| A PRETTY GOOD LIST OF LITERARY TERMS / LITERARY DEVICES |
| AESTHETIC |
responsive to or appreciative of what is pleasurable to
the senses |
| ALLEGORY |
a story with two meanings, a literal meaning and a symbolic meaning. |
| ALLITERATION |
the
deliberate repetition of initial consonant sounds; e.g. Peter Piper picked a peck of pickled peppers. |
| ALLUSION |
brief reference to a person, event, or place, real or fictitious, or to a work of art.
Casual reference to a famous historical or literary figure or event. |
| AMPLIFICATION |
use of bare
expressions, likely to be ignored or misunderstood by a hearer or reader because of the bluntness. Emphasis through restatement
with additional details. |
| ANAGNORISIS |
when a hero/ine
realizes his/her tragic mistake |
| ANAGRAM |
a word or phrase
made by transposing the letters; eg. Wired to weird |
| ANALOGY |
comparison
of two pairs which have the same relationship |
| ANAPHORA |
The
deliberate repetition of a word or phrase at the beginning of several successive verses, clauses, or paragraphs; the repetition of words in successive clauses, but in transposed order |
| ANASTROPHE |
Inversion of
the normal syntactic order of words, for example: To market went she. |
| ANTAGONIST |
character in
a story or poem who deceives, frustrates, or works again the main character, or protagonist, in some way. The antagonist doesn’t
necessarily have to be an person |
| ANTHROPMORPHISM |
a form of personification,
giving human-like characteristics to both living and non-living objects; describing of gods or goddesses in human forms and
possessing human characteristics such as jealousy, hatred, or love |
| ANTIMETABOLE |
the repetition of words in successive
clauses, but in transposed order |
| ANTITHESIS |
opposition,
or contrast of ideas or words in a balanced or parallel construction. |
| ANTONYM |
words that
are opposite in meaning |
| APHORISM |
a brief saying
embodying a moral, a concise statement of a principle or precept given in pointed words. |
| APOSTROPHE |
is when an
absent person, an abstract concept, or an important object is directly addressed (AUTHORIAL INSTRUSION) |
| ARCHETYPE |
usage of any
object or situation as it was originally made - think of it as the biggest cliché ever, but one that never dies |
| ASSONANCE |
deliberate
repetition of identical or similar vowel sounds; eg. fleet feet sweep by sleeping geeks. |
| ASYNDETON |
omission of
conjunctions from constructions in which they would normally be used, as in "Are all thy conquests, glories, triumphs, spoils,/Shrunk
to this little measure? |
| AUTHOR SURROGATE |
a character who acts as the author's spokesman. Sometimes the character may intentionally
or unintentionally be an idealized version of the author. A well known variation is the Mary Sue or Gary Stu (self-insertion). |
| BACK-STORY |
the story "behind" or "before" the events being portrayed in the story being told;
past events or background for a character that can serve to color or add additional meaning to current circumstances. Provides
extra depth to the story by anchoring it to external events, real or imagined. |
| BIBLIOMANCY |
prediction
based on a Bible verse or literary passage chosen at random. |
| BILDUNGSROMAN |
story in which
the protagonist undergoes growth throughout the entire narrative, generally starting off by being removed or chased from their
home. Their growth is often impeded by opposition of their desires by other characters |
| BLANK
VERSE |
A line of poetry
or prose in unrhymed iambic pentameter. |
| BREAKING THE FOURTH WALL |
when
the author or a character addresses the audience directly (also known as direct address). May acknowledge to the reader or
audience that what is being presented is fiction, or may seek to extend the world of the story to provide the illusion that
they are included in it. |
| CACOPHONY |
harsh, discordant
sounds |
| CAESURA |
a natural pause
or break. |
| CANON or CANONICAL |
"literary canon"
refers to a classification of literature: group of literary works that are considered
the most important of a particular time period or place |
| CATASTROPHE |
The final clarification of a dramatic or narrative
plot in a tragedy |
| CATHARSIS |
emotional closure
of a tragedy |
| CHARACTERIZATION |
the method
used by a writer to develop a character. The method includes (1) showing the character's appearance, (2) displaying the character's
actions, (3) revealing the character's thoughts, (4) letting the character speak, and (5) getting the reactions of others. |
| CHEKHOV'S GUN |
the
insertion of an object of apparent irrelevance early on in a narrative, the purpose of which is only revealed later on in
the story. |
| CHIASMUS |
A
type of rhetoric in which the second part is syntactically balanced against the first; e.g. Flowers are lovely, love is flowerlike. |
| CIRCUMLOCUTION |
use of a longer
