AP Literary Terms Flashcards

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1
Q

Alliteration

A

a musical device in which words are linked together by having the same initial consonant

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2
Q

Assonance

A

a musical device in which words are linked together by having similar vowel sounds

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3
Q

Blank verse

A

unrhymed iambic pentameter–it’s the form used in all of Shakespeare’s plays and John Milton’s Paradise Lost; it is reputedly “the most like actual human speech”.

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4
Q

Carpe Diem poetry

A

Carpe diem is a Latin phrase meaning “seize the day”. In many poems, the speaker’s purpose is to persuade a young woman to yield to love before her beauty fades. It is an attitude expressed in the form of a rhetorical argument, such as a thesis for a debate using unusual examples, like Donne’s “The Flea”, which represents the marriage bed.

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5
Q

Consonance

A

a musical device in which words are linked together by having similar ending consonants or sounds; often used in near rhyme

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6
Q

Caesura

A

a pause, metrical or rhetorical, occurring somewhere in a line of poetry; the pause may or may not be typographically indicated

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7
Q

Couplet

A

a rhymed pair of lines, which are usually of the same length; if they are iambic pentameters, they are heroic couplets

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8
Q

End-stopped

A

a line that has a natural pause at the end (period, comma, etc)

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9
Q

Enjambment

A

the running over of a sentence or thought into the next couplet or line without a pause at the end of the line; a run-on line.

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10
Q

Foot

A

the basic unit of meter consisting of a group of two or three syllables. Each line of a poem contains a certain number of iambs, trochees, spondees, dactyls, or anapests; the number of syllables in a line varies according to the number of meters

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11
Q

Meter (rhythm)

A

the rhythmic pattern produced when words are arranged so that their stressed and unstressed syllables fall into a more or less regular sequence, resulting in repeated patterns of accent (called feet)

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12
Q

Free Verse

A

when a poet does not use a regularly alternating stress pattern for his or her lines

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13
Q

Epic

A

a long narrative poem about the adventures of a hero

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14
Q

Sonnet

A

a 14-line poem with a varied rhyme scheme written in iambic pentameter; means a little song; the three main types of sonnets are Petrarchan (Italian), Shakespearean (Elizabethan or English), and the Spenserian.

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15
Q

Villanelle

A

a 19-line poem with two lines repeating at regular intervals

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16
Q

Ballad

A

a 4-line stanza poem with a tight rhyme scheme that tells a story

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17
Q

Sestina

A

a 39-line poem with 6-line stanzas and 6-repeating end words

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18
Q

Epigram

A

a witty two-line (usually rhyming) saying or quip

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19
Q

Limerick

A

a five-line poem (usually humorous) with an AABBA rhyme scheme

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20
Q

Haiku

A

a three-line form of poetry, usually about nature

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21
Q

Terza Rima

A

an Italian form used by Dante Alighieri, consisting of three lines in iambic pentameter with interlocking rhyme scheme (ABA, BCB, CDC)

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22
Q

Lyric poem

A

a verse being sung in accompaniment with a musical instrument

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23
Q

Ode

A

a form of poetry that is lyrical in nature, usually in praise of people, natural scenes, and abstract ideas

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24
Q

Rhyme royal

A

a rhyming stanza form introduced by Geoffrey Chaucer, consisting of a stanza with seven 10-syllable lines that rhyme and written in iambic pentameter ABABBC

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25
Q

Heroic couplet

A

two lines of rhyming iambic pentameter. This form was made popular by Chaucer’s Canterbury Tales and became the dominant poetic form in the latter part of the seventeenth century.

