Download Link to Summer Reading Packet

 Orange High School
Advanced Placement Literature and
Composition
Summer Reading Handbook
Instructor: Ms. M. Thomas Contacts: For general questions: [email protected] For shared assignments: [email protected] 2 Dear Student, I am happy to see that you are willing to take on the endeavor of becoming an Advanced Placement English student. As you know, AP courses are rigorous, yet highly beneficial for all college minded students. In order to keep your minds sharp, below you will find a list of required summer readings and assignments for AP Literature and Composition. It is imperative that you read through all of the directions carefully and that you complete all related assignments in a timely manner. All assignments are due as outlined below. ​
Any shared documents must also be printed and submitted on established due dates. If you have any questions or concerns please feel free to email me at: [email protected]. Respectfully, Ms. M. Thomas, AP Literature and Composition Teacher Advanced Placement English Literature and Composition Summer Reading Assignments: (All readings and assignments are mandatory) *A list of helpful resources is provided beginning on pp.15 ● Reading: ​
Their Eyes Were Watching God ​
by Zora Neale Hurston ○ Assignment: Dialectical Journal (see Dialectical Journal Procedures and Rubric, pp.3­7) ■ Due: ​
Upon arrival to Day 1 of class ● Reading: ​
How to Read Literature Like a Professor ​
by Thomas Foster ○ Assignment: Annotations (see Annotation Guide and Rubric, pp. 11­13) ■ Due: ​
Upon arrival to Day 1 of class ○ Assignment: Multimedia Presentation (see Multi. Presentation Guidelines and Rubric, pp. 8­9) ■ Due: ​
Shared through Google by​
Thursday, September 15, 2016. ● Reading: “Icarus” by Edward Field (p.10) ○ Assignment: Annotations (see Annotation Guide, pp. 11­13) ■ Due: ​
Upon arrival to Day 1 of class (essay must be shared via Google). ○ Assignment: Literary Analysis Essay (see reading, p. 10, see rubric, p. 14) ■ Due: ​
Upon arrival to Day 1 of class (essay must be shared via Google). *Please note: ​
Additional assignments related to these texts will be issued in class during the first week of school. 3 Name: Ms. Thomas AP Literature and Composition Date: Dialectical Journal​
: ​
​
Their Eyes Were Watching God BACKGROUND: The term “Dialectic” means “the art or practice of arriving at the truth by using conversation involving question and answer.” Think of your dialectical journal as a series of conversations with the texts we read during this course. The process is meant to help you develop a better understanding of the texts we read. Use your journal to incorporate your personal responses to the texts, your ideas about the themes we cover and our class discussions. You will find that it is a useful way to process what you’re reading, prepare yourself for group discussion, and gather textual evidence for your Literary Analysis assignments. PROCEDURE: ●
As you read, choose passages that stand out to you and record them in the left­hand column of a T­chart (​
ALWAYS include page numbers)​
. Each chapter of your reading should inspire 4­6 strong entries. ●
In the right column, write your response to the text (ideas/insights, questions, reflections, analysis, and comments on each passage) ●
Label your responses. The following is a list of ​
sample​
codes: ○
(CH)Characterization – Analyze details or dialog the author gives you to build his/her characters. ○
(C) Connect – Make a connection to your life, the world, or another text ○
(P) Predict – Anticipate what will occur based on what’s in the passage ○
(L) Literary Device – analyze the author’s craft using literary terminology ○
(R) Reflect – Think deeply about what the passage means in a broad sense – not just to the characters in the story. What conclusions can you draw about the world, about human nature, or just the way things work? ○
(T) Theme ­ Determine the author’s overall message about some aspect of life through a close reading of a passage. ○
(M)Mood – Determine the mood or tone of a scene and explain how that might be important. 4 Sample Dialectical Journal entry: ​
Blues Ain’t No Mockinbird ​
by Toni Cade Bambara Passages from the text “The puddle had frozen over, and me and Cathy went stompin in it. The twins from next door, Tyrone and Terry, were swingin so high out of sight we forgot we were waitin our turn on the tire. Cathy jumped up and came down hard on her heels and started tapdancin. And the frozen patch splinterin every which way underneath kinda spooky. ‘Looks like a plastic spider web,’ she said. ‘A sort of weird spider, I guess, with many mental problems.’” Pg# Commentary 1 (C​
H) In this first paragraph of the story Bambara indirectly characterizes the narrator using rural Southern dialect to let us know our setting is the South and our narrator may be smart, but may not be “educated.” We also learn that the characters are children from the activities described. (L) Nice thermal imagery about the puddle freezing over to let us know how cold it is in the scene. (C) The visual imagery of the twins swinging high on the tire swing reminds me of my own childhood when I had to wait in line forever to use the swing. And how exciting it was once it was my turn. (L) There is more great visual imagery about the splintering puddle, and the kinetic imagery of the “tapdancin.” I especially liked the simile about the spider web and the humor of spider with mental problems. (M) The mood of the story seems to be playful and humorous. (P) I wonder if the entire story will be this way, too? Overall, I am drawn into the story and am already laughing. CHOOSING PASSAGES FROM THE TEXT: Look for quotes that seem significant, powerful, thought provoking or puzzling. For example, you might record: ●