phrasing in place of a possible shorter form of expression; a roundabout or indirect manner of writing or speaking |
| CLICHÉ |
An
idea or expression that has become tired and trite from overuse, its freshness and clarity having worn off |
| COLLOQUIAL |
referrint to
language that is used in ordinary or familiar conversation; not formal or literary |
| CONCEIT |
an
extended metaphor, associated with metaphysical poetry, designed to push the limits of the imagination in order to portray
something indescribable. |
| CONFLICT |
the struggle
found in fiction. Conflict/Plot may be internal or external and is best seen in (1) Man in conflict with another Man: (2)
Man in conflict in Nature; (3) Man in conflict with self. |
| CONNOTATION |
The personal
or emotional associations called up by a word that go beyond its dictionary meaning, an implied meaning of a word |
| CONSONANCE |
the repetition
of consonant sounds, but not vowels |
| DEFAMILIARIZATION |
technique of forcing the reader to recognize common things in an unfamiliar or strange
way, in order to enhance perception of the familiar. |
| DELETED
AFFAIR |
telling
of a romantic relationship, but not referred to in current story. |
| DENOTATION |
literal meaning
of a word, the dictionary meaning |
| DENOUEMENT |
the conflict
between the protagonist and the antagonist unravels; also called "falling action; might contain a moment of final suspense,
during which the final outcome of the conflict is in doubt |
| DEVICE |
identifiable
rule of thumb, convention or structure that is employed in literature and storytelling. |
| DEUS
EX MACHINA |
(God
out of the Machine), an improbable contrivance (happening) in a story; a plot device dating back to ancient Greek theater,
where the primary conflict is resolved through a means that seems unrelated to the story (i.e. a God comes down out of nowhere
and solves everything, saving the character from peril). In modern times, the Deus ex machina is often considered a clumsy
method, to be avoided in order not to frustrate readers or viewers. |
| DIALOGUE |
discussion
between two or more characters |
| DICTION |
poet's distinctive
choices in vocabulary; formal diction consists of a dignified, impersonal, and elevated use of language |
| DICTION, ARCHAIC |
or archaism; the choice of words from
earlier eras in contemporary poetry |
| DIDACTIC |
refers to literature
or other types of art that are instructional or informative |
| DOPPLEGANGER |
ghostly double
of another character, especially if it haunts its counterpart |
| ECHO |
repetition
of key word or idea for effect |
| ELEGIAC |
of,
relating to, or comprising elegy or an elegy; especially: expressing sorrow often for something now past |
| ELLIPSIS |
omission
of words |
| EPIC THEATER |
a technique popularized by 20th century playwright Bertolt Brecht, in which the audience
is "alienated" or "distanced" from the emotion of the play. |
| EPIGRAM |
pithy saying
or remark expressing an idea in a clever and amusing way |
| EPILOGUE |
short addition
or concluding section at the end of a literary work, often dealing with the future of its characters |
| EPIPHANY |
literary
work or section of a literary work presenting, usually symbolically, such a moment of revelation and insight. |
| EPISTOLARY NOVEL |
a
novel in the form of a series documents, usually letters exchanged between the characters. Classic examples include Pamela
by Samuel Richardson (1740), The Expedition of Humphry Clinker by Tobias Smollett (1771), Les Liaisons dangereuses by Pierre
Choderlos de Laclos (1782) and Dracula by Bram Stoker (1897). |
| EPITHET |
word which
makes the reader see the object described in a clearer or sharper light. It is both exact and imaginative. |
| EPONYM |
person after
whom a discovery, invention, place, etc., is named or thought to be named |
| EUPHEMISM |
substitution
of an agreeable or less offensive expression in place of one that may offend or suggest something unpleasant to the listener |
| EUPHONY |
soothing pleasant
sounds |
| EYE-RHYME |
Rhyme
between words of similar spelling, though of different sound; eg. From stone and from wood / From fire and from flood |
| FALSE DOCUMENTS |
fiction
written in the form of, or about, apparently real, but actually fake documents. Examples include Robert Graves's I, Claudius,
a fictional autobiography of the Roman emperor, H.P. Lovecraft's Necronomicon,
and the Flashman series by George MacDonald Fraser. The short stories of Jorge Luis Borges are often written as summaries
or criticisms of books that in actuality do not exist. |
| FAULTY
PARALLELISM |
occurs when
the elements put into pairs and series "go in different directions" because they do not have the same form |
| FICTIONAL
FICTIONAL CHARACTER |
a
character whose fictional existence is introduced within a larger work of fiction, or a character in a story within a story.
