting roles-even when it is not logical to do so. To pass the Bechdel measure, the narrative has to fulfill three requirements-(1) it must have at least two female characters in the story, (2) the two female characters must at some point in the narrative actually speak to each other rather than only talking to male characters, and (3) their conversation must be about something other than a male character. In popular culture, it is often referred to as the "Bechdel Movie Measure" or the "Bechdel Movie Test" since it is most commonly applied to films, though it serves equally well for novels and short stories. One might initially suspect that since women compose over 54% of the population, they would have roughly equal amounts of "screen time" and interaction compared to the male characters in popular books and movies. Strikingly, a significant number-even a majority-of common books and popular films fail this test-even when the writers or directors (or even the protagonists) are female. If in fact the narrative passes the Bechdel measure, it may be scorned as a "chick flick." The Bechdel measure serves to illustrate principles literary theorists have commented upon for decades concerning objectification as discussed by Martha Nussbaum, "the male gaze" as discussed by Jaques Lacan and Laura Mulvey, and the role of women as intermediaries between men as discussed by Eve Sedgwick.
BED-TRICK: The term for a recurring folklore motif in which circumstances cause two characters in a story to end up having sex with each other because of mistaken identity-either confusion in a dark room or deliberate acts of disguise in which one character impersonates another. This folklore motif appears in various jokes, fabliaux, and in various works of literature as well. Examples include the switch played upon Angelo in Shakespeare's Measure for Measure and the sexual confusion at miller Simkin's house in Chaucer's "The Reeve's Tale." See also cradle-trick.
BEHEADING GAME: A motif from Celtic literature that appears in diverse works such as the Middle Irish Briciu's Feast and the Middle English Sir Gawain and the Green Knight, this situation is one, according to Marie Boroff, "in which an unknown challenger proposes that one of a group of warriors volunteer to cut off his head, the stroke to be repaid in kind at some future date; the hero accepts this challenge, and at the crucial moment of reprisal is spared and praised for his courage" (See viii, Introduction to Sir Gawain and the Green Knight, Trans. Marie Boroff, NY-W. W. Norton Company, 1967.).
BEL INCONNU: A motif common to fairy tales, folklore and medieval Romance in which the protagonist's identity remains unknown until some suitably dramatic moment. This anonymity may result from a child being raised as an orphaned commoner until the revelation of an heirloom proves the child is noble-born, or it may result from a hero's intentional disguise in order to penetrate certain social circles, as in the case of a boy who disguises himself so that he can work in the kitchens near the knights, later becoming a page, and then ultimately becoming a knight himself. In a third definition, le bel inconnu might be a famous, prestigious knight who is so doughty in combat that no one will face him willingly (e.g., Lancelot). This knight must then enter the jousting lists disguised so that his opponents will not refuse the match. The motif appears in tales such as Lybeaus Desconus, a romance written in tail-rhyme by Thomas Chester, a fourteenth-century poet. In that romance, a young knight named Guinglian, the son of Sir Gawain, assumes the name Lybeaus Desconus (i.e., "the fair unknown") to hide his illustrious ancestry. See motif, fairy tale, romance.
BEOT: Vow; becomes Modern English "boast")-A ritualized boast or vow made publicly by Anglo-Saxon warriors known as thegns before the hlaford in a mead-hall the night before a military engagement. A typical warrior's boast might be that he would be the first to strike a blow in the coming battle, that he would kill a particular champion among the enemy, that he would not take a single step backward in retreat during the battle, that he would claim a renowned sword from an enemy warrior as booty, and so on. This vow or boast was often accompanied by stories of his past glorious deeds. While later Christianized medieval culture (and perhaps modern American culture) might disdain boasting as a sign of arrogance or sinful pride, the pagan Anglo-Saxons valued such behavior. The beot was not so much a negative sign of arrogance as a positive sign of determination and character. Examples of the beot can be seen throughout Beowulf such as when Beowulf vows to fight Grendel without using any weapons. See also fame/shame culture, thegn, hlaford, mead-hall, and Anglo-Saxon.
