SHORT STORY

A short story is a piece of prose fiction that typically can be read in one sitting and focuses on a self-contained
incident or series of linked incidents, with the intent of evoking a "single effect" or mood, however there are
many exceptions to this.
A dictionary definition is "an invented prose narrative shorter than a novel usually dealing with a few characters
and aiming at unity of effect and often concentrating on the creation of mood rather than plot." [1]
The short story is a crafted form in its own right. Short stories make use of plot, resonance, and other dynamic
components as in a novel, but typically to a lesser degree. While the short story is largely distinct from
the novel or novella (a shorter novel), authors generally draw from a common pool of literary techniques.
Short story writers may define their works as part of the artistic and personal expression of the form. They may
also attempt to resist categorization by genre and fixed formation.
PROSE
The word "prose" first appears in English in the 14th century. It is derived from the Old French prose, which in
turn originates in the Latin expression prosa oratio (literally, straightforward or direct speech).

is a form or technique of language that exhibits a natural flow of speech and grammatical structure. Novels,
textbooks and newspaper articles are all examples of prose. The word prose is frequently used in opposition to
traditional poetry, which is language with a regular structure with a common unit of verse based
on metre or rhyme. However, as T. S. Eliot noted, whereas "the distinction between verse and prose is clear,
the distinction between poetry and prose is obscure";[1] developments in modern literature, including free
verse and prose poetry, have led to the two techniques indicating two ends on a spectrum of ways to compose
language, as opposed to two discrete options.

CHARACTERISTICS OF SHORT STORY

As a concentrated, concise form of narrative and descriptive prose fiction, the short story has been
theorized through the traditional elements of dramatic structure: exposition (the introduction of setting,
situation and main characters), complication (the event that introduces the conflict), rising action, crisis (the
decisive moment for the protagonist and his commitment to a course of action), climax (the point of highest
interest in terms of the conflict and the point with the most action) and resolution (the point when the conflict is
resolved). Because of their length, short stories may or may not follow this pattern. For example, modern short
stories only occasionally have an exposition, more typically beginning in the middle of the action (in medias
res). As with longer stories, plots of short stories also have a climax, crisis, or turning point. However, the
endings of many short stories are abrupt and open and may or may not have a moral or practical lesson. As
with any art form, the exact characteristics of a short story will vary by creator.

LEGEND
Legend is a genre of folklore that consists of a narrative featuring human actions perceived or believed both by
teller and listeners to have taken place within human history. Narratives in this genre may demonstrate human
values, and possess certain qualities that give the tale verisimilitude. Legend, for its active and passive
participants, includes no happenings that are outside the realm of "possibility," but may include miracles.
Legends may be transformed over time, in order to keep them fresh, vital, and realistic. Many legends operate
within the realm of uncertainty, never being entirely believed by the participants, but also never being resolutely
doubted.

ETHIMOLOGY OF LEGEND
Legend is a loanword from Old French that entered English usage circa 1340. The Old French
noun legende derives from the Medieval Latinlegenda.[5] In its early English-language usage, the word indicated
a narrative of an event. The word legendary was originally a noun (introduced in the 1510s) meaning a
collection or corpus of legends.[6][7] This word changed to legendry, and legendary became the adjectival form.

PANTOMIME
Pantomime (/ˈpæntəmaɪm/; informally panto)[1] is a type of musical comedy stage production designed for
family entertainment. It was developed in England and is performed throughout the United Kingdom, Ireland
and (to a lesser extent) in other English-speaking countries, especially during the Christmas and New Year
season. Modern pantomime includes songs, gags, slapstick comedy and dancing. It employs gender-crossing
actors and combines topical humour with a story more or less based on a well-known fairy tale, fable or folk
tale.[2][3] It is a participatory form of theatre, in which the audience is expected to sing along with certain parts of
the music and shout out phrases to the performers.
Pantomime has a long theatrical history in Western culture dating back to classical theatre. It developed partly
from the 16th century commedia dell'arte tradition of Italy and other European and British stage traditions, such
as 17th-century masques and music hall.[2] An important part of the pantomime, until the late 19th century, was
the harlequinade.
TRADITIONAL STORIES OF PANTOMIME
Pantomime story lines and scripts usually make no direct reference to Christmas, and are almost
always based on traditional children's stories, particularly the fairy tales of Charles Perrault, Joseph
Jacobs, Hans Christian Andersen and the Grimm Brothers. Some of the most popular pantomime stories
include Cinderella, Aladdin, Dick Whittington and His Cat and Snow White and the Seven Dwarfs,[4] as well
as Jack and the Beanstalk, Peter Pan, Puss in Boots and Sleeping Beauty.[42] Other traditional stories
include Mother Goose, Beauty and the Beast, Robinson Crusoe, The Wizard of Oz, Babes in the
Wood (combined with elements of Robin Hood), Little Red Riding Hood, Goldilocks and the Three
Bears, Sinbad, St. George and the Dragon, Bluebeard, The Little Mermaid and Thumbelina.[27][43] Prior to about
1870, many other stories were made into pantomimes.
RIDDLE
A riddle is a statement or question or phrase having a double or veiled meaning, put forth as a puzzle to be
solved. Riddles are of two types: enigmas, which are problems generally expressed
in metaphorical or allegorical language that require ingenuity and careful thinking for their solution,
and conundra, which are questions relying for their effects on punning in either the question or the answer.
Archer Taylor says that "we can probably say that riddling is a universal art" and cites riddles from hundreds of
different cultures including Finnish, Hungarian, American Indian, Chinese, Russian, Dutch and Filipino sources
amongst many others.[1] Many riddles and riddle-themes are internationally widespread. However, at least in
the West, if not more widely, "riddles have in the past few decades ceased to be part of oral tradition", being
replaced by other oral-literary forms, and by other tests of wit such as quizzes.
ANCIENT AND MEDIEVAL RIDDLES
The riddle was at times a prominent literary form in the ancient and medieval world, and so riddles are
extensively, if patchily, attested in our written records from these periods.
According to Archer Taylor, "the oldest recorded riddles are Babylonian school texts which show no
literary polish". The answers to the riddles are not preserved; they include "my knees hasten, my feet do not
rest, a shepherd without pity drives me to pasture" (a river? A rowboat?); "you went and took the enemy's
property; the enemy came and took your property" (a weaving shuttle?); "who becomes pregnant without
conceiving, who becomes fat without eating?" (a raincloud?). "It is clear that we have here riddles from oral
tradition that a teacher has put into a schoolbook."
AWIT
The awit (Tagalog for "song"[1]) is a type of Filipino poem, consisting of 12-syllable quatrains. It follows the
pattern of rhyming stanzas established in the Philippine epic Pasyon. It is similar in form to the corrido.

