[ENG2106] FINAL PREP

What are the definitions/differences of epic, lyric, drama?

The epic, lyric, and drama differ mainly in their form, focus, and mode of presentation.

- An epic is a long narrative poem that recounts heroic deeds or significant events through a narrator’s voice, often combining description and direct speech. It focuses on external actions, collective values, and the grandeur of human struggle. For example, Homer’s The Odyssey tells the adventurous journey of Odysseus as he strives to return home after the Trojan War.

- In contrast, a lyric is a shorter poem that expresses personal emotions, thoughts, or moods rather than actions, often written in the first person. It reveals the inner world of the speaker — as seen in Shakespeare’s Sonnet 18, where the poet conveys love and admiration in a reflective tone.

- Unlike both, a drama is written for performance and presents life through dialogue and action rather than narration. There is no narrator; instead, the audience discovers the story through what the characters say and do on stage. Shakespeare’s Hamlet, for instance, depicts human conflict and moral struggle directly on stage. Drama is also highly condensed, usually focusing on one central conflict that drives the plot.

—> In short, the epic tells a story, the lyric sings a feeling, and the drama shows an action - together representing three fundamental ways of expressing human experience in literature.

What is an epic? (Vietnamese meaning, definition + example if needed)

Sử thi
An epic is a long narrative poem that recounts heroic deeds or significant events through a narrator’s voice, often combining description and direct speech. It focuses on external actions, collective values, and the grandeur of human struggle. For example, Homer’s The Odyssey tells the adventurous journey of Odysseus as he strives to return home after the Trojan War.

What is a lyric? (Vietnamese meaning, definition + example if needed)

trữ tình
a lyric is a shorter poem that expresses personal emotions, thoughts, or moods rather than actions, often written in the first person. It reveals the inner world of the speaker — as seen in Shakespeare’s Sonnet 18, where the poet conveys love and admiration in a reflective tone.

What is a drama? (Vietnamese meaning, definition + example if needed)

kịch
a drama is written for performance and presents life through dialogue and action rather than narration. There is no narrator; instead, the audience discovers the story through what the characters say and do on stage. Shakespeare’s Hamlet, for instance, depicts human conflict and moral struggle directly on stage. Drama is also highly condensed, usually focusing on one central conflict that drives the plot.

What are dramatic unities, gồm gì, definitionc ơ bản?

Classical principles of drama intended to create coherence and realism in a play.
3 kinds (unity of action, unity of time, unity of place)

What is unity of action? (thuộc gì, definition?)

Dramatic unities
The Unity of Action means that a play should have only one main plot, and every event must contribute directly to that central story. There should be no unnecessary subplots that distract the audience from the main action. In Oedipus Rex, everything — the prophecy, the investigation, and the confessions — moves toward one goal: discovering who killed King Laius. When Oedipus realizes he himself is the murderer, the action reaches its logical end. This makes Oedipus Rex a perfect example of the Unity of Action.

What is unity of time? (thuộc gì, definition?)

Dramatic unities
The Unity of Time means that all the events in a play should happen within a short period, usually within one day. This makes the story more realistic and keeps the tension continuous. In Oedipus Rex, the whole investigation — from the king’s first meeting with the people to the final discovery — happens in just a few hours in Thebes. There is no big time gap, so the audience feels as if everything is unfolding in real time. This play therefore follows the Unity of Time perfectly.

What is unity of place? (thuộc gì, definition?)

Dramatic Unities
The Unity of Place requires that the action take place in a single location. This helps the play feel continuous and believable to the audience. In Oedipus Rex, everything happens in one setting - the royal palace of Thebes. All characters come to that place to speak with Oedipus, and the story never moves elsewhere. This keeps the audience focused and gives the play a sense of unity and realism.

What is Structure of Play gồm mấy yếu tố, nêu definition?

A traditional play usually follows a 5-part structure that gives the story a clear emotional and dramatic flow.