Early examples include Panchatantra and Arabian Nights. |
| FIGURATIVE |
non-literal;
departing from a literal use of words; metaphorical. |
| FIGURATIVE
LANGUAGE |
A catch-all
term for language use in which writers and speakers mean something other than the literal meaning of their words. (E.g. hyperbole,
metaphor, and simile) |
| FIGURE
OF SPEECH |
word or phrase
used in a nonliteral sense to add rhetorical force to a spoken or written passage |
| FINGER
POSTING |
where
casual details are inserted so that a revealation will not seem disconnected from the story. |
| FLASHBACK |
general term
for altering time sequences, taking characters back to the beginning of the tale, for instance; action that interrupts to
show an event that happened at an earlier time which is necessary to better understanding. |
| FOIL |
character whose
personality and attitude is opposite the personality and attitude of another character |
| FOOT (METER) |
The
metrical unit by which a line of poetry is measured. A foot usually consists of one stressed and one or two unstressed syllables.
An iambic foot, which consists of one unstressed syllable followed
by one stressed syllable ("away"), is the most common metrical foot in English poetry. A trochaic foot consists of one stressed syllable followed by an unstressed syllable ("lovely"). An anapestic foot is two unstressed syllables followed by one stressed one ("understand"). A dactylic foot is one stressed syllable followed by two unstressed ones ("desperate"). A spondee is a foot consisting of two stressed syllables ("dead set"), but is not a sustained metrical foot and is used
mainly for variety or emphasis. |
| FORESHADOWING |
use of hints
or clues to suggest what will happen later in literature |
| FORM |
the arrangement,
manner or method used to convey the content, such as free verse, couplet, limerick, haiku |
| FRAME STORY |
a
story within a story, where a main story is used to organize a series of shorter stories. Early examples include Panchatantra
and Arabian Nights. A more modern example is Brian Jacques The Legend of Luke. |
| FRAMING
DEVICE |
the
usage of a single action, scene, event, setting, or any element of significance at the beginning and end of a work. |
| FREE
VERSE |
Poetry without
a regular pattern of meter, format, or rhyme. |
| GENRE |
a classification
of literature |
| HAMARTIA |
the mistake
made by a tragic hero/ine |
| HOMONYM |
Two or more
distinct words with the same pronunciation and spelling but with different meanings |
| HOMOPHONE |
two or more
words with the same pronunciation but with different meanings and spellings. |
| HUBRIS |
excessive pride,
usually leading to the hero/ine's downfall |
| HYPERBOLE |
an exaggeration
of the truth for dramatic effect |
| HYPOPHORA |
figure of speech
in which the speaker poses a question and then answers the question |
| IAMBIC PENTAMETER |
A metrical
pattern in poetry which consists of five iambic feet per line. (An iamb, or iambic foot, consists of one unstressed syllable
followed by a stressed syllable.) |
| IDIOM |
group
of words established by usage as having a meaning not deducible from those of the individual words |
| IMAGE |
A concrete
representation of a sense impression, a feeling, or an idea. |
| IMAGERY |
figurative
language that evokes one or all of the five senses: seeing, hearing, tasting, smelling, touching; used to create particular
mental images |
| IN
MEDIAS RES |
when
the story begins in the middle of an intense action sequence. |
| INCLUING |
describing
a different world, such as Brave New World. |
| INTERNAL
RHYME |
two
or more rhyming words within a line of poetry; eg "Could ever dissever the soul from my soul…" |
| INVERSION |
changing of
the usual order of words |
| IRONY |
the discrepancy
between expectation and reality. The three forms of irony are: situational irony, where a situation features a discrepancy
between what is expected and what is actualized; dramatic irony, where a character is unaware of pivotal knowledge which has
already been revealed to the audience (the discrepancy here lies in the two levels of awareness between the character and
the audience); and verbal irony, where one states one thing while meaning another. |
| ISOCOLON |
figure of speech
or sentence having a parallel structure formed by the use of two or more clauses, or cola, of similar length |
| JARGON |
special words
or expressions that are used by a particular profession or group and are difficult for others to understand |
| JUXTAPOSITION |
when
