ENGLISH LITERATURE FLASHCARDS

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ACT 1 SCENE 1: THE WITCHES.

PEOPLE AREN'T ALL THEY SEEM AND GOOD PEOPLE ARE CAPABLE OF EVIL THINGS.
"FAIR IS FOUL AND FOUL IS FAIR."
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ACT 1 SCENE 2 KING DUNCAN ABOUT MACBETH.

MACBETH IS WELL RESPECTED, TRUSTED AND THOUGHT OF FONDLY BY THE KING.
"O VALIANT COUSIN, WORTHY GENTLEMAN."
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ACT 1 SCENE 3 MACBETH

FORESHADOWING THAT MACBETH WILL BE INFLUENCED BY THE WITCHES / HAS BEEN INFLUENCED ALREADY.
"SO FOUL AND FAIR A DAY I HAVE NOT SEEN."
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ACT 1 SCENE 3 THE WITCHES PROPHECIES FOR MACBETH.

MACBETH IS ALREADY THE THANE OF GLAMIS, BUT HE IS NOT YET THE OTHER TWO PROCLAMATIONS.
"ALL HAIL, MACBETH, HAIL TO THEE, THANE OF GLAMIS!"
"ALL HAIL, MACBETH, HAIL TO THEE, THANE OF CAWDOR!"
"ALL HAIL, MACBETH, THOU SHALT BE KING HEREAFTER!"
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ACT 1 SCENE 3, THE WITCHES PROPHECIES FOR BANQUO.

FORESHADOWING THAT BANQUO WILL BE A BETTER, HAPPIER PERSON IN LIFE OR DEATH THAN MACBETH AND THAT HIS SONS WILL BE KINGS.
"LESSER THAN MACBETH, AND GREATER"
"NOT SO HAPPY, YET MUCH HAPPIER"
"THOU SHALT GET KINGS, THOUGH THOU BE NONE"
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ACT ONE SCENE 3, MACBETH TO ROSS

MACBETH IS UNCOMFORTABLE TO BEGIN WITH AS THE THANE OF CAWDOR, AND IT ALSO FORESHADOWS THAT MACBETH WILL NOT FIT PROPERLY INTO THE TITLE OF BEING THE KING.
"WHY DO YOU DRESS ME IN BORROW'D ROBES?"
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ACT ONE SCENE THREE, ROSS TO MACBETH.

THE FIRST OF THE WITCHES' PROPHECIES TO MACBETH HAS COME TRUE.
"HE BADE ME, FROM HIM, CALL THEE THANE OF CAWDOR"
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ACT 1 SCENE 3, MACBETH.

ROSS AND ANGUS DON'T KNOW WHAT HE MEANS, AND THAT HE IS BEGINNING TO ANTICIPATE BECOMING THE KING.
"TWO TRUTHS ARE TOLD AS HAPPY PROLOGUES TO THE SWELLING ACT OF THE IMPRIAL THEME"
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ACT 1 SCENE THREE, MACBETH ASIDE

HE'S CONFLICTED AND HE IS BEGINNING TO IMAGINE KILLING KING DUNCAN, MACBETH CONSIDERS HIMSELF A GOOD MAN AND HE DOES NOT WANT TO 'YIELD' TO KILLING HIS KING.
"IF GOOD, WHY DO I YIELD TO THAT SUGGESTION"
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ACT ONE SCENE THREE, MACBETH ASIDE.

MACBETH IS SETTLED ON NOT DOING ANYTHING TO MAKE HIMSELF KING TO ALLOW IT TO HAPPEN ON IT'S OWN.
"IF CHANCE WILL HAVE ME KING, WHY, CHANCE MAY CROWN ME, WITHOUT MY STIR"
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ACT ONE SCENE FOUR, MACBETH ASIDE.

MACBETH DOESN'T WANT ANYONE THAT HE WAS THINKING ABOUT MURDERING KING DUNCAN, AND HE HOPES THAT HIS EYES DON'T GIVE AWAY HIS GUILT OR HIS SECRET.
"STARS, HIDE YOUR FIRES; LET NOT LIGHT SEE MY BLACK AND DEEP DESIRES"
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ACT ONE SCENE FIVE, LADY MACBETH'S SOLILOQUY.

