LE/LT: Atmosphere/ Mood. Characterization (*see Questions to raise ideas ) Climax (Freytag s pyramid) Connotation vs. denotation/ Diction

Size: px

Start display at page:

Download "LE/LT: Atmosphere/ Mood. Characterization (*see Questions to raise ideas ) Climax (Freytag s pyramid) Connotation vs. denotation/ Diction"

Cordelia Banks
5 years ago
Views:

1 LE/LT: Alliteration Assonance Antagonist Apostrophe Atmosphere/ Mood Characterization (*see Questions to raise ideas ) Climax (Freytag s pyramid) Connotation vs. denotation/ diction Contradiction or tension Diction Hyperbole Imagery (*see imagery sheet for guide to analysis) DEFINITION AND/OR WHAT YOU SHOULD ASK YOURSELF TO GET AT ANALYSIS Alliteration is the repetition of a consonant sound in a line of prose or verse. What sound is being repeated? What is the effect? What ideas does the alliteration bring together? Assonance is the repetition of a vowel sound in a line of prose or verse. What sound is being repeated? What is the effect? What ideas does the assonance bring together? An antagonist is the character or force that opposes the protagonist in the story. By standing the in protagonist s way, the antagonist can create tension in the story. The antagonist can be society itself. Ask yourself, what values does the antagonist stand for? How does he/she/it develop the character? The plot? Themes? Apostrophe is a form of personification in which the absent or dead are spoken to as if present, and the inanimate as if animate. Those are all addressed directly, e.g., The answer, my friend, is blowing in the wind. The overall feeling in the passage. How does the feeling in the work affect the reader? What is the mood? How is the mood created? How does the mood work with other literary features to create an overall effect? The method a writer uses to reveal the personality of a character in a literary work: Methods may include (1) by what the character says about himself or herself; (2) by what others reveal about the character; and (3) by the character's own actions. What insight does this reveal about the character? What values does this indicate the character holds or stands for? Is this a moment of character development? How? Why? The "great event" of the story. How does this resolution of the conflict affect the reader? What forces have been leading up to this moment? What fundamental truth is revealed or questioned? Of what does the exposition consist? Why is it important? What is the rising action and the complication, both of which precede the climax? What is the falling action? The resolution? When considering the diction used in a literary work, you will want to consider the connotation of a word. While the word murder means killing someone murder also connotes blame. Denotation indicates what the word means in the dictionary. While that is the correct meaning of the word that definition often misses the connotation of the word or the meaning behind the same word. Is there a pattern in the type of nouns, verbs, adjectives or adverbs used? What kind of diction is it? What additional meaning does the word bring to the text? How does the connotation affect how you think about what it is used to describe? What is being implied? Often, the author will create tensions or contradictions in the text that are not meant to be resolved or reconciled. In a way, the author uses them to create a certain amount of discomfort in the reader, but always for a reason. Tensions and contradictions are rich in meaning and help lend the text complexity. What two things are in contradiction or in tension with one another What is the effect of the contradiction or tension? What does the contradiction or tension ask the reader to question? What is the author s intention in creating this contradiction or tension? Describe diction by considering the following: Words may be monosyllabic (one syllable in length) or polysyllabic (more than one syllable in length). The higher the ratio of polysyllabic words, the more difficult the content. Words may be mainly colloquial (slang), informal (conversational), formal (literary), or old-fashioned. Words may be mainly denotative (containing an exact meaning), e.g. dress, or connotative (containing a suggested meaning), e.g. gown. Words may be concrete (specific) or abstract (general). Words may be euphonious (pleasant sounding), e.g. butterfly, or cacophonous (harsh sounding), e.g. pus. (From Hyperbole is a deliberate, extravagant, and often outrageous exaggeration. It may be used either for serious or comic effect, e.g., The shot that was heard round the world. (from The Oxford Dictionary of Literary Terms, Chris Baldick) Phrases that engage your senses. While the technique is called imagery. An example is called an image. There are seven types of imagery: Visual: How do these pictures contribute to a message? Auditory: How do these sounds make you feel? Tactile: How do you react to the texture? Olfactory: How do the smells make you react? Gustatory: How do you react to the tastes?