the author places two dissimilar themes, characters, phrases, words, or situations parallel to one another for the purpose
of comparison, contrast, or rhetoric. |
| KENNINGS |
magic poetic
phrase, a figure of speech, substituted for the usual name of a person or thing |
| LAMPSHADE HANGING |
a technique used in many forms of fiction to deflect attention from implausible or
just plain bad writing by having a character point out how strange or unlikely it is. Once acknowledged in-character, the
audience accepts it. |
| LINE |
the specific
"unit" of a poem--all the words that are on one line of a poem |
| LITOTES |
understatement
for rhetorical effect (especially when expressing an affirmative by negating its contrary) |
| MAGIC REALISM |
a
form particularly popular in Latin America but not limited to that region, in which events are described realistically, but
in a magical haze of strange local customs and beliefs. Gabriel García Márquez is a notable author in the style. |
| MALAPROPISM |
act or habit
of misusing words ridiculously, esp. by the confusion of words that are similar in sound |
| MAXIM |
short, pithy
statement expressing a general truth or rule of conduct |
| METAPHOR |
a
direct comparison using the verb "to be," and not using like or as, when one thing is said to be another; an association of
two completely different objects as being the same thing; intent of giving clearer meaning to one of them. Often forms of
the "to be" verb are used, such as "is" or "was", to make the comparison; eg. The moon was a ghostly galleon / Tossed upon
the cloudy sea (Noyes) |
| METAPHOR,
IMPLIED |
comparison
without mentioning both elements |
| METER |
The
recurrence of a pattern of stressed and unstressed syllables; Metrical patterns are determined by the type and number of feet
in a line of verse; combining the name of a line length with the name of a foot concisely describes the meter of the line.
Rising meter refers
to metrical feet which move from unstressed to stressed sounds (examples: iambic foot and
anapestic foot) Falling meter refers to metrical feet which move from stressed to unstressed sounds (examples: trochaic
foot and dactylic foot)
|
| METONYMY |
substituting
a word for another word closely associated with it; Metonymy may be instructively contrasted with metaphor. Both figures involve
the substitution of one term for another. In metaphor, this substitution is based on similarity, while in metonymy, the substitution
is based on contiguity. Metaphor example: The ship ploughed through the sea (using
ploughed through instead of navigated). Metonymy example: The White House phoned
(using White House instead of President).
|
| MOOD |
emotional feelings
of a READER as he/she reads a piece of literature (the mood was created by the WRITER + the READER) |
| MOTIF |
recurring object,
concept, or structure in a work of literature. A motif may also be two contrasting elements in a work, such as good and evil
(kind of like Paideia values!); *A dominant theme or central idea; *A recurrent thematic element in an artistic or literary
work. |
| NARRATIVE
HOOK |
opening
of a story that "hooks" the reader's attention so he or she will keep reading |
| NEMESIS |
expression
often denotes a character in a drama who brings about another's downfall |
| ONOMATOPOEIA |
"sound echoing
sense"; use of words resembling the sounds they mean; also called imitative harmony |
| OVERSTATEMENT |
exaggeration
of something, often for the purpose of emphasis (also known as a hyperbole). |
| OXYMORON |
Two-three contradictory
words placed next to one another; eg. hot ice, cold fire, wise fool, sad joy, military intelligence, eloquent silence |
| PARABLE |
A brief and
often simple narrative that illustrates a moral or religious lesson |
| PARADOX |
a seeming contradiction
that surprisingly reveals a kind of truth with its pithiness. Two opposing ideas; something
that seems contradictory on the surface, but on closer inspection actually holds a truth. |
| PARATAXIS |
placing of clauses or phrases one after another, without words
to indicate coordination or subordination |
| PARODY |
ridicule
by imitation, usually humorous, such as MAD Magazine. |
| PASTICHE |
using
forms and styles of another author, generally as an affectionate tribute, such as the many stories featuring Sherlock Holmes
not written by Arthur Conan Doyle, or much of the Cthulhu Mythos. |
| PATHETIC
FALLACY |
The
attribution of human emotions or characteristics to inanimate objects or to nature; for example, angry clouds; a cruel wind.
