A.P. Language and Composition

Summer Reading Assignment – June 2016

Students will read 3 texts, which will include The Scarlet Letter by Nathaniel Hawthorne, The Crucible by Arthur Miller, and a non-fiction book by an American author of the student’s choice. Students will then write responses to the reading as outlined below.

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Hawthorne, Nathaniel, The Scarlet Letter: The student write informal responses to the following prompts: 1. Read the following passage (paragraph 3, “I might be, … martyrdom.”) from The Scarlet Letter, Chapter 5, “Hester at Her Needle.” Then write a short essay showing how Hawthorne depicts Hester’s inner turmoil. Consider such rhetorical devices as diction, figurative language, syntax, irony, and tone. 2. Read the following passage (paragraph 7, “Hester sought not, …wrong, beneath.”) from The Scarlet Letter, Chapter 5, “Hester at Her Needle.” Then write a short essay analyzing the author’s use of clothing to reveal Hester’s self-perception, the attitude of Hester’s neighbors, and the nature of her daughter’s conception. Consider such rhetorical devices as diction, imagery, syntax, irony, and tone. 3. Read the following passages from The Scarlet Letter. Passage 1 is from Chapter 2, “The Market-Place” (paragraph 11, “The young woman … by herself”). Passage 2 is from Chapter 3, “The Recognition” (paragraphs 1 and 2, “From this intense… his lips”). Then write a carefully reasoned and fully elaborated analysis of Hawthorne’s attitude toward these two characters. Consider allusion, irony, imagery, syntax, organization of details, and other rhetorical devices. 4. Read Chapter 9, “The Leech,” from The Scarlet Letter. Then write an essay analyzing how Hawthorne uses setting, allusion, metaphor, irony, diction, and tone to reveal character. 5. Read Chapter 22, “The Procession,” from The Scarlet Letter. Then write an essay analyzing how Hawthorne uses rhetorical devices, including irony and extended metaphor, to reveal the conclusion. When we return to school, students will meet in small groups to discuss journal responses. Each student will choose one of the prompts to move through the draft process and create a formal essay. Teacher feedback will be provided throughout the development of the essay.



You will also need to: • Read The Crucible by Arthur Miller – keep a dialectical journal on this work. •

Read a non-fiction book by an American author – keep a dialectical journal on this work.

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Review the “Literary Terms You Should Already Know” and the “AP Rhetorical Devices” lists that are attached. You will have a quiz on those terms within the first two weeks of school (some terms may overlap). Review the included THEME and writing THEMATIC STATEMENTS materials. Please be able recognize/create both adeptly.

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Journaling Guidelines: You are encouraged to flag/sticky note the text as you read to make it easier to go back and remember what elements of narrative structure, character growth, and craft you found important and then write about these in your journal entries. Write journal entries throughout the entire text, and journal for all the books you read for summer reading. Good times to stop and journal are times when you see a pattern, are surprised, are puzzled, note a paradox, find important details/quotations that you will cite and analyze, note craft elements that contribute to meaning. Journal entries should be supported by text. Quotations should be cited (Hawthorne 24) and analyzed for meaning. Avoid plot summary. You need to know what happens in the text before you analyze the meaning of the text; however, your journal is for your analysis of narrative structure, character growth, and craft – and most importantly for the meaning of the text. If you struggle to understand the plot, re-read the text for improved understanding. When writing in your journal, use complete sentences instead of phrases. The demands of the sentence will help you draw out your thoughts. **Please hand in a typed copy in the format given here. Focus of journal entries (see example and rubric immediately following the AP Rhetorical Devices List): • Narrative structure • Craft: e.g. tone, diction, syntax • Theme

DIALECTICAL JOURNALS A dialectical journal is another name for a double-entry journal or a reader-response journal. A dialectical journal is a journal that records a dialogue between the ideas in the text (the words that you are reading) and the ideas of the reader (the person who is doing the reading). In other words, it’s a written conversation between the text and the reader. In your journal, have a conversation with the text and with yourself. Write down your thoughts, questions, insights and ideas while you read. Go beyond plot and character summary and start analyzing and evaluating why an author uses specific tools to communicate a message or to create a certain effect. What you can include in your dialectical journal: Ø Ø Ø Ø Ø Ø Ø Ø Ø Ø Ø

Explain the imagery, foreshadowing, or symbolism in the passage Identify literary devices / features and explain their effect Make predictions about future plot twists based on the passage Explain how the theme of the piece of literature relates to the passage Examine and comment on the syntax of sentences Identify and give evidence for the tone of the passage Identify with evidence and explain the effect of the point of view Examine the differing perspectives of the characters Discuss character development and interactions between characters Explain how the passage contributes to a central idea in the literature Examine the effects of diction or language

How should the dialectical journal be organized?