2 Irony Leitmotif Metaphor (*see imagery sheet for guide to analysis) Oxymoron Paradox Parallelism Personification (*see imagery sheet for guide to analysis) Point of view (*see Questions to raise ideas ) Repetition Setting (*see Questions to raise ideas ) Simile (*see imagery sheet for guide to analysis) Symbol (*see Organic: Images of body functions such as hearts beating. Kinesthetic: Descriptions of how muscles or the body moves. A subtly humorous perception of inconsistency, in which an apparently straightforward statement or event is in conflict or contradiction with its context, significant changing its meaning. verbal irony involves a discrepancy between what is said and what is really meant, as in its crude form, sarcasm; structural irony in literature involves the use of a naive or deluded hero or unreliable narrator, whose view of the world differs widely from the true circumstances recognized by the author and readers dramatic irony is when the audience knows more about a character s situation than the character does, foreseeing an outcome contrary to the character s expectations, and thus ascribing a sharply different sense to some of the character s own statements (adapted from The Oxford Dictionary of Literary Terms, Chris Baldick) A recurring idea or image in the work. How does the leitmotif help develop the argument of the text? How and why does the author make use of the leitmotif? An idea that is compared directly to another idea for instance a bear market. Metaphors may be partial, so you may need to do some work to get at the larger, implied comparison. For example, The war sunk their Titanic love. Here, the war is being compared to a gigantic iceberg and their love to a ship. A figure of speech that combines two usually contradictory terms in a compressed paradox, as in the word bittersweet or the phrase living death. (From The Oxford Dictionary of Literary Terms, Chris Baldick) A statement or expression so surprisingly self-contradictory as to provoke us into seeking another sense or context in which it would be true (although some paradoxes cannot be resolved into truths, remaining flatly selfcontradictory, e.g. Everything I say is a lie). (From The Oxford Dictionary of Literary Terms, Chris Baldick) Two ideas or themes being developed in similar ways. One might be physical the other mental. By structuring ideas in this way, the writer can make the non-physical easier to understand or he can make the theme easier to grasp. Why are these two things being put in relation to one another? What qualities of one are being transferred to the other? When a non-human object or animal is given human characteristics. Often the similarity between the object and the human helps to explain the reason for the writer s comparison. The voice that tells the story. First-person point of view: The story is told by one of the characters, using the first person: I. This type of narrator only knows his or her own thoughts and reports the actions of other characters in the story. He may be reliable or unreliable. How reliable does the narrator seem? What hints are there that the narrator s perspective is limited or that the author wants us to question his perspective? How much the focus not just on what the narrator describes but also on the narrator herself? Third-person omniscient: The narrator acts as an observer of the other characters using third-person terms such as he or she. Omniscient means that the narrator sees both the actions and understands the thoughts of many of the characters. This narrator, being able to understand the thoughts of many, acts like a god knowing all. Does the narrator make use of free indirect discourse? Why? Are there any clues that the author wants the reader are supposed to favor some characters over others? Third-person limited: The narrator tells the story in the third person, but is limited by having a complete knowledge of only one character s thoughts (this is called focalization). For all other characters, the narrator can only report their actions. What clues are there that the character around whom the narration is focalized is not the most objective one? What discrepancies are there between the character around whom the narration is focalized and the reported actions and reactions of other characters? Why does the author choose to focalize the narration around this character? Repetition almost always refers to a word that is repeated. Why would the author emphasize that word or phrase by repeating it? What is the effect? What is he/she trying to get you to pay attention to? The time and place of the passage. The setting may be parallel to the theme or purpose of the passage. How do the time and place of the scene affect the message? What conflicts does it help set up? What kind of world is this? What aspects of the setting may be symbolic? An idea that is compared to another idea using the words as or like. The use of a widely recognized object to represent an idea. Symbols can be public or private. An American flag is a

3 Syntax and/or Sentence Structure Tone (*see list of tone words) Syntax is the sequence in which words are ordered in phrases or sentences. Ask yourself, What effect does the writer achieve by giving the information in this order? The sophistication or simplicity of the sentence may well help convince you. Simple Sentence: Contains only an independent clause with both a main subject and main verb (with no subordinators or subordinate clauses). Possible uses: The simple nature of this sentence can parallel a simple idea. A short simple sentence can demand the reader s attention especially when placed in contrast to many long and complex sentences. Example: But I am not tragically colored. (p. 827) Or But the piece ends. (p. 828) Complex Sentence: Contains at least an independent clause (main subject and main verb) as well as a subordinate clause (subordinator + subject + verb). Possible uses: The increasing complexity of the sentence can parallel the complexity of an idea. The relationship between ideas can also be established with complex sentences. Example: Even in the helter-skelter skirmish that is my life, I have seen that the world is to the strong regardless of a little pigmentation more or less. (p. 827) Loose Sentence: Situates the main idea (in the sentence s independent clause) towards the beginning of the sentence and is usually followed by the dependent clauses afterwards. Loose sentences are the most natural for native English speakers. We almost always write and speak by discussing the main topic first and sometimes modifying that main topic later in the sentence. Possible uses: Loose sentences are often used for a conversational effect or to make the information easy to understand. Because most speakers are used to the main information coming first, they can read this information quickly. Example: No brown spectre pulls up a chair beside me when I sit down to eat. (p. 828) Periodic Sentence: Situates the main idea (the independent clause) at the end of the sentence with the dependent clauses coming at the beginning. At the beginning of the sentence, the reader doesn t know what the writer s main point is. An occasional periodic sentence is not only dramatic but persuasive: even if the reader does not agree with the writer s conclusion, the reader will read the evidence first with an open mind. A good periodic sentence will force the reader to slow down and might even cause the reader to reread/reconsider the sentence. Possible uses: Periodic sentences are often used to highlight a major point or to surprise a reader. By hiding the information until the end of the sentence, the writer can lead a reader to agree with or consider his opinion by using a periodic sentence. Tone is the attitude the writer takes towards a subject or a character. Tone is often created through the diction, imagery, details, language level (register), and syntax that the writer chooses. It is different from atmosphere and mood which both describe the more general feeling of the passage What is the tone? How is it created? What is its effect? What does it communicate? Is it at odds with what seem to be said literally? What, if any, tensions does it create?