CORRIDO
The corrido (Spanish pronunciation: [koˈriðo]) is a popular narrative song and poetry that forms a ballad. The
songs are often about oppression, history, daily life for peasants, and other socially relevant topics. [1] It is still a
popular form today in Mexico and was widely popular during the Mexican Revolutions of the 20th century.
The corrido derives largely from the romance, and in its most known form consists of a salutation from the
singer and prologue to the story, the story itself, and a moral and farewell from the singer.

POETRY
Poetry (the term derives from a variant of the Greek term, poiesis, "making") is a form of literature that
uses aesthetic and rhythmic[1][2][3] qualities of language—such as phonaesthetics, sound symbolism,
and metre—to evoke meanings in addition to, or in place of, the prosaic ostensible meaning.
Poetry has a very long history, dating back to prehistorical times with the creation of hunting poetry in Africa,
and panegyric and elegiac court poetry was developed extensively throughout the history of the empires of
the Nile, Niger and Volta river valleys.[4] Some of the earliest written poetry in Africa can be found among
the Pyramid Texts written during the 25th century BCE, while the Epic of Sundiata is one of the most well-
known examples of griot court poetry. The earliest Western Asian epic poetry, the Epic of Gilgamesh, was
written in Sumerian. Early poems in the Eurasian continent evolved from folk songs such as the
Chinese Shijing, or from a need to retell oral epics, as with the Sanskrit Vedas, Zoroastrian Gathas, and
the Homeric epics, the Iliad and the Odyssey. Ancient Greek attempts to define poetry, such
as Aristotle's Poetics, focused on the uses of speech in rhetoric, drama, song and comedy. Later attempts
concentrated on features such as repetition, verse form and rhyme, and emphasized the aesthetics which
distinguish poetry from more objectively informative, prosaic forms of writing.
Poetry uses forms and conventions to suggest differential interpretation to words, or to evoke emotive
responses. Devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to
achieve musical or incantatory effects. The use of ambiguity, symbolism, irony and other stylistic elements
of poetic diction often leaves a poem open to multiple interpretations. Similarly, figures of speech such
as metaphor, simile and metonymy[5] create a resonance between otherwise disparate images—a layering of
meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between
individual verses, in their patterns of rhyme or rhythm.
ELEMENTS OF POETRY
1. PROSODY
Prosody is the study of the meter, rhythm, and intonation of a poem. Rhythm and meter are
different, although closely related.[36] Meter is the definitive pattern established for a verse (such
as iambic pentameter), while rhythm is the actual sound that results from a line of poetry. Prosody
also may be used more specifically to refer to the scanning of poetic lines to show meter.
2. RHYTHM
The methods for creating poetic rhythm vary across languages and between poetic traditions.
Languages are often described as having timing set primarily by accents, syllables, or moras,
depending on how rhythm is established, though a language can be influenced by multiple
approaches. Japanese is a mora-timed
language. Latin, Catalan, French, Leonese, Galician and Spanish are called syllable-timed
languages. Stress-timed languages include English, Russian and,
 generally, German.[38] Varying intonation also affects how rhythm is perceived. Languages can rely
on either pitch or tone. Some languages with a pitch accent are Vedic Sanskrit or Ancient
Greek. Tonal languages include Chinese, Vietnamese and most Subsaharan languages.[39]
Metrical rhythm generally involves precise arrangements of stresses or syllables into repeated
patterns called feet within a line. In Modern English verse the pattern of stresses primarily
differentiate feet, so rhythm based on meter in Modern English is most often founded on the
pattern of stressed and unstressed syllables (alone or elided).[40] In the classical languages, on the
other hand, while the metrical units are similar, vowel length rather than stresses define the
meter.[41] Old English poetry used a metrical pattern involving varied numbers of syllables but a
fixed number of strong stresses in each line.
3. METER
In the Western poetic tradition, meters are customarily grouped according to a
characteristic metrical foot and the number of feet per line.[48] The number of metrical feet in a line
are described using Greek terminology: tetrameter for four feet and hexameter for six feet, for
example.[49] Thus, "iambic pentameter" is a meter comprising five feet per line, in which the
predominant kind of foot is the "iamb". This metric system originated in ancient Greek poetry, and
was used by poets such as Pindar and Sappho, and by the great tragedians of Athens. Similarly,
"dactylic hexameter", comprises six feet per line, of which the dominant kind of foot is the "dactyl".
Dactylic hexameter was the traditional meter of Greek epic poetry, the earliest extant examples of
which are the works of Homer and Hesiod.[50]Iambic pentameter and dactylic hexameter were later
used by a number of poets, including William Shakespeare and Henry Wadsworth Longfellow,
respectively.