A Handy Companion: The Pharos Glossary of Literary Terms by Owen Hendry
What is the difference between personification and anthropomorphism? Why are the metaphysical poets called the metaphysical poets? Is ‘pow!’ a good example of onomatopoeia, what is a chiasmus, and what is the figure of speech that uses a term like ‘wind-hover’ for a soaring bird?
The study and discussion of literature is supported by an extensive and generally very precise technical vocabulary. This vocabulary defines the general scope of this book.
Most of the techniques and features described in the pages of Pharos’s Glossary of Literary Terms enrich colloquial usage and are commonly (if, in many instances, unconsciously) used in everyday communication, both written and spoken.
It is the business of this book to describe and illustrate the common techniques, devices and characteristics, as well as the elements of style, arrangement and presentation, that mark well-organised, carefully planned, effective communication of all kinds. It has been compiled to meet the needs of both the academic student or teacher, and the everyday user of English.
The definitions and commentary are supported by numerous examples taken from a wide variety of sources, once again both literary and colloquial; in the conviction that both the essence and the nuances of concepts such as these are often better understood through examining real examples – and many of them – than by trying to make sense of a theoretical definition in isolation.
About the author
Owen Hendry was born in Glasgow in 1945. He majored at Wits University in English and Latin, and spent 30 years in English-language education. He has written and co-authored many books and series for use in the education environment.
He subscribes enthusiastically to the concept of natural language evolution and development, and recognises that English in particular always has been and surely will continue to be richly moulded by influences from a multitude of welcome sources. However, he believes that the patterns of errors committed by inexpert users of English do not provide a sound basis for legitimate language change; that the language habits of informed and caring users are the proper determinants of what should and should not be accepted as convention; and that departures from these conventions are not only noticed, but are widely taken to be evidence of language incompetence – in simple terms, that if a language is worth using it’s worth respecting and using well, that a badly written letter (or e-mail) of application will count against you, and that the world actually does care.
Spurred by his inability to find a comprehensive dictionary/handbook for writers and editors (and any others who recognise the need to use language correctly and accurately), let alone one prepared specifically to accommodate primarily the needs of the South African market, he researched and wrote one himself.
Owen is married to Glynis, also a teacher, with whom he travels as often as he possibly can – most recently to Andalusia, the Caribbean, Normandy, New England and the Falkland Islands (not all on the same trip). They live in Johannesburg, and have three adult children of whom they are enormously proud.
When neither travelling nor writing, he buys wine, reads all the books he couldn’t find time to read as a teacher, cooks pasta, watches cricket on television, pushes a lawnmower (usually quite willingly) around his wife’s stunning garden, plays golf and the bagpipes (neither with any particular skill), and delights in his five grandsons.
Among his titles as author and co-author are:
Music to the Wind (Shuter and Shooter)
English in Context (Maskew Miller Longman)
Wordsmiths (Maskew Miller Longman)
Rhythm and Muse (Wordsmiths Publishing)
X-Kit English Essential Reference (Pearson Education)
Achieve! (Pearson Education)