5 Tone is the writer s or speaker s attitude toward the subject. Tone Style Syntax Another List of Words but in Categories: reverence love joy Developing A Tone Vocabulary awe affection exaltation angry sad sentimental veneration cherish zeal sharp cold fanciful solemn fondness fervor upset urgent complimentary admiration ardor silly joking condescending happiness tenderness elation boring poignant sympathetic glad sentiment jubilant afraid detached contemptuous pleased romantic buoyancy happy confused apologetic merry Platonic hollow childish humorous glee adoration calm joyful peaceful horrific delight narcissism serene allusive mocking sarcastic cheerful passion tranquil sweet objective nostalgic gay lust placid vexed vibrant zealous sanguine rapture tired frivolous irreverent mirth ecstasy hope bitter audacious benevolent enjoy infatuated expect dreamy shocking seductive relish enamor anticipate restrained somber candid bliss compassion proud giddy pitiful dramatic provocative didactic sadness anger hate somber vehement vengeance Another list of tone words: melancholy rage abhorrence satiric pedantic colloquial sorrow outrage animosity whimsical indignant compassionate lament antipathy enmity dramatic bantering impartial despair exasperation malice learned flippant insipid despondent indignant pique informative condescending pretentious regret vexation rancor somber patronizing vibrant dismal incensed aversion urgent facetious irreverent funereal petulant loathing confident clinical sentimental saturnine irascible despise mock-heroic mock-serious moralistic dark riled scorn objective inflammatory complimentary gloomy bitter contempt diffident benevolent contemptuous dejection acrimony disdain ironic burlesque sympathetic grave irate jealousy petty detached taunting grief fury repugnance factual cynical angry morose wrath repulsion restrained incisive turgid sullen rancor resentment elegiac allusive sardonic woe consternation spite disdainful scornful contentious bleak hostility fear lugubrious effusive insolent remorse choleric disgust candid fanciful concerned forlorn futility agony umbrage fear Words That Describe Language depression gall timidity jargon pedantic poetic misery bristle apprehension vulgar euphemistic moralistic barren exasperation anxiety scholarly pretentious slang empty terror insipid sensuous idiomatic pity ironic tones horror precise exact concrete lugubrious playful dismay esoteric learned cultured distress witty agitation connotative symbolic picturesque humorous sinister plain simple homespun ironic tones sarcastic dread literal figurative provincial acerbic sardonic alarm colloquial bombastic trite smirking flippant startle artificial abstruse obscure sneering cynical qualms detached grotesque precise derisive mocking angst emotional concrete exact icy biting trepidation

6 Words that describe style and syntax: plain, sparse, austere, unadorned ornate, elaborate, flowery jumbled, chaotic, obfuscating erudite, esoteric journalistic, terse, laconic harsh, grating mellifluous, musical, lilting, lyrical whimsical elegant staccato, abrupt solid, thudding sprawling, disorganized dry deceptively simple Words that Describe the Reader s Perception of the Speaker: humble shallow bold fatuous insipid haughty imperious proud austere audacious confident insecure credulous innocent naïve triumphant vivacious insolent sincere inane vain gullible

7 Themes Important note: it is not sufficient to simply state the theme. You must clearly articulate what the author has to say about the theme. This is, of course, not a complete list. abandonment acculturation agency alienation art/aesthetics beauty blindness (figurative) the body capitalism catastrophe chaos & order change vs. tradition collision of cultures colonialism/post coming of age community corruption custom/culture vs. nature death and dying disillusionment escape exile experience faith family fate free will freedom freedom & responsibility gay/lesbian/bisexual issues gender good & evil heroism history honor human worth identity ignorance illusion vs. reality individual vs. society injustice imagination imprisonment (figurative) incest individual vs. society individuality innocence isolation and isolationism justice language loneliness loss of innocence love & sacrifice memory modernity mourning narrative method nationalism nature obsession the other poverty power relations progress race rebellion and resistance rebirth religion scapegoating the self sexuality social class and social mobility the state technology time totalitarianism tradition truth (the nature of) social class/class social justice social norms technology war work youth

