WorksheetsAP Lit Term List #2
Total questions: 31
Worksheet time: 13mins
Name
Class
Date
1.
An expression or phrase that is over-used as to become trite and meaningless.
a)
conceit
b)
cliché
c)
catharsis
d)
caesura
2.
the conversation between two or more people in a literary work
a)
characterization
b)
conceit
c)
dialogue
d)
connotation
3.
the method an author uses to acquaint the reader with his or her characters
a)
character
b)
archetype
c)
conflict
d)
characterization
4.
elaborate figure of speech combing possible metaphor, simile, hyperbole, or oxymoron; in particular an extended metaphor within a poem
a)
conceit
b)
chiasmus
c)
catharsis
d)
carpe diem
5.
A scheme in which the author introduces words or concepts in a particular order then later repeats those terms or similar ones in reversed or backwards order. It involves taking parallelism and deliberately turning it inside out, creating a “crisscross” pattern.
a)
Catharsis
b)
Chiasmus
c)
Denotation
d)
Climax
6.
the resolution of the plot
a)
Catharsis
b)
Conflict
c)
Denouement
d)
Conceit
7.
purification or purging or emotions (pity or fear)
a)
Connotation
b)
Conflict
c)
Denotation
d)
Catharsis
8.
the struggle between two opposing forces (man v. man, man v. nature, man v. self, man v. society).
a)
Characterization
b)
Conflict
c)
Conceit
d)
Chiasmus
9.
a pause or break within a line of poetry
a)
Couplet
b)
Caesura
c)
Catharsis
d)
Climax
10.
the emotional associations surrounding a word, as opposed to its literal meaning or denotation
a)
denouement
b)
denotation
c)
connotation
d)
chiasmus
11.
Latin for “seize the day,” the name applied to a theme frequently found in lyric poetry: enjoy life’s pleasures while you are able.
a)
dialogue
b)
cliché
c)
catharsis
d)
carpe diem
12.
a pair of rhyming lines with identical meter
a)
character
b)
couplet
c)
denotation
d)
chiasmus
13.
an imaginary person represented in a work of fiction (described as a round/flat, protagonist/antagonist, etc.)
a)
character
b)
characterization
c)
climax
d)
dialogue
14.
the strict, literal meaning of a word
a)
connotation
b)
denotation
c)
denouement
d)
caesura
15.
as a term of dramatic structure, the decisive or turning point in a story or play when the action changes course and, as a result, begins to resolve itself.
a)
denouement
b)
catharsis
c)
climax
d)
conceit
16.
In Othello, Barbantio ends Act I, Scene 2 with: “For if such actions may have passage free, / Bond-slaves and pagans shall our statesmen be.” _____
a)
couplet
b)
caesura
17.
From The Winter Tales by William Shakespeare:
It is for you we speak, || not for ourselves:
You are abused || and by some putter-on/
That will be damn’d for’t; || would I knew the villain,/
I would land-damn him. || Be she honour-flaw’d,/
I have three daughters; || the eldest is eleven/
This passage is an instance of feminine _____, which occurs immediately after unstressed syllable like “speak,” second syllable “bused, in abused,” “him,” and “ters” in word “daughters.”
It is for you we speak, || not for ourselves:
You are abused || and by some putter-on/
That will be damn’d for’t; || would I knew the villain,/
I would land-damn him. || Be she honour-flaw’d,/
I have three daughters; || the eldest is eleven/
This passage is an instance of feminine _____, which occurs immediately after unstressed syllable like “speak,” second syllable “bused, in abused,” “him,” and “ters” in word “daughters.”
a)
caesura
b)
carpe diem
c)
couplet
d)
conflict
18.
Rebellion, for many English speakers has a _____ of an improper uprising against a legitimate authority (thus we speak about "rebellious teenagers" rather than "revolutionary teenagers"). In the same way, the words house and home both refer to a domicile, but home connotes certain singular emotional qualities and personal possession in a way that house doesn't.
a)
denotation
b)
connotation
19.