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26
Q

Iambic pentameter

A

an unrhymed line of five feet in which the dominant accent usually falls on the second syllable of each foot, a pattern known as an iamb
That TIME | of YEAR | thou MAYST | in ME | beHOLD

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27
Q

Metaphysical conceit

A

elaborate, extended metaphors that compare dissimilar things; created by early 17th century English poets like John Donne and George Herbert

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28
Q

Pastoral poetry

A

presenting an idealized image of rural life and nature

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29
Q

Rhyme

A

when words end with the same sounds

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30
Q

Full rhyme

A

words with perfectly alike ending sounds

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31
Q

Eye rhyme

A

words that look like they should rhyme according to spelling, but actually don’t when spoken aloud

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32
Q

Internal rhyme

A

occur when poets put several rhyming words inside a poem

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33
Q

Slant/half rhyme

A

when words almost rhyme, but not quite; usually these words have consonance in common; used more commonly in modern poetry

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34
Q

Feminine rhyme

A

a rhyme in which the repeated accented vowel is in either the first or second-to-last syllable in a line of poetry; emphasizes gender of the speaker and/or poem’s content

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35
Q

Masculine rhyme

A

a rhyme in which the repeated accented vowel is in the final syllable of the words involved

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36
Q

Rhyme scheme

A

refers to the regular pattern of rhyming a poet uses, usually assigning random letters to different rhyming sounds for the length of the poem

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37
Q

Repetition and refrain

A

can be used in any genre for a variety of rhetorical effects, in that it can be haunting, irritating, outraged, jubilant–it all depends on the context and can occur when poets repeat the same phrase or line several times, creating a certain effect

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38
Q

Stanza

A

the “paragraphs” of a poem, usually marked by empty lines between sections

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39
Q

Tercet

A

three lines of poetry, usually linked together by a rhyme scheme

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40
Q

Quatrain

A

four lines of poetry, usually linked together by a rhyme scheme

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41
Q

Refrain

A

a line or phrase repeated throughout a poem for effect

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42
Q

The Petrarchan (Italian) sonnet

A

divided into the octave (first eight lines) and the sestet (last six lines). The octave presents a problem or situation which is then resolved or commented on in the sestet. The most common rhyme scheme is
ABBA / CDE / CDE, though there is flexibility in the sestet, such as CDC / DCD

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43
Q

The Shakespearean (English/Elizabethan) sonnet

A

contains three quatrains and a couplet, with more rhymes (because of the greater difficulty finding rhymes in English). The most common rhyme scheme is ABAB / CDCD / EFEF / GG. In Shakespeare, the couplet often undercuts the thought created in the rest of the poem.

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44
Q

The Spenserian sonnet

A

contains three quatrains with interlocking rhyme scheme and a couplet; most common rhyme scheme is ABAB / BCBC / CDCD / EE

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45
Q

Plot

A

the action of the narrative, often broken into exposition, conflict, climax, and denouement

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46
Q

Exposition

A

the beginning of the story where the characters and setting are introduced

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47
Q

Conflict

A

when things start to go wrong in the story

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48
Q

Climax

A

the highest point of tension or suspense in the story, the tipping point where everything changes

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49
Q

Denouement

A

the ending of the story where all the plot points are resolved

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50
Q

The six ways to learn what a character is like

A
  1. by how the narrator describes the character
  2. by how the other characters describe the character
  3. by how the character describes him/herself
  4. by how the character dresses
  5. by the manner in which the character speaks
  6. by the choices the character makes in the narrative
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51
Q

Flat character

A

does not change during the course of the story; often merge into a stereotype

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52
Q

Dynamic character

A

changes during the story and reveals many, often contradictory, personality qualities

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53
Q

Protagonist

A

the main character of the story, often the hero or heroine

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54
Q

Antagonist

A

the primary character or force that opposes the protagonist in one way or another

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55
Q

Anti-hero

A

the main character who is a villain

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56
Q

Point of view

A

perspective from with the text is written; 1st person, 2nd person, 3rd person omniscient

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57
Q

1st person point of view

A

when a character is telling the story, marked by the use of “I”

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58
Q

2nd person

A

extremely rare and almost never used; marked by the use of “you”

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59
Q

3rd person omniscient

A

when the narrator is outside of the story and can enter into any character’s thoughts or swoop around to describe any action occurring in the novel as if the narrator were an all-knowing god; marked by the use of “he” or “she”

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60
Q

3rd person limited

A

when the narrator is outside the story but chooses to limit what is revealed to the reader by focusing entirely on one character’s actions and thoughts without revealing other parts of the story in which the character is not present

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61
Q

Setting

A

the time and place where the narrative takes place

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62
Q

Foreshadowing

A

occurs when the narrator places deliberate hints or omens of things to come early in the narrative