Quote from the novel with quotation marks “The ship pulled away from the dock. Mam said, ‘That’s the Statue of Liberty and that’s Ellis Island where all the immigrants came in.’ Then she leaned over the side and vomited and the wind from the Atlantic blew it all over us other happy people admiring the view. Passengers cursed and ran … Mam hung limp and pale on the ship’s rail.”

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Your reaction, interpretation, evaluation, and analysis to quote It’s amazing how McCourt creates such a humorous tone even though he was experiencing a life-altering event. Frank has such an optimistic attitude towards life and change that it is difficult to believe that he has endured so many hardships. Based on this quote, I have concluded that one of the dominant themes McCourt wants to convey is: to enjoy life a person must not take each moment too seriously, but find a more positive outlook on the situation.

Dialectical Notebook Rubric

Element A complex, developed and insightful understanding of the text with evidence of connections, extensions, examinations of meaning and defense of interpretations. Connections between the reader’s ideas and the text itself are explicit. Extensions and examinations are accompanied by explicit references to the text in support of inferences. Responses indicate a variety of stances or perspectives, based on the reader’s reflection and insight, and these are substantially supported by references to the text. These responses reflect careful thought and thoroughness. A well-developed understanding of the text with evidence of connections, extensions, examinations of meaning and defense of interpretations. Connections between the reader’s ideas and the text itself are explicit. Extensions and examinations are accompanied by explicit references to the text in support of inferences. When possible, the response indicates more than two stances or perspectives, each substantially supported by references to the text. A developed understanding of the text with evidence of connections, extensions, examinations of meaning. Connections between the reader’s ideas and the text itself are explicit. Extensions and examinations are accompanied by explicit references to the text in support of inferences. When possible, the response indicates more than one stance or perspective on the text; however, only one stance is substantially supported by references to the text. A limited understanding of the text with few connections, extensions, examinations of meaning. Connections between the reader’s ideas and the text itself are present. Extensions and examinations are present with limited references to the text. The response indicates one stance or perspective on the text with limited support in term of references to the text. Independent Reading Score _______ Comments:

Max

95

85

75

65

Teacher

Student

Literary Terms you MUST Know For AP Language & Composition 2015/2016 Resource: http://www.bedfordstmartins.com/literature/bedlit/glossary_p.htm http://www.uncp.edu/home/canada/work/allam/general/glossary.htm

Aphorism is a brief saying embodying a moral, a concise statement of a principle or precept given in pointed words. Example: Emerson: Imitation is suicide Franklin: Lost Time is never Found again. Allegory A narration or description usually restricted to a single meaning because its events, actions, characters, settings, and objects represent specific abstractions or ideas. Although the elements in an allegory may be interesting in themselves, the emphasis tends to be on what they ultimately mean. Characters may be given names such as Hope, Pride, Youth, and Charity; they have few if any personal qualities beyond their abstract meanings. These personifications are not symbols because, for instance, the meaning of a character named Charity is precisely that virtue. See also symbol. Alliteration The repetition of the same consonant sounds in a sequence of words, usually at the beginning of a word or stressed syllable: "descending dew drops"; "luscious lemons." Alliteration is based on the sounds of letters, rather than the spelling of words; for example, "keen" and "car" alliterate, but "car" and "cite" do not. Used sparingly, alliteration can intensify ideas by emphasizing key words, but when used too self-consciously, it can be distracting, even ridiculous, rather than effective. See also assonance, consonance. Allusion A brief reference to a person, place, thing, event, or idea in history or literature. Allusions conjure up biblical authority, scenes from Shakespeare’s plays, historic figures, wars, great love stories, and anything else that might enrich an author’s work. Allusions imply reading and cultural experiences shared by the writer and reader, functioning as a kind of shorthand whereby the recalling of something outside the work supplies an emotional or intellectual context, such as a poem about current racial struggles calling up the memory of Abraham Lincoln. Ambiguity Allows for two or more simultaneous interpretations of a word, phrase, action, or situation, all of which can be supported by the context of a work. Deliberate ambiguity can contribute to the effectiveness and richness of a work, for example, in the open-ended conclusion to Hawthorne’s "Young Goodman Brown." However, unintentional ambiguity obscures meaning and can confuse readers. Archetype A term used to describe universal symbols that evoke deep and sometimes unconscious responses in a reader. In literature, characters, images, and themes that symbolically embody universal meanings and basic human experiences, regardless of when or where they live, are considered archetypes. Common literary archetypes include stories of quests, initiations, scapegoats, descents to the underworld, and ascents to heaven. See also mythological criticism. Biographical criticism An approach to literature which suggests that knowledge of the author’s life experiences can aid in the understanding of his or her work. While biographical information can sometimes complicate one’s interpretation of a work, and some formalist critics (such as the New Critics)