Effective &/or creative use of stylistic or literary devices ●
Passages that remind you of your own life or something you’ve seen before ●
Structural shifts or turns in the plot ●
A passage that makes you realize something you hadn’t seen before ●
Examples of patterns: recurring images, ideas, colors, symbols or motifs. ●
Passages with confusing language or unfamiliar vocabulary ●
Events you find surprising or confusing ●
Passages that illustrate a particular character or setting ●
If you find an extremely long passage that moves you, don’t hesitate to use it, just employ ellipses (…) to shorten your writing load. You’ll have the page number so that if you decide to share your entry, the class can easily find and read along. ​
RESPONDING TO THE TEXT: You can ​
respond​
to the text in a variety of ways. The most important thing to remember is that your observations should be ​
specific and detailed. ​
You can write as much as you want for each entry. You can use loose­leaf paper for your journals or find a template online. 5 To Get Started: Beginner Responses ○
Raise questions about the beliefs and values implied in the text ○
Give your personal reactions to the passage ○
Discuss the words, ideas, or actions of the author or character(s) ○
Tell what it reminds you of from your own experiences ○
Write about what it makes you think or feel ○
Agree or disagree with a character or the author Sample Sentence Starters for Beginners: ∙​
​
I really don’t understand this ​
because​
… ∙​
​
I really dislike/like this idea ​
because​
… ∙​
​
I think the author is trying to say that… ∙​
​
This passage reminds me of a time in my life when… ∙​
​
If I were (name of character) at this point I would… ∙​
​
This character reminds me of (name of person) because… The Target: Higher Level Responses ○ Analyze the text for use of literary devices (tone, structure, style, imagery) and how they contribute to the Theme ○
Make connections between different characters or events in the text ○
Make connections to a different text (or film, song, etc.) ○
Discuss the words, ideas, or actions of the author or character(s) ○
Consider an event or description from the perspective of a different character ○
Analyze a passage and its relationship to the story as a whole 6 Dialectical Journal Rubric The dialectical journal features in the left column passages you select from the texts you read for this class (with names of texts, chapters/acts, page numbers in parentheses after each entry). It features in the right column your thoughtful responses to those textual passages (written directly to the right of each passage). A
Outstanding (Demonstrates Mastery of Grade­Level Standards) ● Includes 4­6 thoughtful and thorough entries per chapter ● Summarizes the passage and its context within the text concisely and precisely ● Demonstrates a comprehensive and highly insightful understanding of the significant ideas in the passage ● Analyzes with mastery the writer’s use of imagery, language, universal themes, and unique literary or dramatic elements of the text ● Regularly supports important ideas through highly accurate and detailed references to the text and other works followed by explicit commentary ● Masterfully identifies and assesses the impact of perceived ethical dilemmas, ambiguities, nuances, complexities, and unanswered questions within the text ● Regularly explores the relationship between the text, self, other texts, world, etc. B
Strong (Exceeds Grade­Level Standards) ● Includes 4­6 strong responses per chapter ● Summarizes the passage concisely and precisely ● Demonstrates a comprehensive understanding of the significant ideas in the passages ● Analyzes the writer’s use of imagery, language, universal themes, and unique literary or dramatic elements of the text ● Supports important ideas and viewpoints through highly accurate and detailed references to the principal text and other works followed by some explicit commentary ● Identifies and assesses the impact of perceived ethical dilemmas, ambiguities, nuances, complexities, and unanswered questions within the text ● Explores the relationship between the text, self, other texts, world, etc. C Satisfactory (Meets Grade­Level Standards) ● Includes 4­6 responses per chapter ● Summarizes the passage generally ● Demonstrates a competent understanding of the significant ideas in the passages ● Occasionally analyzes the writer’s use of imagery, language, universal themes, and unique literary or dramatic elements of the text ● Supports ideas and viewpoints through somewhat accurate and detailed references to the principal text and other works followed by general commentary ● May identify and assess the impact of perceived ethical dilemmas, ambiguities, nuances, and complexities, and unanswered questions within the text ● Occasionally explores the relationship between the text, self, other texts, world, etc. 7 F
●
●
●
●
●
●
●
No Pass (Does Not Meet Grade­Level Standards) Does not include 4­6 entries per chapter May simply summarize the text and not analyze the passage further Demonstrates poor (or no) understanding of the significant ideas in the passages Does not analyze the writer’s use of imagery, language, universal themes, and unique literary or dramatic aspects of the text Does not support ideas and viewpoints through textual references Does not identify and assess the impact of perceived ethical dilemmas, ambiguities, nuances, and complexities within the text Never explores the relationship between the text, self, other texts, world, etc. 8 Name: Ms. Thomas AP Literature and Composition Date: Multimedia Presentation: ​
