-------Name 4/25/2007

1. Most people are heartless about turtles because a turtle's heart will beat for hours after he has been cut up and butchered. But the old man thought, I have such a heart too and my feet and hands are like theirs. -Santiago, THE OLD MAN AND THE SEA

What is the tone of this passage? List at least three words that helped you determine that.

2. Sailing across the bay to the Cheniere Caminada, Edna felt as if she were being borne away from some anchorage which had held her fast, whose chains had been loosening-­had snapped the night before when the mystic spirit was abroad, leaving her free to drift whithersoever she chose to set her sails. Robert spoke to her incessantly; he no longer noticed Mariequita. The girl had shrimps in her bamboo basket. They were covered with Spanish moss. She beat the moss down impatiently, and muttered to herself sullenly. -Edna, THE A WAKENING

What is the initial tone? What is the secondary tone and what causes the tone to shift?

3. Anyway, these two nuns were sitting next to me, and we sort of struck up a conversation. The one right next to me had one of those straw baskets that you see nuns and Salvation Army babes collecting dough with around Christmas time. -Holden Caulfield, CATCHER IN THE RYE

What is the tone of this passage? Describe the diction. How are the two related in this passage (discuss the actual words he uses to convey the tone)?

4. Droll thing life is-that mysterious arrangement of merciless logic for a futile purpose. The most you can hope from it is some knowledge of yourself-that comes too late-a crop of inextinguishable regrets. -Marlow, HEARTH OF DARKNESS

Provide commentary for this passage. Remember to ask the question, How is this like life? Pay close attention to tone and the adjectives he uses. (At least three sentences.)

------Name 4/25/2007

5. What rhetorical devices occur in the following lines/passages?

a. All the world's a stage and the men and women merely players. _______

b. The boulder was as large as the sun. _______

c. The herdsman held fast to his hapless sheepfold. _______

6. Give examples of the three types of irony (you can make stuffup):

a. verbal

b. dramatic

c. situational

Tone Words

Satiric/Ironic a sense ofdisillusionment, distrust ofall appearances, a mocking or cynical outlook

Romantic extreme sincerity, idealized outlooks, virtues/vices, heroes/villains, excessive optimism

Comedic moderated optimism, realistic beliefin perfectibility, hope for improvement (we know life is not perfect, and the pessimism that comes about turns to black comedy)

Tragic/Dramatic straightforwardness, profound awareness ofmortality, a sense ofloss ofperfection or goodness, awareness ofsin and evil, a fall from greatness

Expositional matter-of-fact, informational and unbiased, most literary pieces will not be this way though they may seem like it on the surface

I

~~erica~iterature( ( Colonial Revolutionary National Era 1828 - 18361 Post-Civil War Post-WWI (Modern) Post-WWII

. 1630 to 1760 1760 - 1787 American Renaissance 1865 - 1918 1918 1946 (postmodern) 1830 - 1860 1946 to Present

religious writings, histories, politics andpatriotism first distinctly American literature about "Lost Generation 11 large variety ofstyles, diaries writing but with some hints of industrialization and literature; sense of topics; much

European Romanticism; westward expansion; fragmentation from society experimentation; forms nature and self-reliance; regionalism; shift from and even from self ofcriticism explode transcendentalism romanticism to realism

Colonial Writing RevolutionarylDe Romanticism Realism Modernism Postmodernism 1492 to 1776 mocratic Writing 1820 - 1860 1860 - 1900 1900 - 1942 1942 - Present

1776 - 1820 William Bradford; Anne Abigail Adams; William Cullen Bryant; James Henry Adams; Sherwood Anderson; John Edward Albee; A. R. Bradstreet; John Cotton; John Adams; Philip Fenimore Cooper; Emily Ambrose Bierce; Willa Cheever; e. e. cummings; Ammons; John Ashbery; Benjamin Franklin; Anne Freneau; Alexander Dickinson; Ralph Waldo Cather; Kate Chopin; Hilda Doolittle; John Dos James Baldwin; Imamu Amiri Hutchinson; Cotton Mather; Hamilton; John Emerson; Philip Freneau; Stephen Crane; Passos; Theodore Dreiser; Baraka; John Barth; James Samuel Sewell; Captain John Jay; Thomas Nathaniel Hawthorne; Oliver Frederick Douglass; William Faulkner; F. Scott Dickey; Donald Barthelme; Smith; Edward Taylor; John Jefferson; James Wendell Holmes; Washington W.E.B. Du Bois; Ralph Fitzgerald; T.S. Eliot; Saul Bellow; Elizabeth Winthrop Madison; Thomas Irving; Henry Wadsworth Waldo Emerson; Bret Robert Frost; Lillian Bishop; Robery Bly;

