Step 1. Take notes about your literary device.
Step 2. Brainstorm your explanations and examples.
Step 3. Organize your information and create a Power Point presentation or a
Word document that you will use to instruct the class.
Step 4. Instruct the class using the following sequence:
- 5 points-grabber (example of literary device – students guess which one)
- 5 points-etymology of the literary device word (original root and your
inference about the logic that changed it to the modern meaning)
- 15 points-literary definition and explanation in your own words
- 15 points-Give examples and explain them (2 from other sources, 2 of your own).
- 10 points-activity (Guide the class in creating their own example.)
IMAGERY: A common term of variable meaning, imagery includes the "mental
pictures" that readers experience with a passage of literature. It signifies all the sensory
perceptions referred to in a poem, whether by literal description, allusion, simile, or
metaphor. Imagery is not limited to visual imagery; it also includes auditory (sound),
tactile (touch), thermal (heat and cold), olfactory (smell), gustatory (taste), and
kinesthetic sensation (movement).
ALLUSION: A casual reference in literature to a person, place, event, or another passage
of literature, often without explicit identification. Allusions can originate in mythology,
biblical references, historical events, legends, geography, or earlier literary works.
Authors often use allusion to establish a tone, create an implied association, contrast two
objects or people, make an unusual juxtaposition of references, or bring the reader into a
world of experience outside the limitations of the story itself. Authors assume that the
readers will recognize the original sources and relate their meaning to the new context.
For instance, if a teacher were to refer to his class as a horde of Mongols, the students
will have no idea if they are being praised or vilified unless they know what the Mongol
horde was and what activities it participated in historically. This historical allusion
assumes a certain level of education or awareness in the audience, so it should normally
be taken as a compliment rather than an insult or an attempt at obscurity.
ONOMATOPOEIA: The use of sounds that are similar to the noise they represent for a
rhetorical or artistic effect. For instance, buzz, click, rattle, and grunt make sounds akin to
the noise they represent.
PERSONIFICATION: A trope in which abstractions, animals, ideas, and inanimate
objects are given human character, traits, abilities, or reactions. Personification is
particularly common in poetry, but it appears in nearly all types of artful writing.
Examples include Keats’s treatment of the vase in "Ode on a Grecian Urn," in which the
urn is treated as a "sylvan historian, who canst thus express / A flowery tale more sweetly
than our rhyme," or Sylvia Plath's "The Moon and the Yew Tree," in which the moon "is
a face in its own right, / White as a knuckle and terribly upset. / It drags the sea after it
like a dark crime." When discussing the ways that animistic religions personify natural
forces with human qualities, scientists refer to this process as "anthropomorphizing,"
sometimes with derogatory overtones. A special sub-type of personification is
prosopopoeia, in which an inanimate object is given the ability of human speech.
Apostrophe (not to be confused with the punctuation mark) is a special type of
personification in which a speaker in a poem or rhetorical work pauses to address some
abstraction that is not physically present in the room.
PARADOX (also called oxymoron): Using contradiction in a manner that oddly makes
sense on a deeper level. Common paradoxes seem to reveal a deeper truth through their
contradictions, such as noting that "without laws, we can have no freedom."
Shakespeare's Julius Caesar also makes use of a famous paradox: "Cowards die many
times before their deaths" (2.2.32).
SYMBOLISM: The use of words, places, characters, or objects to represent something
beyond what they are on a literal level. Often the symbol may be ambiguous in meaning.
ALLEGORY: The word derives from the Greek allegoria ("speaking otherwise"). The
term loosely describes any writing in verse or prose that has a double meaning. This
narrative acts as an extended metaphor in which persons, abstract ideas, or events
represent not only themselves on the literal level, but they also stand for something else
on the symbolic level. An allegorical reading usually involves moral or spiritual concepts
that may be more significant than the actual, literal events described in a narrative.
Typically, an allegory involves the interaction of multiple symbols, which together create
a moral, spiritual, or even political meaning. The act of interpreting a story as if each
object in it had an allegorical meaning is called allegoresis.
