Literary Elements Study Guide

Transcription

1 Every work of literature is made up of a combination of elements. What unifies each work and makes it unique is the creative way in which the author manages these literary elements. Careful readers are able to identify these elements and discuss how they influence the meaning of a literary work. The ten main literary elements are explained in this study guide. 1. PLOT: A narrative is a story, whether it is fiction or non-fiction. Autobiographical, or personal, narratives contain all the elements of plot, just like fictional narratives. Plot is the sequence of events in a story. Plot becomes even more interesting when there are subplots or parallel plots going on at the same time, each with a different outcome. Both parallel plots and subplots are most common in novels, but are less common in short stories. A subplot is usually less important than the main plot. Subplots often take the form of (1) a story told by a character within the story, (2) a story about the main character that is secondary to the main plot, or (3) a story about one or more secondary characters. Most subplots are connected with the main plot in some way. A parallel plot generally tells two stories of equal importance, moving from one to the other and back. Often parallel plots merge into one before the end of the story. The basic elements of plot include exposition, conflict, rising action, climax, falling action, and resolution (denouement). Exposition: introductory information; beginning of story where the setting, characters, and other facts are exposed to the reader; conflict may be presented Conflict: the problem between the protagonist and whomever or whatever s/he is struggling or battling against, often found in the rising action of the story Rising action: the events between the exposition and the climax Climax: the turning point of the story where the outcome of the conflict can be predicted; the moment of the highest interest and greatest emotion Falling action: the sequence of events after the climax, which leads to the conclusion Resolution/Denouement: concludes the action; the final resolution or clarification of a dramatic or narrative plot. Denouement is a French word meaning unraveling or unknotting. It is when the story s mystery is cleared up. Some literary devices used in PLOT: Foreshadowing: When an author gives clues early in the story that hint to what will happen later on in the story, it is called foreshadowing. In J. K. Rowling's Harry Potter series, she uses the name Remus Lupin for one of the characters, which foreshadows Lupin s true identity as a werewolf. (Lupus, in Latin, means a male wolf.) Flashback: When an author inserts a scene or event that happened in the past into the narration of a story it is called flashback. The flashback is often shared as a past memory. It is usually used to add details to the story or give more background on a character. In J. K. Rowling's Harry Potter series, she uses flashbacks of events from the time when Harry s parents were murdered as well as when Albus Dumbledore was a young man. Suspense: One of the techniques an author uses to create interest or a sense of anticipation and uncertainty in readers is called suspense. It makes the reader want to continue reading to find out what happens next in the story. In some cases, when the audience knows more than the character in a story, it also creates suspense. For example, in Harry Potter: Chamber of Secrets, the character of Gilderoy Lockhart brags about his wizarding skills against the Dark Arts, but the audience knows he is a fraud. The audience is kept in suspense as they wait to find out how Gilderoy will get himself out of trouble in the end. Page 1 of 6

