1. UNIT ONE VOCABULARY Literary Devices and Archetypes in Beowulf

2. Literary Devices and Archetypes  Literary Device: a literary or linguistic technique that produces a specific effect, esp. a figure of speech, narrative style, or plot mechanism  Archetype: a constantly recurring symbol or motif in literature, painting or mythology.

3. Literary Devices  Epic:  a lengthy narrative poem, ordinarily concerning a serious subject containing details of heroic deeds and events significant to a culture or nation  Examples of an Epic: Beowulf The Iliad The Odyssey Star Wars The Avengers Superman/Batman movies and comics

4. Literary Devices  Diction –  the writer's or the speaker's distinctive vocabulary choices and style of expression in a poem or story  Used in Anglo-Saxon poetry to aid in memorization and for dramatic effect. Kenning: a metaphorical compound word or phrase (as swan-road for ocean) used especially in Old English and Old Norse poetry. Caesura: any break, pause, or interruption in a line of poetry.

5. Literary Devices  Figurative Language:  Non-literal language that refers to words, and groups of words, that exaggerate or alter the usual meanings of the component words.  Examples of Figurative Language: Simile Metaphor Allusion Personification Imagery

6. Literary Devices  Simile  a comparison of two things, indicated by some connective, usually "like", "as", "than", or a verb such as "resembles" to show how they are similar. "His cheeks were like roses, his nose like a cherry.../And the beard on his chin wasas white as the snow." (emph added)— Clement Clark Moore

7. Literary Devices  Allusion  a reference to a famous character or event. He’s such a Romeo. (An allusion to Romeo & Juliet.)

8. Literary Devices  Metaphor  figure of speech in which two "essentially unlike things" are shown to have a type of resemblance or create a new image. "Fog comes on little cat feet"— Carl Sandburg

9.  Alliteration  the repetition of a particular sound in the prominent lifts (or stressed syllables) of a series of words or phrases. Alliteration has developed largely through poetry, in which it more narrowly refers to the repetition of a consonant in any syllables that, according to the poem's meter, are stressed.  Example: Peter Piper Picked a Peck of Pickled Peppers.

10. Literary Devices  Personification  the attribution of a personal nature or character to inanimate objects or abstract notions. "Because I could not stop for Death,/He kindly stopped for me;/The carriage held but just ourselves/And Immortality."—Emily Dickinson. Dickinson portrays death as a carriage driver.

11. Literary Devices  Imagery  a literary text, is an author's use of vivid and descriptive language to add depth to their work. It appeals to human senses to deepen the reader's understanding of the work. Visual imagery pertains to sight, and allows you to visualize events or places in a work. Auditory imagery pertains to a sound. This kind of imagery often comes in the form of onomatopoeia. Olfactory imagery pertains to an odor. Gustatory imagery pertains to a taste. Tactile imagery pertains to a texture or sensation of touch. Kinesthetic imagery pertains to movement, or an action. Organic imagery pertains to feelings of the body, including hunger, thirst, and fatigue

12. Archetypes  Protagonist:  the main character (the central or primary personal figure) of a literary, theatrical, cinematic, or musical narrative, who ends up in conflict because of the antagonist. The audience is intended to most identify with the protagonist.  Antagonist:  an antagonist is a person or a group of people who oppose the main character(s).

13. Archetypes  Mentor  The mentor helps the hero in some way, furnishing them with important skills and advice. They may appear at important moments to help the hero get over an obstacle, then disappear (perhaps to mentor another unknown hero).

14. Archetypes  Threshold Guardian  The Threshold Guardian provides the obstacles to the hero at transitional points in the story. To get past the guardian the hero must fight them, answer riddles, solve problems, give a gift, and so on.  The Threshold Guardian is often neutral, neither supporting nor opposing the hero, although they also may be allied to the antagonist or even a potential ally.

15. Archetypes  Herald  The Herald announces important events verbally, telling us what we do not realize or emphasizing the importance of an event. In particular, the herald provides the information that triggers the hero into original action.  The herald need not be a professional announcer nor even a person - a message on a scrap of paper or a radio broadcast can serve equally to trigger change.

16. Archetypes  Shape-shifter  The Shapeshifter represents uncertainty and change, reminding us that not all is as it seems. They may be a character who keeps changing sides or whose allegiance is uncertain. They act to keep the hero (and us) on his or her toes and may thus catalyze critical action.

17. Archetypes  Shadow  The Shadow is the opposite of light and provides the tension of anxiety and fear in the story. The Shadow is often opposes the hero and is typically the main antagonist. They may also be people who provide obstacles along the way, although not as a guardian.  The hero must struggle with the Shadow, somehow overcoming the opposition they provide.

18. Archetypes  Trickster  The Trickster provides entertainment in the story through wit, foolishness or other means. They may be wise, as in the Shakespearian fool, or may be criminal in their deception. They provide further uncertainty and keep us (and the hero) on our toes.  The Trickster may remind us to lighten up and see the funny side of things. They also remind us not be naive and to expect the unexpected.