disparage the use of the author’s biography as a tool for textual interpretation, learning about the life of the author can often enrich a reader’s appreciation for that author’s work. See also cultural criticism, formalist criticism, new criticism. Blank verse Unrhymed iambic pentameter. Blank verse is the English verse form closest to the natural rhythms of English speech and therefore is the most common pattern found in traditional English narrative and dramatic poetry from Shakespeare to the early twentieth century. Shakespeare’s plays use blank verse extensively. See also iambic pentameter. Catharsis Meaning "purgation," catharsis describes the release of the emotions of pity and fear by the audience at the end of a tragedy. In his Poetics, Aristotle discusses the importance of catharsis. The audience faces the misfortunes of the protagonist, which elicit pity and compassion. Simultaneously, the audience also confronts the failure of the protagonist, thus receiving a frightening reminder of human limitations and frailties. Ultimately, however, both these negative emotions are purged, because the tragic protagonist’s suffering is an affirmation of human values rather than a despairing denial of them. See also tragedy. Character, characterization A character is a person presented in a dramatic or narrative work, and characterization is the process by which a writer makes that character seem real to the reader. A hero or heroine, often called the protagonist, is the central character who engages the reader’s interest and empathy. The antagonist is the character, force, or collection of forces that stands directly opposed to the protagonist and gives rise to the conflict of the story. A static character does not change throughout the work, and the reader’s knowledge of that character does not grow, whereas a dynamic character undergoes some kind of change because of the action in the plot. A flat character embodies one or two qualities, ideas, or traits that can be readily described in a brief summary. They are not psychologically complex characters and therefore are readily accessible to readers. Some flat characters are recognized as stock characters; they embody stereotypes such as the "dumb blonde" or the "mean stepfather." They become types rather than individuals. Round characters are more complex than flat or stock characters, and often display the inconsistencies and internal conflicts found in most real people. They are more fully developed, and therefore are harder to summarize. Authors have two major methods of presenting characters: showing and telling. Showing allows the author to present a character talking and acting, and lets the reader infer what kind of person the character is. In telling, the author intervenes to describe and sometimes evaluate the character for the reader. Characters can be convincing whether they are presented by showing or by telling, as long as their actions are motivated. Motivated action by the characters occurs when the reader or audience is offered reasons for how the characters behave, what they say, and the decisions they make. Plausible action is action by a character in a story that seems reasonable, given the motivations presented. Colloquial Refers to a type of informal diction that reflects casual, conversational language and often includes slang expressions. See also diction. Connotation Associations and implications that go beyond the literal meaning of a word, which derive from how the word has been commonly used and the associations’ people make with it. For example, the word eagle connotes ideas of liberty and freedom that have little to do with the word’s literal meaning. Dialect A type of informational diction. Dialects are spoken by definable groups of people from a particular geographic region, economic group, or social class. Writers use dialect to contrast and express differences in educational, class, social, and regional backgrounds of their characters. See also diction.