SHE KNOWS MACBETH IS TOO KIND AND NICE TO KILL DUNCAN TO BECOME KING.
"IT IS TOO FULL O' THE MILK OF HUMAN KINDNESS TO CATCH THE NEAREST WAY"
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ACT ONE SCENE FIVE, LADY M'S SOLILOQUY.

SHE WANTS TO BE ABLE TO PERSUADE HIM TO DO AS SHE WISHES.
"THAT I MAY POUR MY SPIRITS IN THINE EAR"
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ACT ONE SCENE FIVE, LADY M'S SOLILOQUY.

FORESHADOWING THAT KING DUCAN WILL DIE AND THAT LADY MACBETH INTENDS TO DO IT THAT NIGHT WHILE HE STAYS IN HER HOME.
"THAT CROAKS THE FATAL ENTRANCE OF DUNCAN UNDER MY BATTLEMENTS."
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ACT ONE SCENE FIVE, LADY MACBETH'S SOLILOQUY.

SHE WANTS TO GET RID OF HER FEMININITY, AT THE TIME FEMALES WERE CONSIDERED AS WEAK ETC. SHE IS TALKING TO EVIL SPIRITS AND THE AUDIENCE WILL PERCEIVE LADY M AS EVIL.
"COME, YOU SPIRITS THAT TEND ON MORTAL THOUGHTS, UNSEX ME HERE"
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ACT ONE SCENE FIVE, LADY M TO MACBETH.