BERESHITH: (1) The opening words of the Torah (or the first five books of the Tanach, or Hebrew Bible); (2) As a noun, the Hebrew title of what Protestant Christians would call "Genesis.".
BERSERKER: The Icelandic, Scandinavian, and Norwegian sagas give accounts of fearsome Viking warrior-shamans who could entrance themselves and enter a frenzied hypnagogic state. During this period of rabid ferocity, the berserker no longer felt the pains of cold, injury, or fear. The berserkers simply became immune to such effects in their altered state of consciousness. In the Ynglinga Saga and other legends, they would enter combat either naked or wearing nothing but bear-skins, howling and roaring, biting the edges of their shields until blood flowed from their tongue and gums. (Thus we get the modern term "going berserk" to describe an insane frenzy.) In combat, they were apparently equally likely to attack both friend and foe, so the other Vikings kept their distance from them. The name berserker comes from the bearskin garments worn by these shamans, who believed that through their magic they absorbed the spirit, stamina, and strength of the bear into their own bodies, being effectively possessed by the soul of the bear. At the end of their trance, they were not expected to be able to recall their actions, since it was the bear-spirit fighting rather than the Viking himself. The tradition of the berserker gradually died out after Viking althings and jarls elected to accept Christianity, at which point such pagan practices become socially unacceptable. See saga and Viking.
BESTERMAN: A typical protagonist or anti-hero from the science fiction stories of Alfred Bester, such as Ben Reich in The Demolished Man, or Gully Foyle of The Stars My Destination. These complex characters embody traits of the Nietzchean uberman, and they combine both positive and negative qualities. They are rarely predictable, and they can alternately destroy or save the world, engage in heroic self-sacrifice or selfish rapine.
BESTIARY: A medieval treatise listing, naming, and describing various animals and their attributes, often using an elaborate allegory to explain the spiritual significance in terms of Christian doctrine. The bestiaries are examples of didactic literature, in that each animal's behavior ultimately points to a moral. The oldest bestiaries adapt material from Pliny and classical sources, though by the early 1200s, French bestiaries had doubled or tripled the entries found in Pliny by adding new materials. Later, thirteenth-century additions were made to Latin versions, usually derived from the Etymologiae of Isidore of Seville (570-636 CE).The oldest surviving reference to this sort of bestiary that uses Christian doctrine is a marginal notation in a copy of Genesis dating from the early fifth-century, which refers the reader to the Physiologus for details about the animals in Genesis. The Physiologus (literally, "the Natural Philosopher" or "the Biologist") was particularly widespread, appearing in Greek, Latin, Anglo-Saxon, Scandinavian, French, and Italian texts; its name comes from the opening lines in Latin, "Physiologus ait . . ." ["The biologist says . . ."]. Corresponding to bestiaries, lapidaries were treatises on the magical and spiritual properties of stones and gems, and herbaries or botanies discussed the magical and herbal properties of plants and trees. Often these materials would be packaged in single manuscripts, such as De Animalibus et Aliis Rebus (Concerning Animals and Other Things). See didactic literature.
BILABIAL: In phonetics, a sound such as /p/, /b/, or /m/ that requires both the upper and lower lip to articulate.
BILDUNGSROMAN: The German term for a coming-of-age story. Also called an Erziehungsroman.