1. Prologue: is an opening speech or section that appears before the main action begins. It provides background information about the setting, situation, and central conflict so the audience understands what to expect. For instance, in Romeo and Juliet, the Chorus delivers the prologue beginning with “Two households, both alike in dignity…”, summarizing the family feud and foreshadowing the tragic fate of the lovers.
→ This device prepares the audience emotionally and thematically for the story that follows.
2. Rising Action: where the conflict gradually builds as obstacles increase - such as when Romeo is forbidden to see Juliet and tension grows between their families.
3. Climax is the turning point and moment of greatest tension; in this play, it occurs when Romeo and Juliet both die, sealing the tragic fate.
4. Falling Action, when the consequences of the climax unfold and emotions begin to settle - the families realize their mistake.
5. Resolution provides closure and restores order, as the feud ends and peace returns.

 → This structure helps the play move naturally from conflict to resolution, keeping the audience emotionally engaged throughout.

What is prologue? (thuộc gì, khái niệm?)

A prologue is an introductory section that appears at the beginning of a literary work, especially in drama. Its main function is to establish essential background information for the audience before the main action begins. Typically, a prologue introduces the setting, presents key characters or character types, and outlines the initial conflict that will drive the plot. By doing so, it prepares the audience to better understand the events that follow and shapes their expectations of the story.

Unlike the exposition, which is integrated into the action of the play, a prologue often stands outside the main narrative and may be delivered directly to the audience by a narrator or chorus. This direct address allows important information to be conveyed clearly and efficiently. In many cases, the prologue also hints at the outcome of the story, creating a sense of dramatic irony.

A well-known example can be found in Shakespeare’s Romeo and Juliet. In the prologue, the Chorus explains the long-standing feud between two noble families in Verona and reveals that their children will fall in love and ultimately die. By revealing the tragic ending in advance, the prologue shifts the audience’s focus from what will happen to how and why the tragedy unfolds, intensifying emotional engagement throughout the play.

What is rising action? (thuộc gì, khái niệm?)

Structure of Play

Rising action refers to the series of events that occur after the exposition and that develop the central conflict of a narrative. During the rising action, tensions increase, complications arise, and characters face obstacles that move the story toward the climax. This part of the plot deepens character relationships and motivations, allowing the audience to become more emotionally invested in the outcome. Each event in the rising action builds upon the previous one, gradually intensifying the conflict.

For example, in Romeo and Juliet, the rising action includes Romeo and Juliet meeting and falling in love, their secret marriage, Tybalt’s growing anger toward Romeo, and Mercutio’s death. These events escalate the feud and make the tragic outcome increasingly unavoidable.

What is Climax? (thuộc gì, khái niệm?)

Structure of play

The climax is the turning point of a narrative and the moment of greatest emotional and dramatic tension, where the central conflict reaches its peak and becomes irreversible. At this stage, the outcome of the story is determined, and the characters can no longer avoid the consequences of their actions.

In Shakespeare’s Romeo and Juliet, the climax occurs when both Romeo and Juliet die. Their deaths seal the tragic fate that has been foreshadowed from the beginning and represent the ultimate consequence of the feud between their families. This moment transforms the private conflict of forbidden love into a public tragedy, making reconciliation possible only through irreversible loss.

What is Falling Action? (thuộc gì, khái niệm?)

Structure of play

Falling action occurs after the climax and shows the consequences of the central conflict as the story moves toward resolution. In this stage, tensions begin to decrease, and the results of the climax unfold, leading the audience toward the final outcome. The falling action connects the climax to the resolution by revealing how characters respond to irreversible events.

In Romeo and Juliet, the falling action includes Romeo killing Tybalt, his banishment from Verona, and Juliet’s desperate plan to reunite with Romeo. These events demonstrate the tragic consequences of the climax and prepare the audience for the final catastrophe.

What is resolution? (thuộc gì, khái niệm?)