Dialogue The verbal exchanges between characters. Dialogue makes the characters seem real to the reader or audience by revealing firsthand their thoughts, responses, and emotional states. See also diction. Diction A writer’s choice of words, phrases, sentence structures, and figurative language, which combine to help create meaning. Formal diction consists of a dignified, impersonal, and elevated use of language; it follows the rules of syntax exactly and is often characterized by complex words and lofty tone. Middle diction maintains correct language usage, but is less elevated than formal diction; it reflects the way most educated people speak. Informal diction represents the plain language of everyday use, and often includes idiomatic expressions, slang, contractions, and many simple, common words. Poetic diction refers to the way poets sometimes employ an elevated diction that deviates significantly from the common speech and writing of their time, choosing words for their supposedly inherent poetic qualities. Since the eighteenth century, however, poets have been incorporating all kinds of diction in their work and so there is no longer an automatic distinction between the language of a poet and the language of everyday speech. End-stopped line A poetic line that has a pause at the end. End-stopped lines reflect normal speech patterns and are often marked by punctuation. The first line of Keats’s "Endymion" is an example of an end-stopped line; the natural pause coincides with the end of the line, and is marked by a period: A thing of beauty is a joy forever. English sonnet See sonnet. Enjambment In poetry, when one line ends without a pause and continues into the next line for its meaning. This is also called a run-on line. The transition between the first two lines of Wordsworth’s poem "My Heart Leaps Up" demonstrates enjambment: My heart leaps up when I behold A rainbow in the sky: Envoy See sestina. Fixed form A poem that may be categorized by the pattern of its lines, meter, rhythm, or stanzas. A sonnet is a fixed form of poetry because by definition it must have fourteen lines. Other fixed forms include limerick, sestina, and villanelle. However, poems written in a fixed form may not always fit into categories precisely, because writers sometimes vary traditional forms to create innovative effects. See also open form. Foil A character in a work whose behavior and values contrast with those of another character in order to highlight the distinctive temperament of that character (usually the protagonist). In Shakespeare’s Hamlet, Laertes acts as a foil to Hamlet, because his willingness to act underscores Hamlet’s inability to do so. Foot The metrical unit by which a line of poetry is measured. A foot usually consists of one stressed and one or two unstressed syllables. An iambic foot, which consists of one unstressed syllable followed by one stressed syllable ("away"), is the most common metrical foot in English poetry. A trochaic foot consists of one stressed syllable followed by an unstressed syllable ("lovely"). An anapestic foot is two unstressed syllables followed by one stressed one ("understand"). A dactylic foot is one stressed syllable followed by two unstressed ones ("desperate"). A spondee is a foot consisting of two stressed syllables ("dead set"), but is not a sustained metrical foot and is used mainly for variety or emphasis. See also iambic pentameter, line, meter.

Image A word, phrase, or figure of speech (especially a simile or a metaphor) that addresses the senses, suggesting mental pictures of sights, sounds, smells, tastes, feelings, or actions. Images offer sensory impressions to the reader and also convey emotions and moods through their verbal pictures. Irony A literary device that uses contradictory statements or situations to reveal a reality different from what appears to be true. It is ironic for a firehouse to burn down, or for a police station to be burglarized. Verbal irony is a figure of speech that occurs when a person says one thing but means the opposite. Sarcasm is a strong form of verbal irony that is calculated to hurt someone through, for example, false praise. Dramatic irony creates a discrepancy between what a character believes or says and what the reader or audience member knows to be true. Tragic irony is a form of dramatic irony found in tragedies such as Oedipus the King, in which Oedipus searches for the person responsible for the plague that ravishes his city and ironically ends up hunting himself. Situational irony exists when there is an incongruity between what is expected to happen and what actually happens due to forces beyond human comprehension or control. The suicide of the seemingly successful main character in Edwin Arlington Robinson’s poem "Richard Cory" is an example of situational irony. Cosmic irony occurs when a writer uses God, destiny, or fate to dash the hopes and expectations of a character or of humankind in general. In cosmic irony, a discrepancy exists between what a character aspires to and what universal forces provide. Stephen Crane’s poem "A Man Said to the Universe" is a good example of cosmic irony, because the universe acknowledges no obligation to the man’s assertion of his own existence. Metaphor A metaphor is a figure of speech that makes a comparison between two unlike things, without using the word like or as. Metaphors assert the identity of dissimilar things, as when Macbeth asserts that life is a "brief candle." Metaphors can be subtle and powerful, and can transform people, places, objects, and ideas into whatever the writer imagines them to be. An implied metaphor is a more subtle comparison; the terms being compared are not so specifically explained. For example, to describe a stubborn man unwilling to leave, one could say that he was "a mule standing his ground." This is a fairly explicit metaphor; the man is being compared to a mule. But to say that the man "brayed his refusal to leave" is to create an implied metaphor, because the subject (the man) is never overtly identified as a mule. Braying is associated with the mule, a notoriously stubborn creature, and so the comparison between the stubborn man and the mule is sustained. Implied metaphors can slip by inattentive readers who are not sensitive to such carefully chosen, highly concentrated language. An extended metaphor is a sustained comparison in which part or all of a poem consists of a series of related metaphors. Robert Francis’s poem "Catch" relies on an extended metaphor that compares poetry to playing catch. A controlling metaphor runs through an entire work and determines the form or nature of that work. The controlling metaphor in Anne Bradstreet’s poem "The Author to Her Book" likens her book to a child. Synecdoche is a kind of metaphor in which a part of something is used to signify the whole, as when a gossip is called a "wagging tongue," or when ten ships are called "ten sails." Sometimes, synecdoche refers to the whole being used to signify the part, as in the phrase "Boston won the baseball game." Clearly, the entire city of Boston did not participate in the game; the whole of Boston is being used to signify the individuals who played and won the game. Metonymy is a type of metaphor in which something closely associated with a subject is substituted for it. In this way, we speak of the "silver screen" to mean motion pictures, "the crown" to stand for the king, "the White House" to stand for the activities of the president. See also figures of speech, personification, simile. Motif (moh-TEEF): a recurring object, concept, or structure in a work of literature. A motif may also be two contrasting elements in a work, such as good and evil. In the Book of Genesis, we see the motif of separation again and again throughout the story. In the very first chapter, God separates the light from the darkness. Abraham and his descendants are separated from the rest of the nation as God's chosen people. Joseph is separated from his brothers in order that life might be preserved. Another motif is water, seen in Genesis as a means of destroying the wicked and in Matthew as a means of remitting sins by the