How to Read Literature Like a Professor Objective: ​
As a culminating activity for their summer reading assignments, students will be able to reflect upon their understanding of Thomas C. Foster’s ​
How to Read Literature Like a Professor​
by highlighting key ideas from two selected chapters and presenting their annotations and extended thoughts to the class through a multimedia presentation. Essential Questions: ● How do we learn to talk about literature? ● What choices do authors make? ● How do readers recognize and writers use elements of good literature? ● What is the role of the reader in texts? ● How can we use technology and other information tools to organize and display knowledge and understandings in ways others can view, use and assess it? ● How do we transfer knowledge in order to contribute to the exchange of ideas in the local and global learning community? Task: ​
After reading and annotating Foster’s ​
How to Read Literature Like a Professor ​
and selecting your two chapters of interest, develop a multimedia presentation through which you introduce and explain key aspects of the chapters. Be sure to elaborate on concepts as you see necessary. If a video will help you explain a concept, include a video. You must include a Works Cited. By the end of the presentation, your classmates must have a stronger understanding of the chapter, self­driven notes, and a handout or shared document from your presentation. A rubric has been attached. A sample presentation will be shared and uploaded to my website. Due Date: ​
This will help to avoid repeated presentations by multiple students. ​
Chapters must be pre­approved by me via email confirmation prior to preparing your presentation. All final presentations must be shared to me at ​
[email protected]​
by Thursday, September 15, 2016. 9 Name: Ms. Thomas AP Literature and Composition Date: Multimedia Presentation Rubric 4 3 2 1 Content The student demonstrates strong knowledge of each chapter through shared annotations. The student demonstrates thorough knowledge of a chapter, but there is less evidence with the second chapter. The student demonstrates limited evidence of knowledge for one or both chapters. The student demonstrates little evidence of knowledge for one or both chapters. Extension The student identifies and successfully acts on more than one opportunity to extend understanding beyond what is offered in the text. The student identifies and acts on more than one opportunity to extend understanding beyond what is offered in the text. The student identifies and acts on one opportunity to extend understanding beyond what is offered in the text. The student does not identify and act on opportunities to extend understanding beyond what is offered in the text. Shared Materials The student prepares thorough, informational, accessible, and neat materials for classmates. The student prepares neat, informational materials for classmates. The student prepares materials to be shared with classmates, but the materials are not presented neatly. The student does not prepare materials to be shared with classmates. Presentation The presenter is articulate, poised, and prepared, and thoroughly engages the audience. The presenter is The presenter struggles prepared and gets to explain concepts. important points across. The presenter is not prepared on more than one level. 10 Name: Ms. Thomas AP Literature and Composition Date: Poetry: Literary Analysis Essay The following poem, written by Edward Field, makes use of the Greek myth of Daedalus and Icarus.* Read and annotate the poem carefully (refer to the Annotation Guide if needed). Then write an essay in which you analyze how Field employs literary devices in adapting the Icarus myth to a contemporary setting. Icarus Only the feathers floating around the hat Showed that anything more spectacular had occurred Than the usual drowning. The police preferred to ignore The confusing aspects of the case, (5) And the witnesses ran off to a gang war. So the report filed and forgotten in the archives read simply “Drowned,” but it was wrong: Icarus Had swum away, coming at last to the city Where he rented a house and tended the garden. (10) “That nice Mr. Hicks” the neighbors called, Never dreaming that the gray, respectable suit Concealed arms that had controlled huge wings Nor that those sad, defeated eyes had once Compelled the sun. And had he told them (15) They would have answered with a shocked, uncomprehending stare. No, he could not disturb their neat front yards; Yet all his books insisted that this was a horrible mistake: What was he doing aging in a suburb? (20) Can the genius of the hero fall To the middling stature of the merely talented? And nightly Icarus probes his wound And daily in his workshop, curtains carefully drawn, Constructs small wings and tries to fly (25) To the lighting fixture on the ceiling: Fails every time and hates himself for trying. He had thought himself a hero, had acted heroically, And dreamt of his fall, the tragic fall of the hero; But now rides commuter trains, (30) Serves on various committees, And wishes he had drowned. * Daedalus and his son, Icarus, fashioned wings of feathers and wax in an attempt to escape from prison by flying across the sea. Before their flight, Daedalus warned his son not to fly too close to the sun. But, caught up in the experience of flying, Icarus ignored the warning and soared upward. The heat of the sun melted the wax, the wings fell off, and he plunged to his death in the sea. 11 Annotation Guide Annotating is essential for close and critical reading of texts in preparation for class discussions/seminars, writing assignments, analyses, research, and test/exam responses. Because you purchased your texts, you