BIOGRAPHICAL FALLACY: The error of believing, as George Kane phrases it in Chaucer studies, that "speculative lives" of narrators and characters "have some historical necessity" (17), i.e., characters and events in the author's historical life must have inspired, influenced, or been the source for any fictional events or characters in the work, or that the narrative speaker in a literary work must be synonymous with the author or poet's own voice and viewpoints. It was very common in nineteenth-century scholarship, for instance, to assume that Shakespeare's political or religious beliefs manifest in Prospero's words or Hamlet's soliloquies. The truth is often more complex; several of Shakespeare's characters in different plays express diametrically opposed viewpoints from each other, so which ones (if any) can we safely declare represent the playwright's personal perspectives? Even in cases where the narrator speaks in the first person, or when a character in a poem has the exact same name as the author, it proves impossible to prove that voice is identical with the author's personal beliefs. For example, the voice of "Geoffrey" in The Canterbury Tales appears to be ignorant of details that the historical author Geoffrey Chaucer knew intimately, so his fictional character cannot be equated safely with the historical author Geoffrey Chaucer who wrote the work. Likewise, the voice speaking in the poem, "Daddy," by Sylvia Plath, refers to multiple suicide attempts and a father's early death, and these two details lure readers into equating that voice with the suicide attempts and abusive father in the poet Sylvia Plath's own life-even though the age of the father's death and the number of suicide attempts do not match Plath's age when she attempted suicide or her total number of suicide attempts. Trying to make a direct connection here results in the biographical fallacy.
BIOGRAPHY: A life story of an individual written by another author.
BLACK VERNACULAR: The ethnic dialect associated with Americans of African ancestry is often called black vernacular or "Black English." It is also known a "African American Vernacular English," and abbreviated AAVE in scholarly texts.
BLANK VERSE: Unrhymed lines of ten syllables each with the even-numbered syllables bearing the accents. Blank verse has been called the most "natural" verse form for dramatic works, since it supposedly is the verse form most close to natural rhythms of English speech, and it has been the primary verse form of English drama and narrative poetry since the mid-Sixteenth Century. Such verse is blank in rhyme only; it usually has a definite meter. (Variations in this meter may appear occasionally.).
BLENDING: Making a neologism by taking two or more existing expressions and shortening at least one of them. Examples include such as smog (from smoke and fog), motel (from motor and hotel), and brunch (from breakfast and lunch), workaholic (from work and alcoholic) or Lewis Carroll's chortle (chuckle and snort). Contrast with compounding.
BLOCKING: The spatial grouping and movement of characters on stage. Typically, good blocking ensures that all characters are visible to the audience, that the stage is not cluttered with a clump of actors in any one area, and that important action or actors remain positioned in such a way as to emphasize their centrality to the story. The best blocking arranged characters in a symbolic manner. The term should not be confused with blocking agent (see below).
BLOCKING AGENT: A person, circumstance, or mentality that prevents two potential lovers from being together romantically. The blocking agent was a common generic trait for classical Roman comedies and for many of Shakespeare's plays. It remains a feature even in modern genres such as Harlequin romances. The term should not be confused with blocking (see above).
BLOOD-FEUD: The custom among certain Germanic tribes like the Anglo-Saxons or the Vikings of seeking vengeance against another tribe or family if a member of that tribe or family injured or killed an individual belonging to one's own tribe or family. See also wergild and peace-weaver.
BOB: See discussion under "bob-and-wheel," below.
BOB-AND-WHEEL: A metrical devise in some alliterative-verse poetry, especially that of the Pearl Poet and that of fourteenth-century poems like Sir Tristrem. The first short line of a group of rhyming lines is known as the "bob" and the subsequent four are a quatraine called the "wheel." The bob contains one stress preceded by either one or occasionally two unstressed syllables (i.e., the bob is only two or three syllables long). Each line of the wheel contains three stresses. Together, the bob-and-wheel constitutes five lines rhyming in an ABABA pattern. Since it matches the alliterative pattern of the first part of the stanza, but also fits the rhyme scheme of the last five lines, the "bob" serves as a structural bridge between the alliterative sections and the rhyming sections of the poem. It is easier to understand by looking at an example. Click here for a sample to view. See also alliteration and rhyme.
BODILY HUMORS: See "humors, bodily.".
BODY POLITIC, THE: The monarchial government, including all its citizens, its army, and its king. Political theory in the Elizabethan period thought of each kingdom as a "body," with the king functioning as its head. Events affecting the body politic, such as political turmoil, warfare, and plague, would be mirrored in the macrocosm, the microcosm, and the Chain of Being (see below).