2 2. CONFLICT: Conflict is a struggle between opposing forces, usually in relation to the protagonist. The central conflict, or major conflict, has to do with the protagonist s main conflict or problem. In short stories, there is usually one major conflict. In longer stories, there could be several conflicts. Conflict is the main part of fiction; without it, the story would be boring and probably not worth reading. Conflict is part of plot, but it is so vital and important that it is often considered a separate literary element. The two main types of conflict are internal and external. Internal conflicts are conflicts within the character, such as a character battling with his or her feelings, thoughts, desires, and ambitions (person versus self). External conflicts can be broken down into seven main types. person versus person: the protagonist is in conflict with a human antagonist person versus society: the protagonist must deal with opposing views of society person versus beast: the protagonist has to battle an antagonist that is an animal or a monster person versus nature: the protagonist is in conflict with natural forces like weather person versus environment/surroundings: the protagonist has to overcome his/her surroundings like heavy traffic, riots, detours, picket lines person versus fate: the protagonist has to deal with the hand that fate has dealt person versus technology: the protagonist is in conflict with a robot, computer, or other form of technology 3. SETTING: Setting is the context and environment in which a story is set, but it can change dramatically throughout a story. Essentially, it is the time (e.g., date, week, era, historical period, season) and place (e.g., village, city, state, country, continent, building, monument, park, desert, ocean) where the story unfolds. Be aware that weather, climate, environmental conditions, customs, clothing, and even rush hour traffic can be considered part of setting. A writer can use setting to do the following: Create a mood: A description of a log cabin nestled in a pristine, green mountain valley creates a peaceful, happy mood. On the other hand, details about a slimy, rat-infested tunnel on a dark rainy night might create a scary or sinister mood. Inform readers about different ways of life: Through such details as customs, clothing, and speech patterns, a reader can get a sense of what it would be like to be in France or to be living on a country farm. Setting can make the events of a literary work seem more realistic. The vivid details of the setting can take readers to imaginary or faraway times and places. Contribute to the conflict or struggle: A work set in the Antarctic might emphasize a character s struggle to survive harsh climactic and environmental conditions and extremely cold weather. Symbolize, or stand for, some idea that the writer wants to emphasize: For example, if a story opens in the springtime, it might symbolize hopeful beginnings or the potential for a new opportunity. A winter setting, on the other hand, might symbolize a decline, an end, or even a death. 4. CHARACTER: A character is a person or an animal that is part of the plot of a short story, novel, poem, play, or other literary work. There are two main types of characters: major and minor. Major characters play important roles in the story, while minor characters play less important roles. A character s traits are the emotional, physical, spiritual, social, mental, or personal qualities a character embodies. Characterization is the process a writer uses to show what a character is really like. Writers use many techniques to characterize the people or animals in their writing. Authors use either direct or indirect characterization to flesh out a character. Page 2 of 6

3 4. CHARACTER (continued): Direct characterization is when the writer describes the character through the voice of the narrator. Bob was short and portly is an example of direct characterization. Indirect characterization is when the writer describes the character through the thoughts, words, actions, interactions, and speech patterns of that character as well as through the thoughts, words, actions, interactions, and speech patterns of the other characters. For example, if a character says, I ain t a gonna tell you nuthin about Bob s plans, then s/he is likely to be uneducated and possibly a good friend to Bob. The reader infers this through the writer s use of indirect characterization. Types of Characters: Protagonist: the main character; the focus of the story; in conflict with the antagonist Antagonist: a major character (or element) against whom the protagonist struggles (conflict) Foil: a character providing contrast to the protagonist, often a sidekick who, through contrast, emphasizes or enhances the qualities of the protagonist Dynamic characters: characters who undergo change (learn, grow) within the story Static characters: characters who do not change much or at all throughout the story Round characters: characters with multiple traits Flat characters: characters with only one or two traits, usually minor characters Well-developed characters, like the protagonist, are always round and dynamic. Authors make sure that they develop these characters thoroughly by giving them the following: à PHYSICAL TRAITS à PERSONALITY TRAITS à BACKGROUND/HISTORY/EXPERIENCES à MOTIVATION (e.g., likes, dislikes, goals, aspirations, dreams) à RELATIONSHIPS WITH OTHER CHARACTERS à CONFLICT(S) (INTERNAL AND EXTERNAL) à GROWTH (i.e., the character learns, changes, adapts) 5. THEME: The theme of a literary work is its central message or insight into life. Theme is more than a statement of what a literary work is about; it is about what the work means. In a story about a man and his dog, where his dog gets sick and dies after the death of the man, the theme is not the subject, a man and his dog. The theme is that a relationship can be so strong that one member of the pair cannot go on living without the other. Themes often have to do with widely held human concerns such as love, death, justice, dignity, brotherhood, happiness, loyalty, bravery, and friendship. As in characterization, a writer can state the theme of a work directly or indirectly. Themes that are stated directly can come in the form of a stated moral as in the conclusion of a fable or a meaningful statement made by the narrator or a character. Often, the writer of a literary work does not state the theme directly. Instead, the reader must decide the theme, or the message, based on other elements of the work such as the outcome of the plot. This type of indirect theme is called an implied theme. Themes are often suggested through the characters. The protagonist usually illustrates the most important theme of the story. A good way for a reader to figure out this theme is to ask the question, What does the main character learn by the end of the story? To understand the theme, a reader may have to think carefully about the work and even read it more than once. However, not every story has a deep message or a theme. For example, an author may choose to simply entertain the audience with a scary ghost story or a suspenseful mystery, without giving the audience any deeper message or moral. Page 3 of 6