have the opportunity to mark them. Establishing a structured method of annotating will assist you in college and the business world, situations where close reading contributes to success. Furthermore, annotating helps you dissect difficult texts and discern meaning from them. Many students have practiced a rather free­form method of annotation and highlighting, making their texts look pretty, but providing little utility when it comes to understanding the meaning. We tend to get lost in the muck or forget why we marked something. You may use on­page or off­page (Post­Its) annotating. Here are some common methods of on­page annotating: ● Circle phrases you find pithy, represent repetitive themes or images (motifs), and/or reveal figurative language. ● Note shifts in pronoun usage/narrative point of view. ● Circle words the author uses for their connotative meanings ● Circle words you need to define in the margin ● Underline sentences that stand out, develop an argument, or make a point ● Number related points ● Bracket important sections of text ● Connect important ideas, words or phrases with arrows In the margins: ● Summarize and number each paragraph (shorter pieces). ● Define the unfamiliar terms. ● Note any questions that come to mind. ● Note possible connotative meanings of circled words. ● Note any significant patterns or motifs. ● Identify any outstanding language usage or writing strategies you discover. ● Identify points or arguments. Don’t simply mark a passage without stating why in the margins (unless it’s obvious). Never rely on your memory because when referring back to your marks, you may not recall the context in which you first encountered the marked passage, so it becomes meaningless unless you reread. 12 Developing Discussion Questions If you meticulously annotate your text, you should have little trouble developing discussion questions and responding to the analytical essay prompts. Pithy questions are the backbone of a successful class. ● Raise questions that are ripe for discussion, questions that you believe will spark a lively discussion. ● Ask questions that may generate multiple interpretations of the text or that are debatable. ● Ask questions for which you really want an answer. If there is something you are confused about, allow the class to offer their insights as a bridge to understanding. ● Ask questions that lead to an understanding of the text – questions designed to help us all better understand the text and its meanings. Help us all comprehend how the text works. ● Ask questions that focus on the author’s word choices and use of language, questions that consider the connotations of words. ● Develop questions based on the “Critical Perspectives Essential Questions.” ● Ask questions that require more than a simple “yes or no” answer. 13 Annotation Rubric for ​
How to Read Literature Like a Professor Adequate but Needs Improvement 2 Lacks AP Quality 1 Excellent 4 Good 3 Number of annotations (post­its, written notes, or off page annotations by chapter) Consistent frequency of entries throughout text (not bunched) Annotations cover the entirety of the reading, are well dispersed. Annotations do not taper midway and are abundant. Excels. Annotations are frequent but not as thorough. The text is completely covered however not as equal in coverage. Adequate. Annotations are fairly sparse or only cover the majority of the text, missing a larger section. Average. Text is only annotated at the beginning or the end but not throughout. Text is only annotated minimally. Minimum. Width: Variety of topics marked for discussion Annotations discuss many literary elements. Questions are included as well as extra topics that go beyond the requirements. Annotations identify the main ideas of the text. Above expectations. Annotations cover the discussion of several literary elements is complete. Questions are included, but minimal. Annotations seem to understand main ideas, but perhaps with limited clarity. Meets all expectations. Annotations are too narrowly focused on one or two main topics, skipping other literary elements and lacking effective questions for discussion. Annotations seem shallow, only seeing the details without the whole. Below expectations. Annotations miss categories altogether and discuss fewer than the required literary elements. No questions are present in the annotations. Annotations miss the big picture. Do not seem to show complete understanding. Depth: Significance of commentary Not only are there notes but also comments about these notes that show depth of understanding and discussion of purpose and effect. Reading log complete. Excellent. The notes have an occasional insight on the overall purpose and effect of the elements. The reader seems to show a deeper understanding of reading. Reading log attempted. Well done. The notes include mostly identification of elements with only a few insightful comments on the significance of the reading. No attempt at Reading log. Below level. Notes seem to only identify elements, and at that some of the notes seem purposeless. There is no commentary from the reader on purpose or effect. No attempt at Reading log. Poor. Literary Analysis Rubric for Edward Field’s “Icarus” 14 The score reflects the quality of the essay as a whole—its content, its style, its mechanics. Students are rewarded for what they do well. 9–8 These well­conceived essays offer a persuasive analysis of the language the poet uses to adapt the Icarus myth to a contemporary setting. Although these essays offer a range of interpretations and/or address different literary techniques (tone, point of view, imagery, diction, and structure), they provide convincing readings of how these techniques contribute to the meaning of the poem. They demonstrate consistent control over the elements of effective composition, including the language unique to the analysis of poetry. Their textual references are apt and specific. Although these essays may not be error­free, the writing is clear and sophisticated. The analysis is perceptive and insightful and, in the case of essays that earn 9 points, especially persuasive. 