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63
Q

Dialogue

A

occurs when characters speak to one another or to their audience

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64
Q

Conflict/tension/suspense

A

occurs when the author sets up events that make the reader nervous or anxious until the climax or resolution; crucial to the success of any story

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65
Q

Diction

A

word choice, along with its different effects

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66
Q

Denotation

A

the textbook definition of a word

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67
Q

Connotation

A

emotional suggestions hidden within a word; in analysis, words have positive or negative connotations

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68
Q

Imagery

A

a collection of words used together to evoke a certain image; can be olfactory, gustatory, auditory, tactile, or visual, though visual is most common

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69
Q

Simile

A

an explicit comparison of two different objects using like or as

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70
Q

Metaphor

A

an implicit comparison of two different objects NOT using like or as

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71
Q

Personification

A

a type of metaphor in which a non-human inanimate object/force is described with human attributes

72
Q

Hyperbole

A

an exxageration used to create an effect

73
Q

Understatement

A

the opposite of a hyperbole, also known as a litote; deliberately saying less than what’s appropriate for the situation, usually for comedic, sarcastic, or ironic purposes

74
Q

Paradox

A

a self-contradictory statement that is somehow nevertheless true

75
Q

Oxymoron

A

a tiny compressed paradox

76
Q

Symbol

A

an image, object, or idea used to represent something else, which can easily shade into metaphor

77
Q

Allegory

A

an elaborate set of symbols in which everything in the poem or book is symbolic of some other level of interpretation

78
Q

Apostrophe

A

involves addressing something (or someone) dead or inanimate as if he/she/it were able to answer

79
Q

Allusion

A

a reference to another text, story, or symbol

80
Q

Syntax

A

word order–the writer can choose to place a certain word last to give it more emphasis

81
Q

Irony

A

appears to mean one thing when actually something else is meant

82
Q

Verbal irony

A

saying the opposite of what is meant

83
Q

Dramatic irony

A

when the audience knows something the characters do not

84
Q

Situational irony

A

when the situation ends up in a surprising or inappropriate ending

85
Q

Juxtaposition

A

combining structural terms with irony; when two (usually unlike) things, ideas, or characters are jammed up against one another in a way that is unusual

86
Q

Metonymy

A

a figure of speech in which a word represents something else which it suggests (a herd of fifty cows equals fifty head of cattle)

87
Q

Synecdoche

A

understanding one thing with another; the use of a part for the whole, or the whole for the part

88
Q

Soliloquy

A

when a character speaks his thoughts directly to the audience as if he were talking to himself

89
Q

Monologue

A

when a character makes a lengthy speech, which can be delivered to another character, thus distinguishing it from a soliloquy

90
Q

Aside

A

occurs when an actor says something “to the side” of the action onstage where the audience can hear it but it is understood that no one else onstage can

91
Q

Set

A

the scenery and locations used in a play

92
Q

Props

A

short for properties, the items used by different characters throughout a play

93
Q

Lighting

A

the way light is used on stage to emphasize certain characters or effects in a drama

94
Q

Sound

A

sound effects

95
Q

Foil

A

when one character’s qualities directly contrast another character’s qualities and the two set each other off by the clash of their personalities

96
Q

The unities of drama

A

The unities of time, space, and action

97
Q

A play that obeys the unity of time…

A

occurs in “real time”

98
Q

A play that obeys the unity of space…

A

occurs in one location

99
Q

A play that obeys the unity of action…

A

has one tone, or “feel” throughout

100
Q

Genre

A

the classification for a work of fiction; in drama there is tragedy, comedy, tragicomedy, realism, satire, burlesque, farce, comedy of manners, slapstick, romantic comedy, and closet drama; genre can also describe a piece of fiction by naming it a play, short story, novel, or poem

101
Q

Rhetorical devices

A

techniques of using language that increase the persuasiveness of writing

102
Q

Ethos

A

appeal to authority

103
Q

Logos

A

appeal to logic

104
Q

Pathos

A

appeal to emotion (advertisements)

105
Q

Asyndeton

A

deliberate omission of conjunctions in a series of related clauses; speeds up the pace of the sentence