BOETHIAN: Having to do with the philosophy of Boethius, i.e., a philosophy of predestination suggesting all events appearing evil, misfortunate, disastrous, or accidental are none of these things. Rather, such events are illusions that only appear this way to humans because we are limited in our perceptions while bound by time. In actuality, such events serve a higher beneficial purpose that must remain unknown to us as long as we are trapped by the limits of the physical universe. The term comes from the philosopher Boethius, who formulated an argument concerning it in his immensely influential work, Consolatio Philosophiae (The Consolation of Philosophy), which he wrote in 524 AD while awaiting his execution in prison on unjust charges. To give the reader an idea of how popular this book was in the Middle Ages, over five hundred manuscripts of it survive today; in comparison, Chaucer's The Canterbury Tales only survives in about eighty-two manuscripts. A common intellectual party-game in medieval times may have been to take turns reciting lines of the Consolatio by memory.
BORDER: In medieval manuscripts, a border is, as Kathleen Scott puts it, "A type of book decoration placed around one to four sides of the justification [writing space] in order to distinguish and decorate main divisions of the text; usually more elaborate on the first page and/or Table of Contents page; also used around miniature frames" (Scott 370).
BORROWING: As Simon Horobin defines it, "The process by which words are adopted into one language from another" (192). Linguists use this term because borrowing sounds better than the term stealing, which would be more accurate given that we do not typically return the words we borrow. See also loanword.
BOUND MORPHEME: A morpheme used exclusively as part of a larger word rather than one that can stand alone and retain independent meaning. Examples include the morpheme ept in the word inept, or the morpheme gruntle in the word disgruntled. This term is the opposite of a free morpheme, which can function by itself as a word, such as the morphemes it and self in the word itself.
BOURGEOIS: See discussion under bourgeoisie, below.
BOURGEOISIE: The French term bourgeoisie is a noun referring to the non-aristocratic middle-class, while the word bourgeois is the adjective-form. Calling something bourgeois implies that something is middle-class in its tendencies or values. Marxist literary critics use the term in a specialized sense to indicate the comfortable, well-to-do class of consumers that have more status than the proletariat, the lower-class workers who perform the "real" work of a civilization in actually producing goods and materials. In another sense-one particularly useful for medieval historians-the term bourgeoisie encompasses the city-dwelling yeomen in the late medieval period who were no longer tied to agricultural work as enfeoffed serfs. These city-dwellers-including craftsmen, guildsmen, traders, and skilled laborers-worked on a capitalistic model in which goods and services would be provided in exchange for cash. Though to a modern American this arangement seems normal enough, it was a revolutionary concept in a feudal society where transactions took place in barter, where most male citizens would swear loyalty to a liege lord in exchange for land or protection, and where serfs were bound to a section of land as the "property" of their feudal overlord. It was also a departure from the traditional "Three Estates" theory of government sanctioned by the church. The increasing number of bourgeois workers in cities and the diminishing number of serfs working in rural areas marked the transition from feudalism to modernity. Indeed, many of these so-called "middle class" citizens were fantastically wealthy-far richer in terms of their liquid assets than the knights and minor nobility who were their social "betters." The aristocrats attempted to distinguish themselves by the use of heraldic symbols, last-names, and sumptuary laws that made it illegal for "commoners" (no matter how rich) to wear particular types of clothing or jewelry.
BOUSTROPHEDON: A method of writing in which the text is read alternately from left to right on odd numbered lines and then read right to left in even numbered lines. Some early Greek texts are written in this manner, including Solon's laws. This method contrasts with English convention (left-to-right), Hebrew convention (right to left), and various Oriental conventions (top to bottom).
BOWDLERIZATION: A later editor's censorship of sexuality, profanity, and political sentiment of an earlier author's text. Editors and scholars usually use this term in a derogatory way to denote an inferior or incomplete text. A text censored in this way is said to be bowdlerized. The term comes from the name of Reverend Thomas Bowdler (1754-1825) who produced The Family Shakespeare (1815-18). He removed whatever he considered "unfit to be read by a gentleman in the company of ladies.".