LADY MACBETH IS USING FLATTERY TO TRY AND GET WHAT SHE WANTS. HER WORDS ECHO THE WITCHES' PROPHECIES WHICH CONNECT HER TO THEM IN THE AUDIENCE'S MINDS.
"GREAT GLAMIS! WORTHY CAWDOR! GREATER THAN BOTH, BY THE ALL HAIR HEREAFTER"
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ALLITERATION.
THIS IS WHERE WORDS THAT ARE CLOSE TOGETHER START WITH THE SAME SOUND, E.G. 'FLOWING FLAKES THAT FLOCK'.
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AMBIGUITY.
THIS IS WHERE A WORD OR PHRASE HAS TWO OR MORE POSSIBLE INTERPRETATIONS.
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ASSONANCE.
THIS IS WHEN WORDS SHARE THE SAME VOWEL SOUND BUT THE CONSONANTS ARE DIFFERENT, FOR EXAMPLE: 'MIGHT FLY OUR LIVES LIKE PAPER KITES'.
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AUTOBIOGRAPHICAL.
THIS IS DESCRIBING SOMETHING THAT HAPPENED IN THE POET'S LIFE.
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BLANK VERSE.
THIS IS POETRY THAT IS WRITTEN IN IAMBIC PENTAMETER THAT DOESN'T RHYME.
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CAESURA(E).
THIS IS A PAUSE IN A LINE OF POETRY. FOR EXAMPLE: AROUND THE FULL STOP IN "MAPS TOO. THE SUN SHINES THROUGH".
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CHRONOLOGICAL.
THIS IS WHEN EVENTS ARE ARRANGED IN THE ORDER IN WHICH THEY HAPPENED.
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COLLOQUIAL.
SOUNDING LIKE EVERYDAY SPOKEN LANGUAGE. FOR EXAMPLE, 'ONE OF MY MATES GOES BY'.
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CONSONANCE.
THIS IS REPETITION OF A CONSONANT SOUND IN NEARBY WORDS. FOR EXAMPLE, 'NUMB AS A SMASHED ARM'.
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DIALECT.
THIS IS A VARIATION OF A LANGUAGE SPOKEN BY PEOPLE FROM A PARTICULAR PLACE OR BACKGROUND. DIALECTS MIGHT INCLUDE DIFFERENT WORDS OR SENTENCE CONSTRUCTIONS. FOR EXAMPLE, 'WHAT HAPPEN TO DE CARIBS'.
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DRAMATIC MONOLOGUE.
THIS IS A FORM OF POETRY THAT USES THE ASSUMED VOICE OF A SINGLE SPEAKER WHO IS NOT THE POET TO ADDRESS AN IMPLIED AUDIENCE. FOR EXAMPLE, 'MY LAST DUCHESS'.
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EMOTIVE.
THIS IS SOMETHING THAT MAKES YOU FEEL A PARTICULAR EMOTION.
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EMPATHY.
THIS IS WHEN SOMEONE UNDERSTANDS WHAT SOMEONE ELSE IS EXPERIENCING AND HOW THEY FEEL ABOUT IT.
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END-STOPPING.
THIS IS FINISHING A LINE OF POETRY WITH THE END OF A PHRASE OR THE END OF A SENTENCE.
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ENJAMBMENT.
THIS IS WHEN A SENTENCE OR A PHRASE RUNS OVER FROM ONE LINE OR STANZA TO THE NEXT.
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EUPHEMISM.
THIS IS AN INDIRECT WORD OR PHRASE USED INSTEAD OF SOMETHING UPSETTING OR OFFENSIVE, OR TO CONCEAL MEANING. FOR EXAMPLE, THE NARRATOR OF 'MY LAST DUCHESS' SAYS "ALL SMILES STOPPED" TO AVOID SAYING THAT HIS WIFE DIED.
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FIRST PERSON.
THIS IS WHEN A POET WRITES ABOUT THEMSELVES OR THEIR GROUP, USING WORDS LIKE 'I', 'MY', 'WE' AND 'OUR'.
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FORM.
THIS IS THE TYPE OF POEM. FOR EXAMPLE, A SONNET OR A BALLAD, AND IT'S FEATURES, LIKE NUMBER OF LINES, RHYME AND RHYTHM.
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FREE VERSE.
THIS IS POETRY THAT DOESN'T RHYME AND HAS NO REGULAR RHYTHM OR LINE LENGTH.
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HALF-RHYMES.
THESE ARE WORDS THAT HAVE A SIMILAR, BUT NOT IDENTICAL, END SOUND. FOR EXAMPLE, 'CRISP' AND 'GRASP'.
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HOMONYMS.
THESE ARE WORDS THAT ARE SPELT AND PRONOUNCED THE SAME, BUT HAVE DIFFERENT MEANINGS, FOR EXAMPLE, 'TISSUE'.
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IAMBIC PENTAMETER.
THIS IS POETRY WITH A METRE OF TEN SYLLABLES - FIVE OF THEM STRESSED, AND THE OTHER FIVE ARE UNSTRESSED. THE STRESS FALLS ON EVERY SECOND SYLLABLE. FOR EXAMPLE, "THAT'S MY LAST DUCHESS PAINTED ON THE WALL".
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IAMBIC TETRAMETER.
THIS IS LIKE IAMBIC PENTAMETER BUT WITH A METRE OF EIGHT SYLLABLES - FOUR SYLLABLES THAT ARE STRESSED, AND THE OTHER FOUR ARE UNSTRESSED. FOR EXAMPLE, "BUT MOST THROUGH MIDNIGHT STREETS I HEAR".
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IMAGERY.
THIS IS LANGUAGE THAT CREATES A PICTURE IN YOUR MIND. IT INCLUDES METAPHORS, SIMILES AND ALSO PERSONIFICATION.
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IN MEDIAS RES.
THIS IS WHEN A NARRATIVE STARTS IN THE MIDDLE OF THE ACTION, FOR EXAMPLE, "BAYONET CHARGE".
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INTERNAL RHYME.
THIS IS WHEN TWO OR MORE WORDS RHYME, AND AT LEAST ONE WORD ISN'T AT THE END OF A LINE. THE RHYMING WORDS CAN BE IN THE SAME LINE OR NEARBY LINES. FOR EXAMPLE, 'TEARS BETWEEN THE BATH AND PRE-LUNCH BEERS'.
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IRONY.
THIS IS WHEN WORDS ARE USED TO IMPLY THE OPPOSITE OF WHAT THEY NORMALLY MEAN. IT CAN ALSO MEAN WHEN THERE IS A DIFFERENCE BETWEEN WHAT PEOPLE EXPECT AND WHAT ACTUALLY HAPPENS.
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JUXTAPOSITION.
THIS IS WHEN A POET PUTS TWO IDEAS, EVENTS, CHARACTERS OR DESCRIPTIONS CLOSE TO EACH OTHER TO ENCOURAGE THE READER TO CONTRAST THEM. FOR EXAMPLE, AGARD JUXTAPOSES FIGURES FROM BRITISH AND CARIBBEAN HISTORY.
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LANGUAGE.
THIS IS THE CHOICE OF WORDS THAT ARE USED. DIFFERENT KINDS OF LANGUAGE HAVE DIFFERENT EFFECTS.
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LAYOUT.
THIS IS THE WAY A PIECE OF POETRY IS VISUALLY PRESENTED TO THE READER. FOR EXAMPLE, LINE LENGTH, HOW THE POEM IS BROKEN UP INTO TWO DIFFERENT STANZAS, WHETHER LINES CREATE SOME KIND OF VISUAL PATTERN.
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METAPHOR.
THIS IS A WAY OF DESCRIBING SOMETHING BY SAYING THAT IT IS SOMETHING ELSE. FOR EXAMPLE, "THE LOOSE SILVER OF WHITEBAIT".
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METRE.
THIS IS THE ARRANGEMENT OF STRESSED AND ALSO UNSTRESSED SYLLABLES TO CREATE RHYTHM IN A LINE OF POETRY.
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MONOLOGUE.
THIS IS ONE PERSON SPEAKING FOR A LONG PERIOD OF TIME.
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MOOD.
THIS IS THE FEEL OR THE ATMOSPHERE OF A POEM. FOR EXAMPLE, HUMOROUS, THREATENING, EERIE.
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NARRATIVE.
THIS IS WRITING THAT TELLS A STORY, FOR EXAMPLE, 'CHARGE OF THE LIGHT BRIGADE'.
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NARRATOR.
THIS IS THE PERSON SPEAKING THE WORDS. FOR EXAMPLE, THE NARRATOR OF 'POPPIES' IS A MOTHER WHOSE SON HAS GONE TO WAR.
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ONOMATOPOEIA.
THIS IS A WORD THAT SOUNDS LIKE THE THING THAT IT IS DESCRIBING. FOR EXAMPLE, "RUMBLES" AND "JINGLE" IN 'EXPOSURE'.
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ORAL POETRY.
THIS IS POETRY THAT IS INTENDED TO BE SPOKEN ALOUD, RATHER THAN READ.
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OXYMORON.
THIS IS A PHRASE WHICH APPEARS TO CONTRADICT ITSELF, FOR EXAMPLE, "MARRIAGE HEARSE".
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PERSONIFICATION.
THIS IS DESCRIBING A NON-LIVING THING AS IF IT HAS HUMAN QUALITIES AND FEELINGS, OR BEHAVES IN A HUMAN WAY. FOR EXAMPLE:

"MY CITY HIDES BEHIND ME."
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PETRARCHAN SONNET.
THIS IS A FORM OF SONNET IN WHICH THE FIRST EIGHT LINES HAVE A REGULAR ABBA RHYME SCHEME AND INTRODUCE A PROBLEM, WHILE THE FINAL SIX LINES HAVE A DIFFERENT RHYME SCHEME AND SOLVE THE PROBLEM.
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PHONETIC SPELLINGS.
THIS IS WHEN WORDS ARE SPELT AS THEY SOUND RATHER THAN WITH THEIR USUAL SPELLING, FOR EXAMPLE, "DEM" INSTEAD OF "THEM". IT IS OFTEN USED TO SHOW THAT SOMEONE IS SPEAKING WITH A CERTAIN ACCENT OR DIALECT.
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Other cards in this set

Card 2

Front

"O VALIANT COUSIN, WORTHY GENTLEMAN."

Back

ACT 1 SCENE 2 KING DUNCAN ABOUT MACBETH.

MACBETH IS WELL RESPECTED, TRUSTED AND THOUGHT OF FONDLY BY THE KING.

Card 3

Front

"SO FOUL AND FAIR A DAY I HAVE NOT SEEN."

Back

Preview of the back of card 3

Card 4

Front

"ALL HAIL, MACBETH, HAIL TO THEE, THANE OF GLAMIS!"
"ALL HAIL, MACBETH, HAIL TO THEE, THANE OF CAWDOR!"
"ALL HAIL, MACBETH, THOU SHALT BE KING HEREAFTER!"

Back

Preview of the back of card 4

Card 5

Front

"LESSER THAN MACBETH, AND GREATER"
"NOT SO HAPPY, YET MUCH HAPPIER"
"THOU SHALT GET KINGS, THOUGH THOU BE NONE"

Back

Preview of the back of card 5
View more cards

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