7–6 These competent essays offer a reasonable analysis of the language the poet uses to adapt the Icarus myth for a contemporary audience. They demonstrate an ability to express ideas clearly with references to the text, although they do not exhibit the same level of effective writing as essays scored in the 9–8 range. They are less thorough or less precise in their discussion of how literary techniques contribute to the meaning of the poem, and their analysis of the poem is less convincing. While essays scored in the 7–6 range are generally well written, those scored a 7 demonstrate more sophistication in both substance and style. 5 These essays respond to the assigned task with a plausible reading of the poem, but they tend to be superficial in their understanding of how the poet uses language to adapt the Icarus myth. Their analysis of the poem may be vague, formulaic, or inadequately supported by references to the text. There may be minor misinterpretations of the poem. These essays demonstrate some control of language, but the writing may be marred by surface errors. They are not as well organized or developed as are essays scored in the 7–6 range. 4–3 These lower­half essays fail to offer an adequate analysis of Field’s poem. The analysis may be partial, unconvincing, or irrelevant. Evidence from the poem may be slight or misconstrued, or the essay may rely on paraphrase only. The writing often demonstrates a lack of control over the conventions of composition. The ideas may be inadequately developed, there may be an accumulation of errors, or the argument may be unclear, inconsistent, or repetitive. Essays scored a 3 may contain significant misreadings and/or inept writing. 2–1 These essays compound the weaknesses of the essays scored in the 4–3 range. Although some attempt has been made to respond to the prompt, assertions are presented with little clarity, organization, or support from the poem. These essays may contain serious errors in grammar and mechanics. They may offer a complete misreading or be unacceptably brief. Essays scored a 1 contain little coherent discussion of the poem. 0 These essays do no more than make reference to the task. — These essays are either blank or completely off topic. AP ENGLISH LITERATURE AND COMPOSITION ​
Adapted from © 2009 The College Board. All rights reserved. Helpful Resources 15 Texts Both core texts can be found at your local library, but it may be more convenient to have your own purchased copy for in­text annotations. In addition to booksellers such as Barnes and Noble, you may also have success purchasing a new or used (discounted) text online at Amazon, Goodreads, etc. If ordering your books online, be sure to factor in shipping time to allow yourself ample time to engage with the text. Literary Devices You should begin to familiarize yourself with new or previously acquired vocabulary pertaining to literary devices. The AP Literature and Composition course relies heavily on your ability to analyze literature at a sophisticated level. Pages 16­22 provide a comprehensive list of important literary devices and terms for the course. Writing About Literature Visit ​
Purdue Online Writing Lab​
for helpful information on writing about literature, MLA formatting, etc. AP Information Visit ​
www.apstudent.collegeboard.org/home​
to learn more about the exam and what you can expect throughout the year in preparation for the exam. Explore the benefits of taking AP courses, and learn how AP connects to various academic disciplines. Pacing Consider pacing yourself as you move through your summer workload. If you read 2­3 chapters a week of both texts, you should find yourself progressing successfully. Literary Terms for Advanced Placement English Literature and Composition 16 Allegory ​
A narrative or description having a second meaning beneath the surface one. Alliteration ​
The repetition at close intervals of the initial consonant sounds of accented syllables or important words (for example, ​
m​
ap­​
m​
oon, k​
ill­​
c​
ode, ​
pr​
each­ap​
pr​
ove). Allusion
A reference, explicit or implicit, to something in previous literature or history. Anapest
A metrical foot consisting of two unaccented syllables followed by one accented syllable (for example, under​
stand​
). Anapestic meter
A meter in which a majority of the feet are anapests. Anecdote
A short account of an interesting or humorous incident. Antagonist ​
Any force in a story that is in conflict with the ​
protagonist​
. Anticlimax
A sudden descent from the impressive or significant to the ludicrous or inconsequential. Apostrophe A figure of speech in which someone absent or dead or something nonhuman is addressed as if it were alive and present and could reply. Approximate rhyme (also know as ​
imperfect rhyme, near rhyme, slant rhyme​
, or ​
oblique rhyme​
) A term used for words in a rhyming pattern that have some kind of sound correspondence but are not perfect rimes (for example, ​
arrayed­said​
). Artistic unity That condition of a successful literary work whereby all its elements work together for the achievement of its central purpose. Assonance
The repetition at close intervals of the vowel sounds of accented syllables or important words (for example, h​
a​
t­r​
a​
n­​
a​
mber, v​
ei​
n­m​
a​