BOWDLERIZE: To censor or alter an earlier writer's work. See discussion under bowdlerization, above.
BOW-WOW THEORY: In linguistics, the idea that language began when humans imitated animal noises or other natural sounds. Contrast with the yo-he-ho theory.
BOX SET: A theatrical structure common to modern drama in which the stage consists of a single room setting in which the "fourth wall" is missing so the audience can view the events within the room. Contrast with the theater in the round and apron stage.
BRADSHAW SHIFT: Not to be confused with the Great Vowel Shift, the Bradshaw Shift is a suggested alteration to the order of Chaucer's Canterbury Tales, one which differs radically from the manuscript tradition.
BRANCH: One of the four groupings of Welsh tales in The Mabinogion. Tradition divides The Mabinogion into a series of loosely connected narratives revolving around one or more characters.
BRETON: A Celtic language spoken in the northwestern part of France. Not to be confused with a Briton with an -i (i.e., a British person). See further discussion under "Bretons" below.
BRETON LAI: Another term for a lai. See lai.
BRETONS: The Celtic inhabitants of Brittany ("Little Britain") in northeast France who speak the Breton language. The term is related to British "Briton." The Bretons may be responsible for carrying Arthurian legends into France, where they influenced Chretien de Troyes and other continental writers. They also produced the lais that influenced Marie de France. Click here for a map of the regions where Breton is spoken.
BREVE: A mark in the shape of a bowl-like half circle that indicates a light stress or an unaccented syllable.
BRITICISM: An expression or word that developed in Britain after the American colonies separated politically from Britain's rule.
BRITISH ENGLISH: The English language in the British isles, especially in contrast with Canadian, Australian, or U.S. English.
BRITON: An inhabitant of Britain-especially a Celtic one. Do not confuse it with a Breton, a Celtic inhabitant of Brittany in France. Note that while all the English, the Scottish, and the Welsh are often called Britons or Brits, none of them are Bretons. Additionally, only the folks in Southeastern portions of Britain are English. Calling a Scotsman or a Welshman an "Englishman" is a good way for ignorant American travelers to have their jaws broken in a rowdy pub.
BROAD TRANSCRIPTION: Imprecise phonetic transcription for general comparative purposes.
BROTHERS-IN-ARMS: Individuals in medieval warfare who have sworn a military partnership with each other, agreeing to ransom each other from imprisonment if one of the two is captured by the enemy, swearing to abide by the rules established in their company, vowing loyalty to one another, and agreeing to share their plunder amongst themselves in a predetermined way. Chaucer's Palamon and Arcite in "The Knight's Tale" appear to swear brothership-in-arms with each other, but that vow of loyalty falls apart when both are lovestruck by the sight of Emilye. For further discussion of this medieval practice, consult Maurice H. Keen's books and articles on chivalry.
BRYTHONIC: One of the two branches of the Celtic family of languages descended from Proto-Indo-European. Brythonic includes Celtic languages such as Cornish, Breton, and Welsh. The Brythonic language branch is also referred to as "P-Celtic" because it tends to use a

in certain words where a or appears in Goidelic cognates. Contrast with the related Goidelic or Q-Celtic branch, which includes Manx, Irish Gaelic, and Scots Gaelic.

BURLESQUE: A work that ridicules a topic by treating something exalted as if it were trivial or vice-versa. See also parody and travesty.
BUSINESS: The gestures, expressions, and general activity (beyond blocking) of actors on-stage. Usually, business is designed to illicit laughter. Such activity is often spontaneous, and may vary from performance to performance. Cf. Blocking, above.
BUSKINS: Originally called kothorni in Greek, the word buskins is a Renaissance term for the elegantly laced boots worn by actors in ancient Greek tragedy. The buskins later became elevator shoes that made the actor wearing them unusually tall to emphasize the royal status or importance of the character. Contrast with soccus.