106
Q

Ellipsis

A

deliberate omission of words in a direct quote or implied in content; can replace a comma with a dot dot dot; creates an elegant or daring community of words

107
Q

Polysyndeton

A

the deliberate use of many conjunctions to highlight the quantity of detail or to create a flowing, continuous sentence pattern

108
Q

Anaphora

A

the repetition of the same word or expression at the beginning of successive phrases; helps to establish a strong rhythm and produces a powerful emotional effect

109
Q

Anadiplosis

A

the repetition of the final word in one phrase/clause and then again at the beginning of the next phrase/clause; it ties the sentence to its surroundings

110
Q

Epanalepsis

A

the repetition of a word or phrase at the beginning and then at the end of a sentence; it tends to make the sentence/clause in which it occurs stand apart from its surroudings

111
Q

Epistrophe

A

the repetition of the last word in successive phrases/clauses; sets up pronounced rhythm and gains a special emphasis both by repeating the word and by putting the word in the final position

112
Q

Antimetabole

A

a sentence strategy in which the arrangement of ideas in the first phrase/clause is the reversal of the second phrase/clause; adds power though its inverse repetition

113
Q

Inverted order (the Yoda)

A

the predicate comes before the subject in this sentence construction

114
Q

Parallelism

A

presents ideas in grammatically equivalent form

115
Q

Balanced sentence

A

a special form of parallelism that balances two grammatically equivalent ideas on opposite sides of a pivot point, such as a word or punctuation mark; phrases/clauses that equal each other by virtue of their likeness in structure; works well for pitting contrasting ideas against each other

116
Q

Loose sentence (cumulative)

A

the main clause comes first, followed by successive words or phrases at the end of the sentence

117
Q

Periodic sentence

A

successive words/phrases at the beginning of the sentence followed by the main clause (subject/verb); does not make sense until the end is reached

118
Q

Compound, complex sentence

A

made up of two independent clauses and one or more dependent clauses

119
Q

Rhetorical question

A

a question that requires no answer

120
Q

Rhetorical fragment

A

an incomplete thought used deliberately to create a desired effect

121
Q

Infinitive phrase

A

to + verb

122
Q

Appositive phrase

A

the renaming of a noun

123
Q

Participial phrase

A

the verb acting as an adjective

124
Q

Gerund phrase

A

an “-ing” verb form acting as a noun

125
Q

Absolute phrase

A

a participial phrase + noun

126
Q

Phrase

A

group of words that do not contain both a subject and a verb

127
Q

Prepositional phrase

A

a preposition + its object and modifiers

128
Q

Prepositions

A

to, around, under, over, like, as, behind, with, outside, etc

129
Q

Adjective prepositional phrase

A

tell which one, what kind, how many, and how much, or give other information about a noun, pronoun, a noun phrase, or a noun clause

130
Q

Adverb prepositional phrase

A

tell how, when, where, why, to what extent, under what condition about a verb, an adjective, an adverb, an adverb phrase, or an adverb clause

131
Q

Independent clause

A

has a subject and a verb and can stand alone as a sentence

132
Q

Dependent (subordinate) clause

A

has a subject and a verb but does not express a complete thought; often begins with a subordinating conjunction

133
Q

Critical theory: introduction

A
  • a literary work cannot be separated from the social context in which it was created
  • reflects society and derives its essential significance from the social situations to which it responds
  • theorists speculate about why a particular work might have been written and explore the ways in which it reacts to a specific situation
134
Q

Critical theory: feminism

A
  • explores issues pertaining to women in different time periods, their subordination to men, or their rebellion against the patriarchal status quo
  • looks at how female characters are impacted by patriarchy, or how they help readers understand women’s position
  • looks for symbols, imagery, or other literary elements related to gender issues
135
Q

Critical theory: formalism (new criticism)

A
  • stresses the importance of literary form in determining the meaning of a work
  • formalists read the text closely, paying attention to organization and structure, to verbal nuances, and to multiple meanings; try to reconcile tensions and oppositions inherent in the text in order to develop a unified reading
136
Q

Critical theory: Marxism

A
  • related to class conflict and the impact it has on the text and its meaning
  • looks at the characters and how their life/fate is determined by their position in society
  • looks at whether character’s interaction and conflict are determined by their class
  • looks at how literary elements (figures of speech, imagery) help to understand the issue of social status
137
Q