Structure of play

The resolution (also known as the denouement) follows the falling action and brings the narrative to a sense of closure. It reveals the final consequences of the climax and restores a form of order to the world of the play.

In Romeo and Juliet, the resolution occurs when the Montagues and Capulets reconcile after witnessing the deaths of their children. The feud that has driven the conflict throughout the play comes to an end, and peace is restored to Verona. Although the ending remains tragic, the resolution provides moral and emotional closure by suggesting that harmony is achieved at the cost of profound sacrifice.

Có bao nhiêu dramatic terms?

4 dramatic terms (Act, Scene, Prologue, Soliloquy)

what is dialogue?

In literature, especially in plays and drama, dialogue refers to the spoken exchanges between two or more characters. Unlike narration, dialogue allows characters to express their thoughts, emotions, conflicts, and relationships directly through speech. In drama, dialogue is especially important because it drives the plot forward, reveals character personality, and creates tension without the need for a narrator.

In Romeo and Juliet, dialogue plays a crucial role in developing both character and theme. For example, in Act 1, Scene 5, the dialogue between Romeo and Juliet takes the form of a shared sonnet, where they speak in alternating lines. This poetic dialogue immediately reveals their emotional connection, mutual attraction, and the theme of love at first sight. Through dialogue, Shakespeare shows rather than tells the audience how deeply the characters feel, making dialogue a central element of dramatic storytelling.

What is act (thuộc gì, khái niệm)?

Dramatic Terms
Act is a major division of a play that marks a new stage in the plot, such as introduction, development, or resolution. It works like a chapter in a novel, showing clear progress in the story. For example, Romeo and Juliet consists of five acts, each revealing a different phase of the lovers’ journey - from their first meeting to their tragic death.
→ This division helps the audience follow the dramatic progression easily.

What is scene? (thuộc gì, khái niệm?)

Dramatic terms

Scene is a smaller division within an act. It shows the action that takes place in one specific location or time and usually involves a particular group of characters. When the place or the group of characters changes, a new scene begins. For instance, in Romeo and Juliet, Act I, Scene 5, is the famous moment when Romeo first meets Juliet at the Capulet party.
→ Scenes help maintain the play’s rhythm and make shifts in setting or emotion clear to the audience.

What is soliloquy (khái niệm, thuộc gì?)

Dramatic terms
A soliloquy is a speech where a character speaks alone on stage, expressing their innermost thoughts and emotions aloud. It is essentially a moment of “thinking aloud,” where the character reveals private feelings, or inner conflicts that other characters cannot hear, only the audience can. This device allows the audience to gain deeper insight into the character’s mind and motivations. For instance,  in Shakespeare’s Hamlet, when the prince delivers the line “To be or not to be,” it revealed his profound moral struggle and contemplation of life and death.

What are the characteristics of the tragic hero according to Aristotle?

harmartia → peripeteia → anagnorisis → catharsis

According to Aristotle, a tragic hero is a noble and admirable person whose downfall results not from wickedness but from a personal flaw or error in judgment. The hero must possess a high social or moral status so that his fall carries weight and evokes deep emotions in the audience. However, he is not perfect; his downfall stems from hamartia, a tragic flaw or mistake often caused by ignorance or misjudgment rather than evil intent. This flaw leads to peripeteia, the reversal of fortune in which the hero’s prosperity turns into suffering. The moment of anagnorisis follows, when the hero recognizes his true identity or the nature of his deeds, realizing that his own actions have brought about his downfall. Through this painful recognition, the audience experiences catharsis—a purging of pity for the hero’s suffering and fear that such a fate could happen to anyone—leading to a deeper understanding of human weakness and destiny. Oedipus in Oedipus Rex perfectly embodies these traits: a noble king who unknowingly kills his father and marries his mother, then tragically discovers the truth too late. Thus, the Aristotelian tragic hero is noble yet flawed, and through his suffering, both he and the audience come to a deeper understanding of human frailty and fate.

