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.  Poems, novels, or plays can all be allegorical, in whole or in part. These allegories can be as short as a single sentence or as long as a ten volume book. The label "allegory" comes from an interaction between symbols that creates a coherent meaning beyond that of the literal level of interpretation. Probably the most famous allegory in English literature is John Bunyan's Pilgrim's Progress (1678), in which the hero named Christian flees the City of Destruction and travels through the Valley of the Shadow of Death, Vanity Fair, Doubting Castle, and finally arrives at the Celestial City. The entire narrative is a representation of the human soul's pilgrimage through temptation and doubt to reach salvation in heaven. Medieval works were frequently allegorical, such as the plays Mankind and Everyman.  More recent non-mythological allegories include Spenser's The Faerie Queene, Swift's Gulliver's Travels, Butler's Erewhon, and George Orwell's Animal Farm.

ALLITERATION: Repeating a consonant sound in close proximity to others, or beginning several words with the same vowel sound. For instance, the phrase "buckets of big blue berries" alliterates with the consonant b. Coleridge describes the sacred river Alph in Kubla Khan as "Five miles meandering with a mazy motion," which alliterates with the consonant m. The line "apt alliteration's artful aid" alliterates with the vowel sound a. One of Dryden's couplets in Absalom and Achitophel reads, "In pious times, ere priestcraft did begin, / Before polygamy was made a sin." It alliterates with the letter p. Walt Whitman's "Song of Myself" employs the technique: "I lean and loaf at my ease observing a spear of summer grass." Most frequently, the alliteration involves the sounds at the beginning of words in close proximity to each other. Alliteration is an example of a rhetorical scheme. Alliteration in which the first letters of words are the same (as opposed to consonants alliterating in the middles or ends of words) is more specifically called head rhyme, which is a bit of a misnomer since it doesn't actually involve rhyme in a technical sense. If alliteration also involves changes in the intervening vowels between repeated consonants, the technique is called consonance.

ALLITERATIVE REVIVAL: The general increase or surge in alliterative poetry composed in the second half of the 14th century in England. Alliteration had been the formalistic focus in Old English poetry, but after 1066 it began to be replaced by the new convention of rhyme, which southern courtly poets were using due to the influence of continental traditions in the Romance languages like Latin and French. Between 1066 and 1300, hardly any poetic manuscripts using the alliterative form survive. There are two theories to explain this absence. Theory number one argues this absence is a quirk of textual history, and that individuals were still writing alliterative verse, but by coincidence none of the manuscripts survive to the modern period, or that the tradition survived in oral form only and was never written down. The second theory suggests that, after alliterative verse had been mostly abandoned, a surge of regionalism or nationalism encouraged northern poets to return to it during the mid- and late-1300s. In either case, during this time, Piers Plowman, Sir Gawain and the Green Knight and other important medieval poems were written using alliterative techniques. See alliteration, above, and alliterative verse, below.

ALLITERATIVE VERSE: A traditional form of Anglo-Saxon and Old Norse poetry in which each line has at least four stressed syllables, and those stresses fall on syllables in which three or four words alliterate (repeat the same consonant sound). Alliterative verse largely died out in English within a few centuries of the Norman Conquest. The Normans introduced continental conventions of poetry, including rhyme and octosyllabic couplets. The last surge of alliterative poetry in the native English tradition is known as the alliterative revival during the Middle English period. See alliteration, above.

ALLUSION: A reference to literature, art, mythology, or scriptures. Allusion invites the reader to draw parallels between the situation and the work being referenced.

APOSTROPHE: a kind of formal invocation. Sometimes the invocation is to an absent (or even dead) person: "Milton," writes Wordsworth, "thou shouldst be living at this hour;/ England hath need of thee." At other times, an inanimate object can be invoked: "O you gentle day sky!" Apostrophizing an inanimate object may involve personifying it.

ARCHETYPE: An original model or pattern from which other later copies are made, especially a character, an action, or situation that seems to represent common patterns of human life. Often, archetypes include a symbol, a theme, a setting, or a character that some critics think have a common meaning in an entire culture, or even the entire human race. These images have particular emotional resonance and power. Archetypes recur in different times and places in myth, literature, folklore, fairy tales, dreams, artwork, and religious rituals. Using the comparative anthropological work of Sir James Frazer's The Golden Bough, the psychologist Carl Jung theorized that the archetype originates in the collective unconscious of mankind, i.e., the shared experiences of a race or culture, such as birth, death, love, family life, and struggles to survive and grow up. These would be expressed in the subconscious of an individual who would recreate them in myths, dreams, and literature. Examples of archetypes found cross-culturally include the following:

(1) Recurring symbolic situations (such as the orphaned prince or the lost chieftain's son raised ignorant of his heritage until he is rediscovered by his parents, or the damsel in distress rescued from a hideous monster by a handsome young man who later marries the girl. Also, the long journey, the difficult quest or search, the catalog of difficult tasks, the pursuit of revenge, the descent into the underworld, redemptive rituals, fertility rites, the great flood, the End of the World),

(2) Recurring themes (such as the Faustian bargain; pride preceding a fall; the inevitable nature of death, fate, or punishment; blindness; madness; taboos such as forbidden love, patricide, or incest),

(3) Recurring characters (such as witches as ugly crones who cannibalize children, lame blacksmiths of preternatural skill, womanizing Don Juans, the hunted man, the femme fatale, the snob, the social climber, the wise old man as mentor or teacher, star-crossed lovers; the caring mother-figure, the helpless little old lady, the stern father-figure, the guilt-ridden figure searching for redemption, the braggart, the young star-crossed lovers, the bully, the villain in black, the oracle or prophet, the mad scientist, the underdog who emerges victorious, the mourning widow or women in lamentation),

(4) Symbolic colors (green as a symbol for life, vegetation, or summer; blue as a symbol for water or tranquility; white or black as a symbol of purity; or red as a symbol of blood, fire, or passion) and so on.

(5) Recurring images (such as blood, water, pregnancy, ashes, cleanness, dirtiness, caverns, phallic symbols, yonic symbols, the ruined tower, the rose, the lion, the snake, the eagle, the hanged man, the dying god that rises again, the feast or banquet, the fall from a great height).

The study of these archetypes in literature is known as archetypal criticism or mythic criticism.

ASSONANCE: Repeating identical or similar vowels (especially in stressed syllabes) in nearby words.

BLANK VERSE (also called unrhymed iambic pentameter): 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.) The Earl of Surrey first used the term "blank verse" in his 1540 translation of The Aeneid of Virgil. As an example, in Shakespeare's A Midsummer Night's Dream, Theseus' speech to Hippolyta appears in blank verse:

    The poet's eye, in a fine frenzy rolling,

    Doth glance from heaven to earth, from earth to heaven;

    And, as imagination bodies forth

    The forms of things unknown, the poet's pen

    Turns them to shapes and gives to airy nothing

    A local habitation and a name. (5.1.12-17)