de). Aside A brief speech in which a character turns from the person being addressed to speak directly to the audience; a dramatic device for letting the audience know what a character is really thinking or feeling as opposed to what the character pretends to think or feel. Blank verse Unrhymed iambic pentameter Cacophony A harsh, discordant, unpleasant­sounding choice and arrangement of sounds. Catastrophe The concluding action of a classical tragedy containing the resolution of the plot. Catharsis
A purifying or figurative cleansing of the emotions, esp. as an effect of tragic drama. Couplet ​
Two successive lines, usually in the same meter, linked by rhyme. Character
(1) Any of the persons involved in a story or play (sense 1). (2) The distinguishing moral qualities and personal traits of a ​
character​
(sense 2). Developing ​
(or​
dynamic​
)​
character A​
character (sense 1) who during the course of a story undergoes a permanent change in some aspect of ​
character (sense 2) or outlook. Flat character A ​
character​
(sense 1) whose character​
(sense 2) is summed up in one or two traits. Foil character A minor character whose situation or actions parallel those of a major character, and thus by contrast sets off or illuminates the major character. Round character
A ​
character​
(sense 1) whose character​
(sense 2) is complex and many sided. Static character
A character who is the same sort of person at the end of a story as at the beginning. Stock character
A stereotyped character. Climax The turning point or high point of a plot. Colloquial
Informal, conversational language. Comedy
A type of drama, opposed to tragedy, having usually a happy ending, and emphasizing human limitation rather than human greatness. Scornful comedy
A type of comedy whose main purpose is to expose and ridicule human folly, vanity, or hypocrisy. Romantic comedy
A type of comedy whose likable and sensible main characters are placed in difficulties from which they are rescued at the end of the play. Comic Relief A humorous incident introduced into a serious literary work in order to relieve dramatic tension or heighten emotional impact. Conflict
A clash of actions, desires, ideas, or goals in the plot of a story or drama. Conflict may exist between the main character and some other person or persons; between the main character and some external force —physical nature, society, or “fate”; or between the main character and some destructive element in his or her own nature. Connotation What a word suggests beyond its basic definition; a word’s overtones of meaning. Consonance The repetition at close intervals of the final consonant sounds of accented syllables or important words (for example, boo​
k​
­pla​
qu​
e­thi​
ck​
er). Euphemism Substituting a mild, indirect, or vague 17 Dactyl A metrical foot consisting of one accented syllable followed by two unaccented syllables (for example, ​
mer​
rily).​
DenotationThe basic definition or dictionary meaning of a word. Dactylic meterA meter in which a majority of the feet are dactyls. Denouement That portion of a plot that reveals the final outcome of its conflicts or the solution of its mysteries. Deus ex machina
(“god from the machine”) The resolution of a plot by use of a highly improbable chance or coincidence (so named from the practice of some Greek dramatists of having a god descend from heaven at the last possible minute—in the theater by means of a stage machine—to rescue the protagonist from an impossible situation). DialectA regional variety of a language distinguished by pronunciation, grammar, or vocabulary. Dialogue
(1) Conversation between characters in a drama or narrative. (2) A literary work written in the form of a conversation. DictionWord choice. Dilemma
A situation in which a character must choose between two courses of action, both undesirable. Direct presentation of character
That method of characterization in which the author, by exposition or analysis, tells us directly what a character is like, or has someone else in the story do so. End rhyme
Rhymes that occur at the ends of lines. End­stopped line
A line that ends with a natural speech pause, usually marked by punctuation. English ​
(or​
Shakespearean​
)​
sonnet A sonnet rhyming ​
ababcdcdefefgg​
. Its content or structure ideally parallels the rhyme scheme, falling into three coordinate quatrains and a concluding couplet; but it is often structured, like the Italian sonnet, into octave and sestet, the principal break in thought coming at the end of the eighth line. Epigram
(1) A short, witty poem expressing a single thought or observation. (2) A concise, clever, often paradoxical statement. Epilogue
A short poem or speech spoken directly to the audience at the end of a play. Escape literature
Literature written purely for entertainment, with little or no attempt to provide insights into the true nature of human life or behavior. Hero A man who is endowed with great courage and strength, celebrated for bold exploits, and term for a harsh, blunt, or offensive one. Euphony
A smooth, pleasant­sounding choice and arrangement of sounds. Exposition
The part of a play that provides the background information needed to understand the characters and the actions. Extended figure ​
(also knows as ​
sustained figure​
)
A figure of speech (usually metaphor, simile, personification, or apostrophe) sustained or developed through a considerable number of lines or through a whole poem Fable A short narrative making an edifying or cautionary point and often employing animal characters that act like human beings.. Falling action That segment of the plot that comes between the climax and the conclusion. Fantasy