BYRONIC HERO: An antihero who is a romanticized but wicked character. Conventionally, the figure is a young and attractive male with a bad reputation. He defies authority and conventional morality, and becomes paradoxically ennobled by his peculiar rejection of virtue. In this sense, Milton's Satan in Paradise Lost may be considered sympathetically as an antihero, as are many of Lord Byron's protagonists (hence the name). From American pop culture, the icon of James Dean in Rebel Without a Cause is a good example. Other literary examples are Heathcliffe in Wuthering Heights and the demonic Melmoth in Melmoth the Wanderer. Byronic heroes are associated with destructive passions, sometimes selfish brooding or indulgence in personal pains, alienation from their communities, persistent loneliness, intense introspection, and fiery rebellion.
CACOPHONY: The term in poetry refers to the use of words that combine sharp, harsh, hissing, or unmelodious sounds. It is the opposite of euphony.
CADEL: A small addition or "extra" item added to an initial letter. Common cadels include pen-drawn faces or grotesques. Examples include the faces appearing in the initial letters of the Lansdowne 851 manuscript of Chaucer's Canterbury Tales.
CADENCE: The melodic pattern just before the end of a sentence or phrase-for instance an interrogation or an exhortation. More generally, the natural rhythm of language depending on the position of stressed and unstressed syllables. Cadence is a major component of individual writers' styles. A cadence group is a coherent group of words spoken as a single rhythmical unit, such as a prepositional phrase, "of parting day" or a noun phrase, "our inalienable rights.".
CADENCE GROUP: See discussion under cadence.
CAESURA: A strong pause within a line of verse. The following stanza from Hardy's "The Man He Killed" contains caesuras in the middle two lines: He thought he'd 'list, perhaps, Off-hand-like-just as I-Was out of work-had sold his traps- No other reason why.
CALLIGRAPHIC WORK: In medieval manuscripts, this is (as Kathleen Scott states), "Decorative work, usually developing from or used to make up an important or introductory initial, or developing from ascenders at the top of the page and descenders at the bottom of the justified text; a series of strokes made by holding a quill constant at one angle to produce broader and narrower lines, which in combination appear to overlap one another to form strap-work" (Scott 370).
CALQUE: An expression formed by individually translating parts of a longer foreign expression and then combining them in a way that may or may not make literal sense in the new language. Algeo provides the example of the English phrase trial balloon, which is a calque for the French ballon d'essai (Algeo 323).
CANCEL: A bibliographical term referring to a leaf which is substituted for one removed by the printers because of an error. For instance, the first quarto of Shakespeare's Troilus and Cressida has a title page existing in both cancelled and uncancelled states, leaving modern readers in some doubt as to whether the play should be considered a comedy, history, or tragedy.
CANON: Canon has three general meanings. (1) An approved or traditional collection of works. Originally, the term "canon" applied to the list of books to be included as authentic biblical doctrine in the Hebrew and Christian Bible, as opposed to apocryphal works (works of dubious, mysterious or uncertain origin). (2) Today, literature students typically use the word canon to refer to those works in anthologies that have come to be considered standard or traditionally included in the classroom and published textbooks. In this sense, "the canon" denotes the entire body of literature traditionally thought to be suitable for admiration and study. (3) In addition, the word canon refers to the writings of an author that scholars generally accepted as genuine products of siad author, such as the "Chaucer canon" or the "Shakespeare canon." Chaucer's canon includes The Canterbury Tales, for instance, but it does not include the apocryphal work, "The Plowman's Tale," which has been mistakenly attributed to him in the past. Likewise, the Shakespearean canon has only two apocryphal plays (Pericles and the Two Noble Kinsmen) that have gained wide acceptance as authentic Shakespearean works beyond the thirty-six plays contained in the First Folio. NB-Do not confuse the spelling of cannon (the big gun) with canon (the official collection of literary works).

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