(origin of the phrase: human beings' need to make everything human in order to
understand it = an artistic mistake according to Ruskin); is the reflection of
the mood of a character (usually the protagonist) in the atmosphere or inanimate objects. A good example is the storm in William
Shakespeare's King Lear, which mirrors Lear's mental deterioration. |
| PATHOS |
is
used by the author to inspire pity or sorrow in the reader towards a character(s); Pathos typically does not couterbalance
the suffering of the target character with a positive outcome, as in Tragedy. |
| PERIPETEIA |
when the hero/ine's
fortune changes (usually from good to bad) |
| PERIPHASIS |
Adding in superfluous
words to extend the message you are trying to give - "beating around the bush", so to speak |
| PERSONIFICATION |
A figure of speech which endows animals, ideas, or inanimate objects with human traits
or abilities; eg. And twilight silver footed creeps / Down the dimming paths (Alex Waugh) |
| PLOT |
the series
of events in a piece of literature |
| PLOT
TWIST |
is
a change ("twist") in the direction or expected outcome of the plot of a film or novel. |
| POETIC JUSTICE |
is a literary device in which virtue is ultimately rewarded or vice punished, often
in modern literature by an ironic twist of fate intimately related to the character's own conduct. |
| POINT
OF VIEW |
the vantage point of the speaker, or "teller", of the story or poem; 1st person: the speaker is a character in the story or poem and tells it from his/her perspective
(uses "I"); 3rd person limited: the speaker is not part of the story, but tells about the other characters but limits information
about what one character sees and feels; 3rd person omniscient: the speaker is not part of the story, but is able to "know"
and describe what all characters are thinking. |
| POLYSYNDETON |
repetition
of connectives or conjunctions in close succession for rhetorical effect, as in the phrase here and there and everywhere. |
| PORTMANTEAU |
combination
of two or more words to create a new word |
| PREDESTINATION
PARADOX |
a
paradox of time travel when a time traveler is caught in a loop of events that "predestines" him or her to travel back in
time. |
| PROLOGUE |
An introduction
or preface |
| PROSE |
written or
spoken language in its ordinary form, without metrical structure. |
| PROTAGONIST |
main character
or lead figure in a novel, play, story, or poem. It may also be referred to as the "hero" of a work |
| PUNS |
figure of speech
which consists of a deliberate confusion of similar words or phrases for rhetorical effect, whether humorous or serious |
| QUIBBLE |
a
common plot device, used to fulfill the exact verbal conditions of an agreement in order to avoid the intended meaning. Used
commonly in legal bargaining. |
| RED
HERRING |
something, esp. a clue, that is or is intended to be misleading
or distracting |
| REALISM |
Broadly defined
as "the faithful representation of reality" or "verisimilitude," literature devoted to accurate representation and an exploration
of American lives in various contexts |
| REPITITION |
the
repeating of words, phrases, lines, or stanzas; eg. chit chit chatter chatter |
| RHETORICAL
QUESTION |
A
question asked that does not require an answer; eg. Could I but guess the reason for that look? |
| RHYME |
The
matching of final vowel or consonant sounds in two or more words; a. the vowel sound and the following consonant sound are
the same; eg. mind-kind; b. the consonants preceding the vowel are different; eg. make-lake |
| RHYME
SCHEME |
The sequence
in which the rhyme occurs. The first end sound is represented as the letter "a", the second is "b", etc. |
| RHYMING
COUPLET |
a pair of lines
which end-rhyme expressing one clear thought |
| RHYTHM |
words have a movement or beat to them (think music!); the recurrence of accent or stress
in lines of verse; internal 'feel' of beat and meter perceived when poetry is read aloud |
| SARCASM |
a
sharp and often satirical or ironic utterance designed to cut or give pain |
| SATIRE |
literary tone
used to ridicule or make fun of human vice or weakness, often with the intent of correcting, or changing, the subject of the
satiric attack. (Gulliver's Travels) |
| SCHEME |
term in classical
rhetoric for any one of the figures of speech: a deviation from conventional word order |
| SELF-FULFILLING
PROPHESY |
a