A kind of fiction that pictures creatures or events beyond the boundaries of known reality. Farce A type of drama related to comedy but emphasizing improbable situations, violent conflicts, physical action, and coarse wit over characterization or articulated plot. Feminine rhyme
A rhyme in which the repeated accented vowel is in either the second or third last syllable of the words involved (for example, ceiling­appealing; hurrying­scurrying). Figurative language ​
Language employing figures of speech; language that cannot be taken literally or only literally. Figure of speech
Broadly, any way of saying something other that the ordinary way; more narrowly (and for the purposes of this class) a way of saying one thing and meaning another. Flashback
A literary device in which an earlier event is inserted into a narrative. Foot The basic unit used in the scansion or measurement of verse. A foot usually contains one accented syllable and one or two unaccented syllables. Free verse
Nonmetrical verse. Poetry written in free verse is arranged in lines, may be more or less rhythmical, but has no fixed metrical pattern or expectation. Genre A type or class, as poetry, drama, etc. Hamartia
A character flaw, esp. one leading to tragedy. Happy ending An ending in which events turn out well for a sympathetic protagonist. Metaphor
A figure of speech in which an 18 favored by the gods. Hubris Overbearing and excessive pride. Iamb A metrical foot consisting of one unaccented syllable followed by one accented syllable (for example, re​
hearse​
). Iambic meter A meter in which the majority of feet are iambs. The most common English meter. Imagery
The representation through language of sense experience. Indeterminate ending ​
An ending in which the central problem or conflict is left unresolved. Indirect presentation of character That method of characterization in which the author shows us a character in action, compelling us to infer what the character is like from what is said or done by the character. Internal rhymeA rhyme in which one or both of the rhyme­words occur ​
within​
the line. Interpretive literature ​
Literature that provides valid insights into the nature of human life or behavior. Invective
Denunciatory or abusive language. Inversion
A reversal in order, nature, or effect. Irony A situation, or a use of language, involving some kind of incongruity or discrepancy. Three kinds of irony are distinguished in this class: Verbal irony A figure of speech in which what is said is the opposite of what is meant. Dramatic irony
An incongruity of discrepancy between what a character says or thinks and what the reader knows to be true (or between what a character perceives and what the author intends the reader to perceive). Irony of situation
A situation in which there is an incongruity between appearance and reality, or between expectation and fulfillment, or between the actual situation and what would seem appropriate. Italian ​
(or​
Petrarchan​
)​
sonnet
A sonnet consisting of an octave rhyming ​
abbaabba​
and of a sestet using any arrangement of two or three additional rhymes, such as ​
cdcdcd ​
or ​
cdecde​
. Juxtaposition ​
Positioning opposites next to each other to heighten the contrast. Masculine rhyme
(also know as ​
single rhyme​
) A rhyme in which the repeated accented vowel sound is in the final syllable of the words involved (for example, dance­pants, scald­recalled). implicit comparison is made between two things Limited omniscient point of view
The author tells the story, using the third person, but is limited to a essentially unlike. Meter Regularized rhythm; an arrangement of language in which the accents occur at apparently equal intervals in time. Metonymy
A figure of speech in which some significant aspect or detail of an experience is used to represent the whole experience. Monologue (1) A dramatic soliloquy. (2) A literary composition in such form. Mood A pervading impression. Moral A rule of conduct or maxim for living expressed or implied as the “point” of a literary work. Compare ​
Theme​
. Motivation
An emotion, desire, physiological need, or similar impulse that acts as an incitement to action. Mystery
An unusual set of circumstances for which the reader craves an explanation; used to create ​
suspense​
. Octave (1) An eight­line stanza. (2) The first eight lines of a sonnet, especially one structured in the manner of an Italian sonnet. OnomatopoeiaThe use of words that supposedly mimic their meaning in their sound (for example, boom, click, plop). Overstatement ​
(or​
hyperbole​
) A figure of speech in which exaggeration is used in the service of truth. Parable
A simple story illustrating a moral or religious lesson. Paradox
A statement or situation containing apparently contradictory or incompatible elements. Pentameter A metrical line containing five feet. Personification
A figure of speech in which human attributes are given to an animal, an object, or a concept. Plot The sequence of incidents or events of which a story is composed. Plot manipulation
A situation in which an author gives the plot a twist or turn unjustified by preceding action or by the characters involved. Point of view The angle of vision from which a story is told. The four basic points of view are as follows: Omniscient point of view
The author tells the story, using the third person, knowing all and free to tell us anything, including what the characters are thinking or feeling and why they act as they do. Sentimentality Unmerited or contrived tender feeling; 19 complete knowledge of one character in the story and tells us only what that one character thinks, feels, sees, or hears. First person point of view
The story is told by one of its characters, using the first person. Objective ​
(or ​
dramatic​
) ​
point of view ​
