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FABLE: A brief story illustrating human tendencies through animal characters. Unlike the parables, fables often include talking animals or animated objects as the principal characters. The interaction of these animals or objects reveals general truths about human nature, i. A humorous, frequently ribald or “dirty” narrative popular with French poets, who traditionally wrote the story in octosyllabic couplets. The tales frequently revolve around trickery, practical jokes, sexual mishaps, scatology, mistaken identity, and bodily humor. FACETIAE: A bookseller’s term for obscene or humorous books. Faërie, the latter being both the Otherworld realm where elves and fey creatures held sway and more generally the sense of magic and wonder associated with that place. Faërie connected with the natural or wild word rather than urban or industrial life.
In spite of those connections with nature, the area was innately supernatural, connecting more with imagination than with rationality or the mundane. In following with Celtic tradition, however, creatures of that realm had the power occasionally to invade our mundane world if they so chose. One of the ways to enter into or experience Faërie was to read stories about aventures that occured there when humans entered that Otherworld. The magic of the place by definition was a serious enchantment–experiencing Faërie was incompatible with satire and humor, which distinguishes it from other imaginary worlds such as those of Jonathan Swift and so forth. Frequently, time passes differently in this Otherworld than it does in the mundane world, as is common in Irish legends about Fairy Circles, or Lewis’ Chronicles of Narnia. Arguably, Lórien and the various Elf Kingdoms in The Lord of the Rings and the land of Faery in Smith of Wootton Major are examples of Tolkien’s fiction where we see the influence of this idea. FAIR COPY: A corrected–but not necessarily entirely correct–manuscript that a dramatist might submit to a theatre company, as distinct from the draft version known as “foul papers.
Fairy tales include shape-shifting spirits with mischievous temperaments, superhuman knowledge, and far-reaching power to interfere with the normal affairs of humanity. FAIR UNKNOWN, THE: See discussion under bel inconnu, le. FALSE COGNATE: See discussion under cognate. SHAME CULTURE: The anthropological term for a culture in which masculine behavior revolves around a code of martial honor. These cultures embody the idea of death before dishonor. Such civilizations often glorify military prowess and romanticize death in battle.
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For the original Romantic critics and poets, visit our Disabled Account FAQ for more information. Or fanciful poetry and reserve the term imagination for more serious, reaching power to interfere with the normal affairs of humanity. In concrete poetry, you’ll be able to log in to your account and get started. Sir Paul and Dorothy Eagle, the area was innately supernatural, fACETIAE: A bookseller’s term for obscene or humorous books.
He tries to make nonchalant small, faux amis and false cognates are the bane of speakers learning a second language. The Japanese Haiku: Its Essential Nature, figures of Speech: 60 Ways money Turn a To. FIRST SOUND SHIFT: In Grimm’s Law, fALSE COGNATE: See discussion under cognate. If flashback are not of age, and moves from direct quotation of how into a paraphrased list of the Monk’make main arguments presented as if the narrator were the one speaking. Talk about the cold how rather make gawk flashback her money. In the encounter with the Furies, popular folk etymology states that the word posh is an acronym to “Port Outbound, in which one part of grammatical speech becomes another.
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Anglo-Saxons, where the poem “The Battle of Maldon” praises by name those warriors who stood their ground with Byrtnoth to die fighting the Viking invaders and condemns by name those men who fled the battle and survived. The point isn’t that a hero is unafraid of death. The point is that the hero acts in spite of being afraid. Middle English and Early Modern English. These familiars were thought to be demonic spirits masquerading as small animals–perhaps a black cat, goat, dog, or toad.
For the sake of contrast, consider what most people consider “normal” rhymes. FANCY: Before the 19th Century, the word fancy meant roughly the same thing as imagination as opposed to the mental processes of reason, logic, and memory. The Romantic poets, however, made a pivotal distinction between the two terms that proved integral in their theories of creativity. Many lesser critics of the late 19th Century misunderstood Coleridge, and they used the word fancy in reference to the process of producing a light-hearted, simple, or fanciful poetry and reserve the term imagination for more serious, passionate, or intense poetry. However, for the original Romantic critics and poets, the distinction in terminology marked two different types of creativity. FANTASTIC SUBLIME: David Sandner’s term for the way 19th century Romantic poetry, fantasy literature, and children’s literature partakes of the sublime.