Payn; Phillis Longfellow; James Russell Hart; Henry James; Hellman; Ernest Gwendolyn Brooks; Truman Wheatley Lowell; Herman Melville; Edgar Sarah Orne Jewett; Jack Hemingway; Sinclair Lewis; Capote; Ralph Ellison; Allen

Allan Poe; Harriet Beecher London; James Russell Marianne Moore; Flannery Ginsberg; Nikki Giovanni; Stowe; Henry David Thoreau; Lowell; Edgar Lee O'Connor; Eugene O'Neill; Louise Gluck; Lorraine Noah Webster; Walt Whitman; Masters; Herman Katherine Anne Porter; John Hansberry; Joseph Heller; John Greenleaf Whittier Mellville; Mark Twain; Steinbeck; Wallace Stevens; Langston Hughes; Zora Neale

Booker T. Washington; Ezra Pound; Carl Sandburg; Hurston; Jack Kerouac; Edith Wharton Upton Sinclair; Gertrude Randall Jerrell; Robert

Stein; Eudora Whelty; Lowell; Morman Mailer; Thornton Wilder; Tennessee Claude McKay; James Merrill; Williams; William Carlos W. S. Merwin; Arthur Miller; Williams; Thomas Wolfe Toni Morrison; Vladimir

Nabokov; Joyce Carol Oates; Tim O'Brien; Tillie Olsen; Charles Olson; Sylvia Plath; Thomas Pynchon; Adrienne Rich; Theodore Roethke; Philip Roth; J. D Salinger; Anne Sexton; Gary Snider; Mark Strand; John Updike; Kurt Vonnegut; Alice Walker

Knickerbockers: Irving, Regionalists (Local Lost Generation: Pound, Beat Poets: Ginsberg, Cooper, Bryant; Concord Color): Bierce, Cather, Stein, Eliot, Cummings, Kerouac; Black Mountain: Group: Emerson, Hawthorne, Chopin, Harte, Jewett, Hemingway, Dos Passos, Olson, Ashbery, Bly, Merrill, Thoreau; Cambridge Scholars: Twain, Wharton Faulkner, Fitzgerald Wright; Harlem Renaissance: I

Longfellow, Holmes, Lowell; McKay, Hughes, Hurston Fireside Poets: Longfellow, Whittier, Holmes

(Sw( First and Second Rows f----.-----:-:---,~------~ I

Romantic --.- Realism Twentieth Century Literature (Modern 1RevolutionarylDemColonial Centur1820 - 1860 1860 - 1900 Postmodern)ocratic1492 to 1776 y Lit1901 - 2000 1776 - 1820

Colonial 1630 to 1760

Revolutionary 1760 - 1787

National 1828 18361 American Renaissance 1830 - 1860

Post-Civil War 1865 - 1918

Post-WWI (Modern) 1918 - 1946

Post-WWII (post modern) 1946 to Present

religiOUS writings, histories, diaries

politics andpatriotism first distinctly American writing but with some hints ofEuropean Romanticism; nature and self-reliance; transcendentalism

literature about industrialization and westward expansion; regionalism; shift from romanticism to realism

"Lost Generation" literature; sense of fragmentation from society and even from self

large variety styles, topics; much experimentation; forms ofcriticism explode

William Bradford; Anne Bradstreet; John Cotton; Benjamin Franklin; Anne Hutchinson; Cotton Mather; Samuel Sewell; Captain John Smith; Edward Taylor; John Winthrop

Abigail Adams; John Adams; Philip Freneau; Alexander Hamilton; John Jay; Thomas Jefferson; James Madison; Thomas Payn; Phillis Wheatley