4 6. POINT-OF-VIEW: Point-of-View (POV) refers to the perspective of the narrator, the character or the one telling the story. Authors may choose to shift points-of-view, or stories may be told from various points-of-view. The four main points of view are first person, third person objective, third person limited, and third person omniscient. Second person is also used, but is less common than the other four. In second person POV the narrator speaks to the audience, using the pronoun "you" in the text. This POV is most often used in computer games, nonfiction works like self-help books, and in works where the reader guides the story as in You Be the Detective books. First person POV is written as though a character in the story (usually the protagonist) is telling what s/he observes and feels. Pronouns such as I, me, mine, we, us, and ours are used outside of dialogue. The advantages to first person POV are that the reader is more likely to connect with the character, the events are presented as they happen, and there are greater opportunities for the author to present indirect interpretations of his/her materials by (1) dramatic irony (the difference between what the narrator perceives and the reader perceives), and (2) using a sympathetic or perceptive character to express the author's ideas. Third person POV: The narrator uses pronouns such as he, she, it, they, their, them for all the characters. The advantage to third person POV is that it gives the narrator the most flexibility to observe and comment on the subject, the events, and the characters of the story. Types of third person POV are as follows: -Objective: The objective narrator reports what is said or what happens directly, without interpretation or bias. -Limited: The limited narrator tells the story by sharing the thoughts, feelings, actions, and experiences of only one character. -Omniscient (omni=all; scient=knowledge): The omniscient narrator is all knowing and can tell as much or as little as s/he wishes. It differs from a limited narrator in that the omniscient narrator describes the actions, thoughts, and feelings of more than one character. 7. TONE: Tone is the author s attitude or viewpoint about his/her subject. The author s bias about the subject is exposed through tone. A writer's use of diction (word choice) and syntax (the order of words in a sentence) reveals tone as well. An author s tone can be objective or subjective, sarcastic, ironic, playful, serious, sympathetic, angry, and more. 8. MOOD: Mood is the feeling the reader gets from the writing. The setting, plot, diction, imagery, or dialogue can create a certain atmosphere in a story, an atmosphere that elicits feelings in the reader such as feeling of fear, grief, joy, gloom, ambiguity, pessimism, optimism, humor, anxiety, hope, suspense, and more. 9. STYLE & LANGUAGE: Style is the verbal identity of a writer, often based on the author's use of diction (word choice) and syntax (the order of words in a sentence). In addition, a writer's use of language reveals tone, which also affects style. Writers use a variety of literary devices, which become part of their signature style: ALLUSION: a brief reference to a person, event, or place, real or fictitious, or to a work of art or literature, or a casual reference to a famous historical or literary figure or event (An allusion may be drawn from history, geography, literature, or religion.) DIALOGUE: These are the conversations between characters, often using dialect, slang, or jargon, which the author uses to provide characterization or advance the plot. Much information about characters and setting can be expressed through dialogue. It is a vital piece of narrative, and it gives the story a lively rhythm. Page 4 of 6