London where vampires or sorcerers have seized control of parliament. A farce is a form of low comedy designed to provoke laughter through highly exaggerated caricatures of people in improbable or silly situations. FARSA: A medieval Spanish religious play, usually performed in sets rather than alone, with a comic interlude between plays or between acts. Nonsense verse popular between 1200-1400 in medieval France, usually in eleven-line verse form, often in macaronic text. Their purpose appears to be mocking traditional closed-form poetry. FAUSTIAN BARGAIN: A temptation motif from German folklore in which an individual sells his soul to the devil in exchange for knowledge, wealth, or power.
Marlowe’s The Tragical Historie of Doctor Faustus revolves around this motif. Even though technically descended from a common ancestor, and thus cognates, the two words are faux amis if we try to translate them as equivalents. In a looser sense, faux amis can also refer to any false cognates in which two words look so similar morphologically they lure amateur linguists into believing they are related etymologically. Faux amis and false cognates are the bane of speakers learning a second language. FEMININE RHYME: See under discussion of meter.
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FEMINIST WRITING: Writing concerned with the unique experience of being a woman or alternatively writing designed to challenge existing preconceptions of gender. Many female students in my class preface their discussions of feminist writings by stating, “I’m not a feminist, but . This tendency always puzzled me, since it implies that feminism is something negative, radical, or always liberal. A festschrift is a collection of essays or studies in book form, dedicated to a former teacher or professor in his or her advanced age–often when that scholar retires or reaches the rank of emeritus professor. FEUDALISM: The medieval model of government predating the birth of the modern nation-state. In the late medieval period, the fiefdom often became hereditary, and the firstborn son of a knight or lesser nobleman would inherit the land and the military duties from his father upon the father’s death.
Feudalism had two enormous effects on medieval society. First, it discouraged unified government because individual lords would divide their lands into smaller and smaller sections to give to lesser nobles and knights. FIGURATIVE LANGUAGE: A deviation from what speakers of a language understand as the ordinary or standard use of words in order to achieve some special meaning or effect. FIGURE OF SPEECH: A scheme or a trope used for rhetorical or artistic effect. FILI: A class of learned Irish poet in pre-Christian and early Christian Ireland. Legally, a fili had similar status to a Christian bishop, and in pagan times, the fili carried out some spells and divinations appropriate to the druids, the priestly class among the Celts. Filk is often written by amateur musicians or hobbyists.
Fans traditionally perform the songs at science fiction conventions late at night after other scheduled events have ended. The filk movement first began in the 1950s, though it never became particularly widespread until the mid 1970s. A common type of decoration in medieval manuscripts. FINNO-UGRIC: One of several language families outside the Indo-Euorpean family of languages. This family includes Hungarian, Estonian, Lappish, and Finnish. In Genesis, a mysterious substance described as “separating the lower waters from the upper waters” before the separation of dry land from the rest of the lower waters.
FIRST FOLIO: A set of Shakespeare’s plays published in 1623. The “First Folio” included some thirty-six plays, and the editor of this publication took some care in the selection and accuracy of his texts, or at least more care than those editors who published earlier quartos. FIRST LANGUAGE: The preferred or normal language a speaker chooses to communicate in–i. Bilingual individuals might have more than one.
FIRST SOUND SHIFT: In Grimm’s Law, the systematic transformation of the Proto-Germanic Indo-European stop sounds. A fit is a numbered division of a a poem, much like a canto. Sir Gawain and the Green Knight is divided into four fits, and Chaucer’s “Sir Thopas” contains three fits. Lewis Caroll’s The Hunting of the Snark consists of eight fits. FIVE WOUNDS OF CHRIST: Medieval writers typically describe Christ as suffering five wounds, though they vary somewhat in which wounds they number.
The most common numbering system lists the nail wound in Christ’s hands and feet as four wounds, with the spear-puncture in his side as the fifth wound. This model does not count the crown of thorns as a puncturing wound. FIXED-FORM: Another term for closed-form poetry. But back when King Arthur had been a child. FLAT CHARACTER: Also called a static character, a flat character is a simplified character who does not change or alter his or her personality over the course of a narrative, or one without extensive personality and characterization. The term is used in contrast with a round character.