Every _____ has his or her own personality, which a creative author uses to assist in forming the plot of a story or creating a mood.
a)
dialogue
b)
characterization
c)
character
d)
conceit
20.
_____ = dictionary definition of a word
a)
connotation
b)
denotation
21.
The _____ of The Great Gatsby is when George kills Gatsby then himself. In Heart of Darkness, it’s when Kurtz dies and utters his famous last words.
a)
denouement
b)
climax
22.
Marvell's "To His Coy Mistress," and Herrick's "To the Virgins, to Make Much of Time” are both examples of poems that display the theme of _____ because they urge readers to make each moment count, like it’s their last.
a)
conceit
b)
carpe diem
c)
cliché
d)
catharsis
23.
The _____ occurs in The Great Gatsby when Nick arranges and attends Gatsby’s funeral.
a)
denouement
b)
climax
24.
Because the audience pities Lear’s character, they will experience a _____ at the end of the tragic play when he, along with many other characters, die.
a)
caesura
b)
catharsis
c)
chiasmus
d)
conceit
25.
When Lear runs out into the storm, it is an example of man vs. nature _____, but he prefers to take his chances versus nature rather than engage in the one with his daughters.
a)
conflict
b)
chiasmus
c)
character
d)
conceit
26.
Genesis 9:6- “Whoever sheds the blood of man, by man shall his blood be shed,” and “You can take the girl out of the jungle, but you can’t take the jungle out of the girl.” _____
a)
denouement
b)
chiasmus
c)
conceit
d)
carpe diem
27.
An author can use two approaches to deliver information about a character and build an image of it: direct/explicit ___________ (which uses another character, narrator or the protagonist himself to tell the readers or audience about the subject), or indirect/implicit _____________ (which makes the audience deduce for themselves the characteristics of the character by observing his/her thought process, behavior, speech, way of talking, appearance, and way of communication with other characters and also by discerning the response of other characters).
a)
character
b)
characterization
c)
conceit
d)
dialogue
28.
Shakespeare makes use of a __________ in Act 3, Scene 5 of his play “Romeo and Juliet”. Capulet comes to Juliet’s room after Romeo has left. He finds her weeping and says:
“Thou counterfeit’st a bark, a sea, a wind;/
For still thy eyes, which I may call the sea,/
Do ebb and flow with tears; the bark thy body is,/
Sailing in this salt flood; the winds, thy sighs;/
Who, raging with thy tears, and they with them,/
Without a sudden calm, will overset/
Thy tempest-tossed body.”
He compares Juliet to a boat in a storm. The comparison is an extended metaphor where he compares her eyes to a sea, her tears to a storm, her sighs to the stormy winds and her body to a boat in a storm.
“Thou counterfeit’st a bark, a sea, a wind;/
For still thy eyes, which I may call the sea,/
Do ebb and flow with tears; the bark thy body is,/
Sailing in this salt flood; the winds, thy sighs;/
Who, raging with thy tears, and they with them,/
Without a sudden calm, will overset/
Thy tempest-tossed body.”
He compares Juliet to a boat in a storm. The comparison is an extended metaphor where he compares her eyes to a sea, her tears to a storm, her sighs to the stormy winds and her body to a boat in a storm.
a)
cliché
b)
chiasmus
c)
conceit
d)
catharsis
29.
“cold as ice” “hot as fire” “I could read her like a book” “Once upon a time…” “It was a dark and stormy night…” “…and they lived happily ever after.”
a)
conceit
b)
cliché
c)
chiasmus
d)
catharsis
30.
“cold as ice” “hot as fire” “I could read her like a book” “Once upon a time…” “It was a dark and stormy night…” “…and they lived happily ever after.” _____
a)
conceit
b)
chiasmus
c)
cliché
d)
catharsis
31.
There are two types of _______ in literature: Inner (including literary techniques like stream of consciousness or dramatic monologue), and Outer (a simple conversation between two characters used in almost all types of fictional works).
a)
characterization
b)
conceit
c)
dialogue
d)
conflict
100 %