ALLITERATION: This is the repetition of initial consonant sounds in a line or
succeeding lines of verse. Example: Shakespeare, Romeo and Juliet: "Gallop apace, you
fiery-footed steeds/ Towards Phoebus' lodging!"
IRONY: Cicero referred to irony as "saying one thing and meaning another." Irony
comes in many forms. Verbal irony (also called sarcasm) is a trope in which a speaker
makes a statement in which its actual meaning differs sharply from the meaning that the
words ostensibly express. Often this sort of irony is plainly sarcastic in the eyes of the
reader, but the characters listening in the story may not realize the speaker's sarcasm as
quickly as the readers do. Situational irony (also called cosmic irony) is a trope in
which a situation has an outcome that is the opposite of what is expected, and at times the
outcome may seem oddly appropriate, such as the poetic justice of a pickpocket getting
his own pocket picked. Both the victim and the audience are simultaneously aware of the
situation in situational irony. Probably the most famous example of situational irony is
Jonathan Swift's A Modest Proposal, in which Swift "recommends" that English
landlords take up the habit of eating Irish babies as a food staple. Dramatic irony (the
most important type for literature) involves a situation in a narrative in which the reader
knows something about present or future circumstances that the character does not know.
In that situation, the character acts in a way we recognize to be grossly inappropriate to
the actual circumstances, or the character expects the opposite of what the reader knows
that fate holds in store, or the character anticipates a particular outcome that unfolds itself
in an unintentional way. Probably the most famous example of dramatic irony is the
situation facing Oedipus in the play Oedipus Rex. Socratic irony uses a form of ironic
false modesty in which a speaker claims ignorance regarding a question or philosophical
problem. The speaker then turns to another "authority" and raises the question humbly,
asking for the expert's answer. When the "authority," presents an answer, the "modest"
original speaker continues to ask pointed questions, eventually revealing the limitations
or inadequacies of the supposed expert--all the while protesting his or her own inferior
knowledge. The irony comes from the speaker's continuing presentation of himself as
stupid even as he demolishes inferior ideas others present to him. This is the method
Socrates supposedly took regarding philosophical inquiry, and it is named Socratic irony
in his honor.
HYPERBOLE: an extreme exaggeration used for entertaining emphasis, e.g., “The
sprinter reached the finish line before the timers heard the starting gun.”
SATIRE: An attack on or criticism of any stupidity or vice in the form of scathing
humor, or a critique of what the author sees as dangerous religious, political, moral, or
social standards. Satire became an especially popular technique used during the
Enlightenment, in which it was believed that an artist could correct folly by using art as a
mirror to reflect society. When people viewed the satire and saw their faults magnified in
a distorted reflection, they could see how ridiculous their behavior was and then correct
that tendency in themselves. The tradition of satire continues today. Popular cartoons
such as The Simpsons and televised comedies like The Daily Show make use of it in
SIMILE: An analogy or comparison implied by using an adverb such as like or as, in
contrast with a metaphor which figuratively makes the comparison by stating outright
that one thing is another thing. This figure of speech is of great antiquity. It is common in
both prose and verse works.
METAPHOR: A literary device by which one term is compared to another without the
use of a combining word such as like or as.
Two Actual Usages
"But soft, what light through yonder window breaks. It is the east and Juliet is the sun."
[Romeo and Juliet]
"Oh, beware my lords, of jealousy. It is the green-eyed monster, which doth mock the
meat it feeds on. [Othello] [Joel Mankey, '99
METONYMY: A part of something that represents the whole thing, or a larger thing that
represents one of its parts.
The military needs boots on the ground to secure a territory.
The White House has taken a firm position on foreign policy.
APOSTROPHE: (Greek ἀποστροφή, apostrophé, "turning away"; the final e being
sounded) is an exclamatory rhetorical figure of speech, with which a speaker or writer
breaks off and directs speech to an imaginary person or abstract quality or idea. In
dramatic works and poetry written in or translated into English, such a figure of speech is
often introduced by the exclamation "O".