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lover also spelled senex amanz in Old French A stock character in medieval fabliaux, courtly romances, and classical comedies, the senex amans is an old, ugly, jealous man who is married to a younger, attractive but unhappy woman (the latter. In contrast, Juvenalian satire also uses withering invective, insults, and a slashing attack. Synthetic languages allow a great degree of poetic freedom in word order. Summoner : Medieval law courts were divided into civil courts that tried public offenses and ecclesiastical courts that tried offenses against the church. The Autobiographical Fallacy in Chaucer and Langland Studies. Speech prefix : Often abbreviated "s.p. See discussion under Ur-text. Until the 12th century, most sagas were folklore, and they passed from person to person by oral transmission.
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It usually expresses a single, complete idea or thought with a reversal, twist, or change of direction in the concluding lines. Scansion : The act of "scanning" a poem to determine its meter. This contrasts with the fourth gospel, John, which does not share these traits. Static character : A static character is a simplified character who does not change or alter his or her personality over the course of a narrative. Social dialect : In linguistics, a dialect used by a special social group rather than through an entire ethnicity or region. In the medieval period, many monks were given the task of copying classics from the earlier period along with Bibles and patristic writings. The genre thus allows the author to characterize the speaker through speech peculiarities ( dialect pronunciation, malapropisms, non-standard grammar, slang, and regional neologisms ). Syzygy : (from Greek "yoke In classical prosody, syzygy describes the combination of any two feet into another single metrical unit. In the demonic play Faust, Marlowe writes of Helen of Troy, "Was this the face that launched a thousand ships, / And burnt the topless towers of Ilium?" The thousand ships is a synecdoche for the entire Greek army:.e., men, horses, weapons, and all. Wells' The Invisible Man, Ursula LeGuin's The Left Hand of Darkness, Lois McMaster Bujold's Ethan of Athos, Aldous Huxley's Brave New World, Ray Bradbury's The Martian Chronicles, Neal Stephenson's Snow Crash, and William Gibson's Neuromancer.
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