5 9. STYLE & LANGUAGE (continued): DICTION/WORD CHOICE: Word choice takes audience and purpose into consideration. Often a writer will choose words that have specific connotations to set the tone, show bias, or create a mood. denotation: the literal definition of a word, usually what you would find in a dictionary (e.g., mother =a woman who has given birth to a child) connotation: the implied meaning of a word, usually related to an idea or feeling that the word invokes in a person (e.g., mother =a nurturing, loving woman who cares for and protects her child) IMAGERY: This is language that appeals to the senses; descriptions of people, places, experiences, or objects stated in terms of our five senses: Tactile imagery--sense of touch Aural imagery--sense of hearing Olfactory imagery--sense of smell Visual imagery--sense of sight Gustatory imagery--sense of taste IRONY: There is more than one type of irony. Generally speaking, however, irony is a contrast or discrepancy between one thing and another. Verbal Irony The audience understands the opposite of what the speaker says, like sarcasm. Situational Irony- This is the discrepancy between what seems to be and what actually is (e.g., one event is expected to occur, but the opposite of what is expected happens). Dramatic Irony- This is when the audience/reader knows more than what characters know SYMBOLISM: A symbol is a person, place, or object that has a meaning beyond the obvious or literal meaning it suggests. Objects, setting, characters, and actions can be symbols. Some symbols are more common, generally meaning the same thing to all readers. These are called universal symbols. For example, light usually symbolizes hope or knowledge, water is often seen as a symbolic cleanser, and dogs generally symbolize loyalty and unconditional friendship or love. 10. FIGURATIVE LANGUAGE (also an aspect of STYLE): Figurative language uses figures of speech (a way of saying one thing and meaning another); in other words, language that suggests meanings beyond the literal. Simile, metaphor, personification, hyperbole, idiom, and oxymoron are figures of speech, which are all forms of figurative language. Similes use "like" or "as" to compare two unrelated or unlike things in an effort to describe something. (e.g., The lines on his face were like cracks in a well-traveled road. ) Metaphors do the same as similes, without using "like" or "as." (e.g., "The snow was a white blanket.") Personification is when human attributes or characteristics are given to an animal, an object, or a concept. (e.g., "The sun smiled down upon the earth.") Hyperbole is the use of an exaggeration in order to show the reader how extreme something is. (e.g., I m so tired I could sleep for a year. ) Idioms are expressions that do not mean what they literally say, as That quiz was a piece of cake has nothing to do with cake. It simply means the quiz was easy. Oxymoron is the combination of two words, which seem to be contradictory or opposites, but whose juxtaposition expresses a truth or dramatic effect. (e.g., cool fire, jumbo shrimp, thunderous silence, dark victory, wise folly, smart jock, girly man, icy hot, or silent scream. ) Page 5 of 6

6 Other Useful Literary Devices There are many literary techniques or devices (e.g., simile, hyperbole) that are used to enhance writing and make the author s message or tone more salient to the reader. Sound devices, most often used in poetry, can also be found in other literary works, even newspaper headlines. Sound Devices: Alliteration: two or more consecutive words with the same initial sounds, usually consonant sounds (e.g., food scraps scavenged from kitchen yards, waking, walking, and working ) Assonance: two or more consecutive words with the same internal vowel sounds (e.g., young, fuzzy puppy ) Consonance: repetition of internal consonant sounds as in The striped anteater ate quietly in the matted grasses. Cacophony* (antonym=euphony): Words, often with hard consonants (e.g., p, t, d, g, k, ch, sh) and short vowels, are placed together to create sharp, harsh, jarring, unmelodious sounds. A good example of cacophony is the stench of rotting garbage crammed in close quarters ). Euphony* (antonym=cacophony): Words, often with long vowels and smooth consonants (e.g., l, m, n, r, y), are placed together to form pleasant melodious sounds in a literary work. A good example of euphony is water flowing into misty pools longing for the deep blue seas. Onomatopoeia: words that sound like what they mean, e.g., crunch, plop, drip, bang, buzz, crash. Repetition: the repeated use of a sound, word, phrase, sentence, rhythmical pattern, or grammatical pattern; alliteration, consonance, assonance, meter, parallelism, and rhyme are forms of repetition. Parallelism: repetition of grammatical patterns, as in through the door and up the stairs, or running and jumping and walking in place. Meter: words with a regular rhythm as in The sun is shining brightly now. Rhyme: repetition of the ending sounds of words (e.g., bell-tell, show-go, freeze-knees, house-mouse, crown-down). *NOTE: Cacophony and euphony can be used with other sound devices like alliteration, assonance, consonance, and rhyme to create more salient effects. Page 6 of 6