What is tragedy according to Aristotle?

serious drama showing human conflict with fate —> evokes pity & fear, ends in catharsis
1. pity and fear (audience reaction)
2. tragic hero noble but imperfect
3. hamartia (tragic flaw/mistake)
4. anagnorisis (recognition/discovery)
5. catharsis (emotional release)

According to Aristotle’s Poetics, tragedy is a serious dramatic genre that depicts the downfall of a noble or admirable protagonist. The purpose of tragedy is to arouse pity and fear in the audience, ultimately leading to catharsis, or emotional purification. Pity arises because the hero suffers more than he deserves, while fear is evoked because the audience recognizes that such suffering could happen to anyone.

In order to achieve this effect, the tragic hero must be neither morally perfect nor completely evil, but rather a person “in the middle” with whom the audience can identify. The hero’s downfall is not caused by wickedness but by hamartia, a tragic flaw or error in judgment, often committed in ignorance rather than active malice. Tragedy also explores the tension between fate and free will, as characters struggle against forces beyond their control while still being responsible for their actions.

A classic example is Oedipus Rex by Sophocles, in which Oedipus, a noble king, unknowingly fulfills a terrible prophecy and brings about his own ruin. Through his suffering, the audience gains insight into human weakness, moral responsibility, and the inevitability of fate.

What are the main features of tragedy?

1. Maintain a serious tone, dealing with profound and solemn themes such as death, fate, moral failure, and the fragility of human life rather than humor or light situations. Its language and atmosphere are elevated and grave, aiming to evoke pity and fear rather than laughter. For instance, Oedipus Rex by Sophocles treats the themes of fate and self-destruction with deep seriousness, leading the audience to experience both horror and compassion as Oedipus discovers his tragic truth.

2.  Tragedy emphasizes human weakness. The protagonist is typically a noble or admirable figure, yet not without flaws. They possess a tragic flaw (hamartia)—such as pride, ambition, or hesitation—that leads to their downfall. Through this, tragedy reveals the vulnerability of even the greatest individuals and the consequences of human imperfection.

3. Tragedy explores the conflict between fate and free will. It questions whether human beings truly control their own lives or are bound by destiny. Both Oedipus and Hamlet struggle against forces larger than themselves — Oedipus against divine prophecy, Hamlet against the moral and emotional burden of revenge — and both ultimately fail despite their efforts. This struggle between personal choice and predetermined fate often gives tragedy a pessimistic tone, as characters fight bravely but cannot escape the inevitability of suffering.

à Together, these features make tragedy a profound reflection on the limits of human power, the complexity of moral choice, and the inevitability of suffering.

📍What is an omniscient narrator?

An omniscient narrator is an all-knowing storyteller who has complete access to the thoughts, emotions, and motivations of all characters, as well as to events occurring in different times and places. Unlike a first-person or limited third-person narrator, the omniscient narrator is not restricted to a single perspective but provides a god-like overview of the story’s world. This allows the narrator to comment, interpret, and shift focus freely between characters. For example, in many nineteenth-century novels such as Middlemarch by George Eliot, the omniscient narrator not only describes what happens but also explains why characters act as they do, guiding readers to understand the story’s moral or thematic depth.

What is catharsis and why is it important in tragedy?

- Catharsis means “emotional purification or cleansing” (from Greek katharsis).
In tragedy, it refers to the release of pity and fear that the audience feels while watching the hero’s downfall. Through this emotional experience, the audience learns and reflects on human weakness, fate, and morality — emerging emotionally purified and intellectually enlightened.

- E.g.: At the end of Oedipus Rex, viewers pity Oedipus’s suffering and fear the power of fate, but they also feel a sense of relief and understanding — that is catharsis.

Có mấy loai narrative perspective?