William Cullen Bryant; James Fenimore Cooper; Emily Dickinson; Ralph Waldo Emerson; Philip Freneau; Nathaniel Hawthorne; Oliver Wendell Holmes; Washington Irving; Henry Wadsworth Longfellow; Herman Melville; Edgar Allan Poe; Harriet Beecher Stowe; Henry David Thoreau; Noah Webster; Walt Whitman; John Greenleaf Whittier

Henry Adams; Ambrose Bierce; Willa Cather; Kate Chopin; Frederick Douglass; W.E.B. Du Bois; Ralph Waldo Emerson; Bret Hart; Henry James; Sarah Orne Jewett; Jack London; James Russell Lowell; Edgar Lee Masters; Herman Mellville; Mark Twain; Booker T. Washington; Edith Wharton

Sherwood Anderson; John Cheever; e. e. cummings; Hilda Doolittle; John Dos Passos; William Faulkner; F. Scott Fitzgerald; T.S. Eliot; Robert Frost; Lillian Hellman; Ernest Hemingway; Sinclair Lewis; Marianne Moore; Flannery O'Connor; Eugene O'Neill; Katherine Anne Porter; John Steinbeck; Wallace Stevens; Ezra Pound; Carl Sandburg; Upton Sinclair; Gertrude Stein; Eudora Whelty; Thornton Wilder; Tennessee Williams; William Carlos Williams; Thomas Wolfe

Edward Albee; A. R. Ammons; John Ashbery; James Baldwin; Imamu Amiri Baraka; John Barth; James Dickey; Donald Barthelme; Saul Bellow; Elizabeth Bishop; Robery Bly; Gwendolyn Brooks; Truman Capote; Ralph Ellison; Allen Ginsberg; Nikki Giovanni; Louise Gluck; Lorraine Hansberry; Joseph Heller; Randall Jerrell; Robert Lowell; Morman Mailer; James Merrill; W. S. Merwin; Arthur Miller; Toni Morrison; Vladimir Nabokov; Joyce Carol Oates; Tim O'Brien; Tillie Olsen; Charles Olson; Sylvia Plath; Thomas Pynchon; Adrienne Rich; Theodore Roethke; Philip Roth; J. D Salinger; Anne Sexton; Gary Snider; Mark Strand; John Updike; Kurt Vonnegut; Alice Walker

Though writing in the modern era, Frost held to the Romanticism and Naturalism ofEmerson and Wordsworth

Here is a list of words that convey tone. It is by no means a complete list, but it is pretty comprehensive.

Tonal Words:

common: happy, angry, sad, serious, funny, mean-spirited

less common: ironic, sarcastic, mocking, facetious, impersonal, bitter, pessimistic, moralistic, objective, witty, light-hearted, satiric, vindictive, derogatory, sympathetic, solemn, tragic, empathetic, impartial, didactic, opinionated, comic, benevolent, malevolent, altruistic, contemptuous, demanding, commanding, serious, whiney, whimsical, hilarious, morbid, pessimistic, begging, desperate, serene, whiney, dry

1. On a separate sheet ofpaper, defme all of the "less common" tonal words.

2. Put each word in the appropriate box below. If it has a negative (bad, mean, derogatory) meaning, place it in the "Negative" box. If it has a positive (good, nice, helpful, etc.) meaning, place it in the "Positive" box. Ifit is neither, place it in the "Neither" box.

Nee;ative Positive Neither

3. Write down all the words that are synonyms (or close to) for:

happy:

b. sad:

Things to remember:

1. Literary Analysis is 1) Assertion, 2) Evidence, and 3) Commentary 2. It's All About the Tone 3. Voice is different than Tone

Look for:

1. Setting 2. POV: A) first: active, passive, non-participant, relation to characters; B) third: omniscient, limited, limited to whom? 3. Voice: What type of voice? 4. Tone and shifts in Tone 5. Allusions: literary, historical, biblical, popular culture 6. Type of Writing (fiction/nonfiction, genre, satirical, philosophical, etc) 7. Diction (slang, etc.) 8. Syntax (sentence structure) 9. Rhetorical devices (Figurative Language) 10. Imagery 11. Writer's intent 12. Author/time period connection 13. Evidence: repetition, context clues, detail

Rhetorical devices:

Figurative Language: antithesis, apostrophe, hyperbole, metaphor, metonymy, oxymoron, personification, simile, symbolism, synecdoche, understatement