prediction that, in being made, actually causes itself to become true. Early examples include the legend of Oedipus, and the
story of Krishna in the Mahabharata. |
| SENSORY
DETAIL OR IMAGERY |
the usage of
sight, sound, taste, touch, smell |
| SETTING |
The time and
place of a literary work that establishes its context. |
| SIDE STORY |
a
form of narrative that occurs alongside established stories set within a fictional universe. Examples include Mahabharata,
Ramayana, Gundam, Doctor Who and The Matrix. |
| SIMILE |
A figure of
speech which compares two seemingly dissimilar objects using a specific word
or comparison such as "like", "as", "as thought", or "than". |
| SLANG |
very informal
usage in vocabulary and idiom that is characteristically more metaphorical, playful, elliptical, vivid, and ephemeral than
ordinary language |
| SOLILOQUY |
a dramatic
speech given by one character (also referred to as "monologue") |
| SONNET |
a type of poem
which has 14 lines, iambic pentameter, specific rhyme scheme |
| SPOONERISM |
shuffling of
the first letters of words to make different words and therefore change the actual meaning of the sentence |
| STANZA |
a "paragraph"
in a poem; a unified grouping of lines of two or more lines in terms of length, metrical form, or rhyme scheme |
| STREAM OF CONSCIOUSNESS |
the unbroken
flow of thought and awareness of the waking mind; a special mode of narration that undertakes to capture the full spectrum
and the continuous flow of a character's mental process; an attempt to portray all the thoughts and feelings of a character |
| STRETCH
RHYME |
an "almost"
rhyme |
| STRUCTURE |
The design
or form of a literary work. |
| SYLLEPSIS |
a single word
that governs or modifies two or more others must be understood differently with respect to each of those words |
| SYMBOL |
An object or
action in a literary work that means more than itself, that stands for something beyond itself. |
| SYMBOLISM |
the
applied use of symbols: iconic representations that carry particular conventional meanings. |
| SYNECDOCHE |
when a part
or portion of something represents the whole item or idea; or a whole is standing in for a part of something |
| SYNONYM |
One of two
or more words that have the same or nearly the same meanings. |
| SYNTAX |
the way in
which linguistic elements (as words) are put together to form constituents (as phrases or clauses) |
| THEME |
general idea
or insight about life that a writer wishes to express |
| TONE |
author’s
implied attitude toward the reader or the people, places, and events in a work as revealed by the elements of the author’s
style: serious, humorous, sarcastic, ironic, satirical, tongue-in-cheek, solemn, objective |
| TRAGEDY |
story
that presents courageous individuals who confront powerful forces within or outside themselves with a dignity that reveals
the breadth and depth of the human spirit in the face of failure, defeat, and even death. Tragedies recount an individual’s
downfall; they usually begin high and end low. |
| TRAGIC
FLAW |
character defect that causes the downfall of the
protagonist of a tragedy |
| TRAGIC HERO |
A tragic hero
has the potential for greatness but is doomed to fail. He is trapped in a situation where he cannot win. He makes some sort
of tragic flaw, and this causes his fall from greatness. Even though he is a fallen hero, he still wins a moral victory, and
his spirit lives on. Qualities: BORN
INTO NOBILITY, RESPONSIBLE FOR THEIR OWN FATE, ENDOWED WITH A TRAGIC FLAW, DOOMED TO MAKE A SERIOUS ERROR IN JUDGEMENT, FALL
FROM GREAT HEIGHTS OR HIGH ESTEEM, REALIZE THEY HAVE MADE AN IRREVERSIBLE MISTAKE, FACES AND ACCEPTS DEATH WITH HONOR, MEET
A TRAGIC DEATH, THE AUDIENCE IS AFFECTED BY PITY and/or FEAR |
| UNDERSTATEMENT |
when the obvious
is “played down” for comic or dramatic effect |
| UNRELIABLE NARRATOR |
a
technique in which the narrator of the story is not sincere or introduces a bias in the way he tells it and possibly misleads
the reader, hiding or minimizing some events, characters or motivations. |
| VERISIMILITUDE |
The appearance
of truth; the quality of seeming to be true |
| VERSE |
writing arranged
with a metrical rhythm, typically having a rhyme |
| WORD
PLAY |
in
which the nature of the words used themselves become part of the work. |
| WRITER'S
VOICE |
a
literary technique combining various structural aspects of an author's writing style. |