2 loại
1. first-person narrator
2. third-person narrator

Trong third person gồm mấy loại, đó là

Gồm 3 loại:
+ Omniscient Narrator (Người kể toàn tri)
+ External Narrator (Người kể bên ngoài hoàn toàn)
+ “Centre of Consciousness”(Third person limited)

What is Omniscient Narrator? thuộc gì? khái niệm?

third-person narrator

A third-person omniscient narrator is an all-knowing storyteller who is positioned outside the story world and possesses unrestricted knowledge of the fictional universe. In other words, this kind of narrator has a complete access to the thoughts, emotions, and motivations of all characters, events happen within different places and times, and even things that no character is aware of such as the past events, the future outcome, or the hidden motives. This allows the narrator to move freely across time and space to interpret and make comments on different events and characters. Therefore, this provides the audience with a comprehensive and authoritative understanding of the story, exceeding the knowledge of a single character. For example, in many ninenteenth-century novels like Middlemarch by George Eliot, the omniscient narrator not only knows what happens but also explains why the characters act as they do, guiding readers to understand the story’s moral or thematic depth

What is external narrator?

Third-person narrator

An external narrator presents the story from a third-person perspective but does not have access to the inner thoughts or emotions of any character. The narration is limited to observable actions, physical behavior, dialogue, and external details, functioning in a camera-like or objective manner. The narrator does not interpret or explain characters’ motivations, leaving meaning to be inferred by the reader. This absence of psychological insight creates distance and objectivity in the narrative and often increases ambiguity, as the reader must rely solely on visible actions and settings to understand the characters and events.

What is center of conciousness narrator?

Third-person narrator

The narrative perspective in the given extract is a third-person limited narrator, specifically a centre of consciousness. The narrator speaks in the third person, referring to the character as “he” or “she,” and is positioned outside the story world. However, the narrator’s knowledge is restricted to the inner thoughts, feelings, and perceptions of a single character. The reader only has access to what this character knows, sees, and experiences, while the minds of other characters remain inaccessible. This limitation creates a sense of psychological intimacy, as events are filtered through one consciousness, but it also restricts the reader’s understanding of the wider fictional world. By adopting this narrative perspective, the text encourages readers to interpret events subjectively and to share the character’s uncertainty, emotions, and possible misunderstandings. As a result, the narrative perspective shapes both meaning and reader response by balancing closeness with limitation.

What is a first-person narrator?

A first-person narrative is told by a narrator who is a character within the story world, indicated by the use of first-person pronouns such as “I” and “we.” The narrator’s knowledge is limited to his or her own thoughts, feelings, memories, and perceptions, and events beyond the narrator’s direct experience can only be reported through speculation or inference. This narrative perspective is inherently subjective and creates a strong sense of intimacy between the narrator and the reader. However, because the story is filtered entirely through the narrator’s personal viewpoint, the reliability and scope of the narration are limited, and the account may be biased, selective, or incomplete

formula của first-person narrator alaysis?

[CLARIFY] The passage is narrated by a first-person narrator, [SIGNS] as indicated by the repeated use of the pronouns + “I,” “my,” and “we.” The narrator is a character within the story world and presents the narrative as a + MAIN CONTENT (e.g., personal account of his own life, explicitly framing the story as a “book of deeds.”). [EXPLAIN: WHAT DOES THE NARRATOR KNOW? THE ACCESS?] The narrator’s knowledge is therefore limited to his own memories, experiences, and interpretations of events, and he cannot access the inner thoughts of other characters except through inference. This internal and subjective narrative perspective allows the narrator to shape + content (e.g., how events and characters such as the Edema Ruh and his troupe are represented à revealing his personal pride, values, and sense of identity). [FUNCTION] As a result, the first-person perspective creates strong psychological intimacy between the narrator and the reader, while also reminding the reader that the account may be selective or biased, since it is filtered entirely through the narrator’s individual viewpoint.