Other: foreshadowing, irony, juxtaposition, paradox, repetition, parallel structure

Tragedy

Tragedy. What does the word call to mind for you? How can it best be defined? Before we defer to Aristotle for his definition (especially with its literary implications), let's consider what it means to us as we use it in our own lives. Tragedy, in its most general sense, means a human devastation-sudden, unforeseen and usually immense. It's a devastation that can occur at many levels-the personal, the familial, the societal. A personal tragedy could be perhaps the moment you learn the love of your life doesn't love you in return. Such was the case with poor Wherther in Goethe's The Sorrows of Young Wherther. At the familial level, we experience tragedy when we learn a family member has passed away. In Romeo and Juliet, each other's love was requited, yet their love was not to be since their families were in a blood feud. The knowledge of their joint suicides was a tragedy on the grand scale for each family. An example of social, or national, tragedy would be of course the loss of lives on September 11 at the World Trade Towers. It is a gaping, common loss Americans feel any time we see images of the wreckage at ground zero, knowing what mass ofhumanity would be exhumed from the debris.

It is because we experience tragedy in our everyday lives that we find it in literature. We find it earliest, and perhaps at its finest, in the classical tradition. Sophocles wasn't the first to introduce tragedy in drama, but Sophocles refined it. And nowhere will we find a better example of it than in Sophocles' Oedipus Rex. I know what you're thinking. Ifit's old, it can't be that good. It won't seem impressive to your young minds since the landscape ofAncient Greece is unfamiliar to you. In short, the story will have nothing to do with you. But it is the best, and most succinct, and it is the example we will use.

Now we are ready to invite Aristotle into our conversation. In his Poetics, Aristotle lays out the guidelines for how a tragic play should be written. His criteria were used in the Festival of Dionysus in his day, and are used to some extent, if at least unconsciously, in our valuation of tragedies we see in film and read in literature in our own day.

Returning to the World Trade Towers, there's a striking tragic irony we feel when we see images of the towers standing stalwart like twin giants guarding Manhattan. It is a tragic irony of situation because we know their fate. And when we see images of those towers with black plumes of smoke billowing skyward from their flanks, we feel a keen sense of tragic irony because we know the fate of those poor souls still trapped inside: they will come tumbling down with the buildings.

Shifflett

MAJOR TECHNOLOGICAL BREAKTHROUGH

Introducing the new Bio-Optic Organized Knowledge device, trade named BOOK. A BOOK is a revolutionary breakthrough in technology: no wires, no electric circuits, no batteries, nothing to be connected or switched on. Itls so easy to use, even a child can operate it. Compact and portable, it can be used anywhere -- even sitting in an armchair by the fire -- yet it is powerful enough to hold as much information as a CD-ROM disc. Here's how it works:

BOOK is constructed of sequentially numbered sheets of paper (recyclable), each capable of holding thousands of bits of information. The pages are locked together with a custom-fit device called a binder which keeps the sheets in their correct sequence. Opaque Paper Technology (OPT) allows manufacturers to use both sides of the sheet, doubling the information density and cutting costs. Experts are divided on the prospects for further increases in information density; for now, BOOKS with more information simply use more pages.

Each sheet is scanned optically, registering information directly into your brain. A flick of the finger takes you to the next sheet. BOOK may be taken up at any time and used merely by opening it.

BOOK never crashes or requires rebooting, though like other display devices it can become unusable if dropped overboard. The IIbrowsell feature allows you to move instantly to any sheet, and move forward or backward as you wish. Many come with an "index" feature, which pin-points the exact location of any selected information for instant retrieval. An optionallBOOKmark" accessory allows you to open BOOK to the exact place you left it in a previous session -- even if the BOOK has been closed. BOOKmarks fit universal design standards; thus, a single BOOKmark can be used in BOOKs by various manufacturers. Conversely, numerous BOOK markers can be used in a single BOOK if the user wants to store numerous views at once. The number is limited only by the number of pages in the BOOK.

You can also make personal notes next to BOOK text entries with an optional programming tool, the Portable Erasable Nib Cryptic Intercommunication Language Stylus (PENCILS).

Portable, durable, and affordable, BOOK is being hailed as a precursor of a new entertainment wave. Also, BOOK's appeal seems so certain that thousands of content creators have committed to the platform and investors are reportedly flocking. Look for a flood of new titles soon.