The author tells the story, using the third person, but is limited to reporting what the characters say or do; the author does not interpret their behavior or tell us their private thoughts or feelings. Prologue
An introduction or a preface, esp. a poem recited to introduce a play. Prose Non­metrical language; the opposite of ​
verse​
. Protagonist The central character in a story. Proverb
A short pithy saying that expresses a basic truth or practical precept. Pun A play on words, sometimes on different senses of the same word and sometimes on the similar sense or sound of different words. Quatrain
(1) A four­line stanza. (2) A four­line division of a sonnet marked off by its rhyme scheme. RefrainA repeated word, phrase, line, or group of lines, normally at some fixed position in a poem written in stanziac form. Rhythm
Any wavelike recurrence of motion or sound. Rhyme schemeAny fixed pattern of rhymes characterizing a whole poem or its stanzas. Rising action That development of plot in a story that precedes and leads up to the climax. Run­on line A line which has no natural speech pause at its end, allowing the sense to flow uninterruptedly into the succeeding line. Sarcasm
Bitter or cutting speech; speech intended by its speaker to give pain to the person addressed. Satire A kind of literature that ridicules human folly or vice with the purpose of bringing about reform or of keeping others from falling into similar folly or vice. Scansion
The process of measuring verse, that is, of marking accented and unaccented syllables, dividing the lines into feet, identifying the metrical pattern, and noting significant variations from that pattern. Scene A subdivision of an act in a dramatic presentation in which the setting is fixed and the time continuous. that in addition to its literal meaning suggests other meanings as well, a figure of speech which may be that quality in a story that elicits or seeks to elicit tears through an oversimplification or falsification of reality. Sentimental poetry ​
Poetry aimed primarily at stimulating the emotions rather than at communicating experience honestly and freshly. Sestet (1) A six­line stanza. (2) The last six lines of a sonnet structured on the Italian model. Setting The context in time and place in which the action of a story occurs. Simile A figure of speech in which an explicit comparison is made between two things essentially unlike. The comparison is made explicit by the use of some such word or phrase as ​
like, as, than, similar to, resembles, or seems​
. Slang A kind of language esp. occurring in casual or playful speech, usu. made up of short­lived coinages and figures of speech deliberately used in place of standard terms. Soliloquy
A speech in which a character, alone on the stage, addresses himself or herself; a soliloquy is a “thinking out loud,” a dramatic means of letting an audience know a character’s thoughts and feelings. Sonnet A fixed form of fourteen lines, normally iambic pentameter, with a rhyme scheme conforming to or approximating one of two main types—the Italian​
or the ​
English​
. Spondee
A metrical foot consisting of two syllables equally or almost equally accented (for example, ​
true­blue​
). Stanza A group of lines whose metrical pattern (and usually its rhyme scheme as well) is repeated throughout a poem. Stream of consciousness ​
Narrative which presents the private thoughts of a character without commentary or interpretation ​
by​
the author. Subplot
A plot subordinate to the main plot of a literary work. Surprise
An unexpected turn in the development of a plot. Surprise ending
A completely unexpected revelation or turn of plot at the conclusion of a story or play. Suspense
That quality in a story that makes the reader eager to discover what happens next and how it will end. Symbol (literary)
Something that means more than what it is; an object, person, situation, or action 20 read both literally and figuratively. Synecdoche A figure of speech in which a part is used for the whole. In this class it is subsumed under the term ​
Metonymy​
. Syntax Sentence structure. Terza rima
An interlocking rime scheme with the pattern ​
aba bcb cdc​
, etc. Tetrameter
A metrical line containing four feet. Theme The central idea of a literary work. Tone The writer’s or speaker’s attitude toward the subject, the audience, or herself or himself; the emotional coloring, or emotional meaning, of a work. Tragedy
A type of drama, opposed to comedy, which depicts the causally related events that lead to the downfall and suffering of the protagonist, a person of unusual moral or intellectual stature or outstanding abilities. Tragic Flaw A flaw in the character of the protagonist of a tragedy that brings the protagonist to ruin or sorrow. Trimeter
A metrical line containing three feet. Triple meter A meter in which a majority of the feet contain three syllables. (Actually, if more than 25 percent of the feet in a poem are triple, its effect is more triple than duple, and it ought perhaps to be referred to as triple meter.) Anapestic and dactylic are both triple meters. Trochaic meter
A meter in which the majority of feet are trochees. Trochee
A metrical foot consisting of one accented syllable followed by one unaccented syllable (for example, ​
bar​
ter). Understatement
A figure of speech that consists of saying less than one means, or of saying what one means with less force than the occasion warrants. Unhappy ending
An ending that turns out unhappily for a sympathetic protagonist. Verse Metrical language; the opposite of prose. Villain A dramatic or fictional character typically at odds with the hero. Voice The distinctive style or manner of expression of an author or a character in a book.