Critical theory: New Historicism

A
  • looks at how background/cultural/historical aspects at the time the text was written are reflected in the text
  • looks at what historic events from the time period are specifically mentioned, and the emotional impact of the events portrayed
  • looks at what impact the text has on the audience of it its time and how that differs (or not) from its current impact
  • looks at whether any of the literary elements relate to cultural context
138
Q

Critical theory: Psychoanalysis

A
  • examines isses like repression, social taboos, trauma and its effect on the speaker and characters, and signs of dysfunction
  • looks for Oedipal interpretations/complexity on any characters
  • looks for the dynamic between superego, ego, and id, or the unconcious
139
Q

Unconcious

A

actively denied to awareness

140
Q

Id

A

the unconscious mind that determines compulsions/sexual drives that urge individuals to unthinking gratification

141
Q

Ego

A

the conscious mind that deals with the demands of the id in order to balance its needs with the messages from the superego

142
Q

Superego

A

the unconscious mind that seeks to repress the demands of the id and to prevent gratification of basic physical appetites, like a censor representing the prohibitions of society, religions, and family beliefs

143
Q

Oedipus complex

A

a repressed desire of a son to unite with his mother and kill his father

144
Q

Projection

A

a defense mechanism in which people mistakenly see in others antisocial impulses they fail to recognize in themselves

145
Q

Displacement

A

the substitution of a socially acceptable desire for a desire that is not acceptable that takes place in dreams or in literature

146
Q

Reader response criticism

A
  • focuses on the reader’s personal response to the text
  • how does the text make the reader feel and why
  • does the reader have prior knowledge relating to something in the text
  • examines individual responses and ways in which students relate to the text
  • examines how the class responds collectively to the text
  • are there similarities/differences
  • what accounts for these similarities/differences among the readers
147
Q

Burlesque

A

comic; mocking through comic exxageration

148
Q

Colloquial

A

using a conversational style; informal conversation

149
Q

Condescending

A

having or showing a feeling of patronizing superiority

150
Q

Contemptuous

A

expressing a lack of respect; hateful; scornful

151
Q

Cynical

A

believing people are motivated by self-interest; distrustful of human sincerity

152
Q

Despondent

A

showing exreme discouragement or depression

153
Q

Didactic

A

in a tone intended to preach a sermon or teach a lesson about life

154
Q

Disdainful

A

expressing contempt, dislike, or hate

155
Q

Euphoric

A

feeling of elation or great joy

156
Q

Facetious

A

treating serious issues with deliberately inappropriate humor; flippant

157
Q

Flippant

A

lacking proper respect

158
Q

Frivolous

A

lacking seriousness

159
Q

Hostile

A

extremely angry

160
Q

Impartial

A

unbiased attitude

161
Q

Incisive

A

impressively direct and decisive

162
Q

Indignant

A

attitude of being angry because of an injustice or unworthiness

163
Q

Irreverant

A

lacking proper respect or seriousness

164
Q

Laudatory

A

pertaining to or expressing praise

165
Q

Moralistic

A

characterized by a narrow and conventional righteous attitude; concerned with the principles of right and wrong behavior and the goodness or badness of human character

166
Q

Nostalgic

A

a sentimental yearning for a return to the past

167
Q

Patronizing

A

treat with an apparent kindness that betrays a feeling of superiority

168
Q

Pedantic

A

unimaginative

169
Q

Pretentious

A

attitude of extreme show to the point of being fake

170
Q

Poignant

A

affecting the emotions strongly

171
Q

Sarcastic

A

a tone used to ridicule, amuse, or taunt by sometimes saying the opposite of what the speaker means

172
Q

Somber

A

conveying a gloomy, dismal, or depressing character or mood

173
Q

Sympathetic

A

a senstitivity to others’ emotions

174
Q

Suspenseful

A

a state or condition of mental uncertainty or excitement, as in awaiting a decision of outcome, usually accompanied by a degree of apprehension or anxiety

175
Q

Tranquil

A

free from disturbance or turmoil

176
Q

Whimsical

A

erratic or unpredictable