character | -one of the persons of a drama or novel-person, animal, creature, being or thing in a story |
ambition | an ardent desire for rank, fame, or power; desire to achieve a particular end |
conflict | literary element involves a struggle between 2 opposing forces; protagonist and antagonist |
mood | literary element that evokes certain feelings/vibes in readers |
foreshadowing | show or indicate beforehand |
relationships | most stories have multiple characters interacting which may cause a conflict; furthers the plot |
duplicity | deceitfulness; double-dealing |
equivocation | the use of ambiguous expressions, especially in order to mislead or hedge; prevarication |
tone | the general character or attitude of a place, piece of writing |
imagery | use of figurative language to represent objects, actions, and ideas; appeals to our physical ideas |
theme | overall meaning or central message of a literary work |
nature | in Macbeth is the vehicle for how the theme is emphasized |
archetypal | -relating to the ideas and emotions expressed by people in many cultures-example:”image of fallen world” |
Shakespeare tragedy | usually contains these elements:-central character of high rank and tragic flawor weakness-casually related events that lead this character to disaster, partly with his/her flaw-lively action that creates a vivid spectacle-use of comic scenes to temper and offset the mood of sadness |
tragic impulse | shows the tragic hero controlling his/her limits in a noble way |
internal conflict | psychological struggle within the mind of a literary or dramatic character, the resolution of which creates the plots suspense; mental struggle arising from opposing demands or impulse |
regicide | killing or take part in killing a king |
King Duncan | “Give me your hand;/Conduct me to mine host. We love him highly/And shall continue our graces toward him./By your leave, hostess.” |
Lady Macbeth | “Infirm of purpose!/Give me the daggers. The sleeping and the dead/Are but as pictures . . . If he do bleed,/ I’ll gild the faces of the grooms withal,/For it must seem their guilt.” |
Banquo | “Thou hast it now: King, Cawdor, Glamis, all,/As the weird women promised, and I fear/Thou play’dst most foully for ‘t.” |
three weird sisters | “By the prickling of my thumbs, something wicked this way comes/Open locks, Whoever knocks.” |
Macbeth | “Life’s but a walking shadow, a poor player,/That struts and frets his hour upon the stage/And then is heard no more.” |
Macduff | “Turn, hellhound, turn! . . .I have no words;/My voice is in my sword, thou bloodier villain/Than terms can give thee out.” |
soliloquy | talk to themselves (voice over) |
comic relief | a humorous break from a tense mood |
dramatic irony | occurs when the words or actions of a character take on a meaning for the audience or readers different from the one the character intends |
verbal irony | an intentional clash between the words chosen to talk about a thing and its reality-example: calling a tall person “shorty” |
resolution | solution to the conflict of a story |
rising action | a related series of incidents in a literary plot that build toward the point of greatest interest |
falling action | the part of a literary plot that occurs after the climax has been reached and the conflict has been resolved |
tragic flaw | the character defect that causes the downfall of the protagonist of a tragedy; hamartia |
external conflict | struggle between a literary or dramatic character and an outside force such as nature or another character, which drives the dramatic action of the plot:external conflict between Macbeth and Macduff |
tragic hero | a great or virtuous character in a dramatic tragedy who is destined for downfall, suffering, or defeat |
tactic | a plan, procedure, or expedient for promoting a desired end or result |
objective | something that one’s efforts or actions are intended to attain or accomplish; purpose; goal; target |
aside | away from one’s thoughts or consideration |
English-Macbeth Test
December 12, 2019