8 Prosody (to be used in the analysis of poetry) alliteration assonance caesura blank verse enjambment or run-on Euphony vs. cacophony form free verse meter onomatopoeia rhyme rhyme scheme Sound in poetry stanza white space or turn Alliteration is the repetition of a consonant sound in a line of prose or verse. What sound is being repeated? What is the effect? What ideas does the alliteration bring together? What is the effect? Assonance is the repetition of a vowel sound in a line of prose or verse. What sound is being repeated? What is the effect? What ideas does the assonance bring together? What is the effect? A pause or stop in the middle or end of a poetic line. They serve to bring emphasis or attention to a specific moment, idea or word. verse written in iambic pentameter: 10 syllables with a unstressed and then a stressed pattern. A line that carries over from one line of poetry to the next. Where does the line stop? Why might the poet want you to pay close attention to the site of enjambment? Are there multiple meanings created by the enjambment? Why? Euphony usually consists of smooth, flowing and easily spoken sounds. Cacophony is choppy, vigorous and noisy. Does the euphony or cacophony emphasis or reinforce the ideas or feelings conveyed or do they contradict them, creating tension? simple: form is the "container" that holds the content (feelings, ideas) a poem conveys. It improves or intensifies the poem's content. more complex: form can not only reflect, emphasize or intensify the content, but also provide tension against which the content works. This tension generates an overall meaning to the poem that is significantly different from what the content alone is conveying. most complex: form and content are inseparable, indistinguishable. Form can itself be content. Some have argued that form is simply content that has hardened. poetry that does not rhyme or have a regular meter. These poems can be more difficult to analyze. As a reader, you must look for other aspects of structure the poet might be using to hold the poem together. Meter is a pattern of relationships between stressed and unstressed syllables. Poems generally set a pattern and then deviate from those patterns to create effects. It is said that human speech tends towards iambs, hence Shakespeare s use of iambic pentameter. To determine if there is a specific meter being used, count the number of syllables in each line. If it seems regularized, try to figure out the foot (iamb, trochee, spondee, etc.) and then divide the number of syllables in the foot in order to determine the formal meter (di-, tri-, tetra-, penta-, hexa-, hepta- and so on) When the sound of the word or phrase imitates or suggests a situation or action. Rhyme functions to entertain, but also to connect to memory. The song that often accompanies rhyme helps generate feeling and deepens the poems impact. exact or perfect rhyme: sounds are identical, regardless of spelling or visual appearance. internal rhyme: words within the line rhyme with one another cliché rhymes: rhymes that are too obvious, too easy and thus, often ineffective. slant or half rhyme: rhymes are inexact, similar but not perfect. eye rhyme or sight rhyme: the works rhyme visually despite non-rhyming pronunciation. Rhyme scheme should be lettered with one alphabet letter for each rhyming sounds. When analyzing rhyme, examine the overall effect and relationship o the rhyme to the content. Additionally, examine rhyming pairs: why is the poet attempting to yoke these two words together? What is the purpose and effect? Vowels: vowel sounds push the poem forward and create the flow of speech. Plosives: also called stop sounds. Plosives are jarring, abrupt and hard. (p, b, k, g, t, d) Continuant sounds: these are soft consonants that are smooth and flowing. (n, ng, l, r, th, f, v, s, z sh, zh, m) Why does the poet use the particular sound the way that she does? Does the sound emphasize and reinforce the meaning or provide tension against it? From the Italian for room, it is a unit of organization in poetry. When describing the form of a poem, be sure to describe the number of stanzas and the number of lines in each stanza. These are extra blank space between stanzas. White space is not empty. Often things happen in the white space, between one stanza and the next. Look for what is implied.

9 The questions below are extremely helpful in getting you to pay close attention to the text in productive ways. If you are stuck, answer some of the questions below for the text you are working on. As you formulate answers to these questions, insights will rise to the surface. CHARACTER

10 POINT OF VIEW

11 PLOT STRUCTURE

12 SETTING IMAGERY

13 SYMBOLISM TONE AND ATTITUDE:

benevolent burlesque cynical incisive

benevolent burlesque cynical incisive 1 Tone is the writer s or speaker s attitude toward the subject. Developing a Tone Vocabulary angry dreamy sharp restrained upset proud silly dramatic boring sad afraid cold happy urgent hollow joking