Diction

Diction refers to the words the author chooses to express his or her ideas. The author could use formal, informal, or neutral language. Informal language could be slang, also referred to as vernacular and colloquial, or could simply be conversational.

Samuel Taylor Coleridge and William Blake often fought about whether poetry should be written in the vernacular (Coleridge) or in more fornlallanguage (Blake).

The American Henry James and many ofhis British Victorian counterparts wrote in a highly formal style. Take the following sentence from James, for example:

Winterbourne, who denied the existence ofsuch a person, was quite unable to discover, and he was divided between amazement at the rapidity ofher induction and amusement at the frankness ofher persiflage.

Writing in the vernacular, especially in dialogue, became much more prevalent with local color (or regionalism) in the United States beginning in the late 1800's. Here is a passage from Mark Twain's Huckleberry Fin that illustrates vernacular.

Well, the first I knowed the king got a-going, andyou could hear him over everybody; and next he went a-charging up onto the platform, and the preacher he begged him to speak to the people, and he done it.

Diction also includes the author's choice of figurative language (hyperbole, metaphor, simile, metonymy, etc.). When Forrest Gump said "Jenny and me go together like peas and carrots," both the vernacular and the simile are a part of Forrest's diction.

Diction is not the same thing as Style. Style is an author's distinctive use of all the literary elements including diction, rhythm, imagery, sentence structure and length, etc. So style is a larger category ofwhich diction is a part.

Shifflett

Irony

Generally speaking, irony occurs when there is a big difference between what is said and what is meant or in what we think is going to happen in a situation and what actually does happen.

Strictly speaking, verbal irony occurs when what is said is opposite ofwhat is meant. For instance, let's say you go to school and get your lunch money stolen, you fail three tests, and you find out your best friend has been spreading rumors about you. Then, you come home and your parents ask you how your day was. If you reply that your day was wonderful. .. spectacular ...you've never had a better day in your life, then you would probably be using verbal irony.

Situational irony occurs in a situation where the opposite, or something very different, happens from what the reader or audience thinks will happen. Mark Twain's The Bad Little Boy is a perfect example. The reader thinks that because the boy is so bad, he's a rapscallion at the least, we think that in the end he will "get what's coming to him." However, in the end he doesn't. In fact he becomes a successful lawyer. Notice how situational irony is intricately bound with plot. The events of the plot don't turn out the way we think they will.

A third type of irony is dramatic irony. This occurs when the reader or audience has more knowledge about a character's fate than the character does. In horror movies, when the babysitter walks into the garage not knowing that an axe murderer is waiting for her-this could be considered dramatic irony.

The ironic tone is one of the most important of all the tone words. If a narrator is using an ironic tone, then the narrator is stating the opposite, or something very different, than what is meant. Ironic tones can be found in the following pieces: "The Other Paris" by Mavis Gallant and "The Bad Little Boy" by Mark Twain.

---------------------- ----------------Name Date

Personification:

Lodged

The rain to the wind said, "You push and I'll pelt." They so smote the garden bed That the flowers actually knelt, And lay lodged-though not dead. I know how the flowers felt.

Robert Frost

1. In the poem above, what are the four objects in nature that are being personified?

2. What are the human actions that occur with each object?

3. How does the narrator use this as an analogy for human emotion? In other words, how should the objects in nature feel about what's happening to them?

4. What object does the narrator identify with? What do you suppose might have happened to the narrator to feel this way?

5. What object in nature would you personally identify with? Why?

Signs of the Times

Era Name: Dates: One or Two Sentence Characterization

Major WorldIN ational Events

People

Buzz Words

Authors/Works

----------------------- ----------------Name Date

Personification:

Lodged

The rain to the wind said, "You push and I'll pelt." They so smote the garden bed That the flowers actually knelt, And lay lodged-though not dead. I know how the flowers felt.

Robert Frost

1. In the poem above, what are the four objects in nature that are being personified?

2. What are the human actions that occur with each object?

3. How does the narrator use this as an analogy for human emotion? In other words, how should the objects in nature feel about what's happening to them?

4. What object does the narrator identify with? What do you suppose might have happened to the narrator to feel this way?

5. What object in nature would you personally identify with? Why?