formula của third-person center of conciousness

The passage is narrated in the third-person perspective. The narrator functions as as a third-person-limited narrator, specifically a centre of consciousness, as the narration is closely focalized through + the character. The narrator reports only what + the character + sees, hears, and perceives, such as + evidence tương ứng với see/hear/perceive (e.g., the voice, the sounds in the chapel, and his visual impression of Marguerite, while the inner thoughts and feelings or lives of other characters are not accessed. (Optional: This restriction is indicated by the repeated use of sensory verbs like “heard” and “saw,” which align the narration with the Doctor’s perception ~ Liệt kê them các signs để prove cho việc the narrator không có access to other people’s lives/thoughts). The narrator, therefore, does not possess omniscient knowledge and remains restricted to the + focal character’s experience of the fictional world (những đoạn character như này thay tên là được). [FUNCTION] This limited narrative perspective creates psychological intimacy with the + focal character and shapes the reader’s understanding of events through + character’s subjective impressions, while simultaneously limiting their broader knowledge of the fictional world, thereby increasing suspense and emotional involvement.

formula của third-person ominiscient narrator?

[CLARIFY] The passage employs a third-person omniscient narrator, who is positioned outside the story world and possesses a god-like overview of the fictional events. [EXPLAIN: WHAT DOES THE NARRATOR KNOW? THE ACCESS?] The narrator has access to the inner thoughts and knowledge of multiple characters, including + character A, B, C, etc. The narrator reveals + what aspects of the characters’ thoughts? (e.g., Anna’s confidence as well as Mark’s private awareness that the plan is failing). In addition, the narrator provides information that no character is aware of, such as + proof in the text (e.g., the significance of the opened letter, etc.) which further confirms omniscient narration. [FUNCTION] This unrestricted access to minds, perspectives, and narrative knowledge is a defining feature of the omniscient narrator. As a result, the reader gains a comprehensive understanding of the situation that goes beyond any single character’s awareness.

formula của third-person external narrator?

[CLARIFY] The passage is narrated in the third-person perspective by an external narrator. [EXPLAIN: WHAT DOES THE NARRATOR KNOW? THE ACCESS?] The narrator is positioned outside the story world and describes only observable actions, physical movements, and external surroundings, such as + PROOF IN THE TEXT~ACTIONS (e.g., the man entering the room, placing his bag on the table, glancing at the clock, and closing the curtains). The narration does not provide any access to the character’s inner thoughts, emotions, or motivations, nor does it offer interpretative commentary on + the character behavior. Instead, the narrator functions in a camera-like manner, recording events as they occur from the outside. This complete absence of psychological insight is a defining feature of an external narrative perspective. [FUNCTION] As a result, the reader is required to infer meaning, mood, and emotional significance solely from visible actions and setting, which creates a sense of distance, objectivity, and ambiguity in the narrative.

What is poetry?

Poetry is a form of literature that expresses emotions, ideas, and experiences through a heightened and condensed use of language. Unlike prose, which is organized in paragraphs and focuses on straightforward narration, poetry is structured in lines and stanzas and relies heavily on rhythm, sound, and imagery to convey meaning. Poetry often aims not only to tell a story but also to evoke emotional and sensory responses in the reader.

One defining feature of poetry is its verse form, in which line breaks are deliberately chosen to control pace, emphasis, and rhythm. Poetry also frequently employs meter, the patterned arrangement of stressed and unstressed syllables, which gives the poem a musical quality. For example, many English poems are written in iambic pentameter, a rhythm that closely resembles natural speech while maintaining formal balance. In addition, rhyme is commonly used to create harmony and memorability, as seen in Edgar Allan Poe’s “The Raven,” where repeated end rhymes intensify the poem’s emotional atmosphere.

Through these formal features, poetry transforms ordinary language into an artistic medium that appeals to the reader’s imagination and emotions. Rather than simply communicating information, poetry invites readers to feel, interpret, and experience meaning through sound, rhythm, and imagery.