The term should not be confused with .

SENECAN TRAGEDY: A following the conventions of the Roman writer Lucius Anneaus Seneca Minor (Seneca the Younger), a first-century CE stoic philosopher and philosopher who dabbled as a playwright and wrote ten surviving tragedies. Humanist scholars in the Renaissance rediscovered his lost works, and they became influential in Elizabethan and Neoclassical drama. Senecan tragedies tend to focus on gruesome, bloodthirsty revenge. They are unusual in that the violence takes place on stage before the audience, as opposed to the classical Greek tradition, in which murders and suicides typically took place off-stage while the on-stage characters reacted to the news or to what they hear nearby. Examples of Renaissance tragedies influenced by the Senecan mode include Shakespeare's Hamlet, Thomas Kydd's The Spanish Tragedy and John Webster's The Duchess of Malfi.

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(Augustine, City of God, 16.8.662)

SCRIPTA CONTINUA: In classical and medieval manuscripts, continuous handwriting that leaves no space between words. For instance, a modern writer would type or write "this is a sample sentence," but in scripta continua, "thisisasamplesentence" or "THISISASAMPLESENTENCE" would be the normal version, creating huge blocks of unbroken text. Scripta continua is particularly common in older manuscripts before the seventh-century A.D. The use of space between words to keep them separate did not become widespread until Irish monks popularized the practice.

SUB SPECIE AETERNITATIS: See discussion under .

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SUBDUED METAPHOR: An implied metaphor rather than one directly stated. For instance, consider a simple metaphor: "His job was a dark shadow over his life." We have directly asserted that one thing (his job) was another (a dark shadow). We could turn that into a subdued metaphor by removing the verb was, and writing something like "He faced the dark shadow of his job." Here, the comparison between job and shadow persists, but the comparison is no longer directly stated, but is rather subdued.

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SUCCESSION MYTH: A common motif in mythology in which a regime of older gods suffers defeat and replacement--often at the hands of a younger generation of divinities. An example would be Zeus leading an uprising against his cannibal father, Kronos, in Hesiod's Theogony. Two theories to explain this very common mythological idea are, (1) because the normal human life sequence involves the young replacing the old, this cycle asserts such a powerful significance that we re-create it in our supernatural accounts; or (2) such myths are actually echoes of much older (possibly even prehistoric) cultural clashes in which a newer invading people displace an indigenous people and its older religious practices. As the invaders bring their new gods, they assimilate into their stories the older legends of the original race in the area, but depict the old gods as "falling" or being replaced by the new gods they bring. This perhaps can account for redundant deities in Greco-Roman mythology--so we might have two similar divinities appearing in a single . Examples might be the Titan Hyperion and the god Apollo (both associated with the sun), or the Titan Oceanus and the god Poseidon (both associated with the sea).

Suspense is typically a vital component in genres such as , , , , and .

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The opposite term is an organic -e, in which the final -e might be silent today, but at one point historically was pronounced and usually descends grammatically from a now defunct declension.

You got a house maid in the lifestyle of urban areas to take care of your house chores.

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SKIAPOD (Greek, "shadow-foot"; plural skiapodes): Also called monopods, these one-legged humanoids appears in ancient Greco-Roman writings such as Pliny's Natural History, Aristophanes The Birds, Ctesias's India, and Philostratus' Life of Apollonius of Tynna. In medieval writings, Saint Augustine writes:

On the other hand, rural life of India is more into serving themselves. They do their tasks.

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In fourteenth-century Britain, sumptuary laws also indicated sexual status. For instance, only virgins were allowed to wear white in public--a fact that gets Margery Kempe of The Book of Margery Kempe into trouble when, after giving birth to fourteen children, she undergoes a spiritual revelation and begins wearing white as she travels to York preaching.