employment of baptism. Other motifs in Genesis and Matthew include blood sacrifices, fire, lambs, and goats. A motif is important because it allows one to see main points and themes that the author is trying to express, in order that one might be able to interpret the work more accurately. See A Handbook to Literature, The Concise Oxford Dictionary of Literary Terms. Onomatopoeia A term referring to the use of a word that resembles the sound it denotes. Buzz, rattle, bang, and sizzle all reflect onomatopoeia. Onomatopoeia can also consist of more than one word; writers sometimes create lines or whole passages in which the sound of the words helps to convey their meanings. Oxymoron A condensed form of paradox in which two contradictory words are used together, as in "sweet sorrow" or "original copy." See also paradox. Paradox A statement that initially appears to be contradictory but then, on closer inspection, turns out to make sense. For example, John Donne ends his sonnet "Death, Be Not Proud" with the paradoxical statement "Death, thou shalt die." To solve the paradox, it is necessary to discover the sense that underlies the statement. Paradox is useful in poetry because it arrests a reader’s attention by its seemingly stubborn refusal to make sense. Paraphrase A prose restatement of the central ideas of a poem, in your own language. Personification A form of metaphor in which human characteristics are attributed to nonhuman things. Personification offers the writer a way to give the world life and motion by assigning familiar human behaviors and emotions to animals, inanimate objects, and abstract ideas. For example, in Keats’s "Ode on a Grecian Urn," the speaker refers to the urn as an "unravished bride of quietness." See also metaphor. Point of view Refers to who tells us a story and how it is told. What we know and how we feel about the events in a work are shaped by the author’s choice of point of view. The teller of the story, the narrator, inevitably affects our understanding of the characters’ actions by filtering what is told through his or her own perspective. The various points of view that writers draw upon can be grouped into two broad categories: (1) the third-person narrator uses he, she, or they to tell the story and does not participate in the action; and (2) the first-person narrator uses I and is a major or minor participant in the action. In addition, a second-person narrator, you, is also possible, but is rarely used because of the awkwardness of thrusting the reader into the story, as in "You are minding your own business on a park bench when a drunk steps out and demands your lunch bag." An objective point of view employs a third-person narrator who does not see into the mind of any character. From this detached and impersonal perspective, the narrator reports action and dialogue without telling us directly what the characters think and feel. Since no analysis or interpretation is provided by the narrator, this point of view places a premium on dialogue, actions, and details to reveal character to the reader. Pun A play on words that relies on a word’s having more than one meaning or sounding like another word. Shakespeare and other writers use puns extensively, for serious and comic purposes; in Romeo and Juliet (III.i.101), the dying Mercutio puns, "Ask for me tomorrow and you shall find me a grave man." Puns have serious literary uses, but since the eighteenth century, puns have been used almost purely for humorous effect.

Satire The literary art of ridiculing a folly or vice in order to expose or correct it. The object of satire is usually some human frailty; people, institutions, ideas, and things are all fair game for satirists. Satire evokes attitudes of amusement, contempt, scorn, or indignation toward its faulty subject in the hope of somehow improving it. Simile A common figure of speech that makes an explicit comparison between two things by using words such as like, as, than, appears, and seems: "A sip of Mrs. Cook’s coffee is like a punch in the stomach." The effectiveness of this simile is created by the differences between the two things compared. There would be no simile if the comparison were stated this way: "Mrs. Cook’s coffee is as strong as the cafeteria’s coffee." This is a literal translation because Mrs. Cook’s coffee is compared with something like it—another kind of coffee. See also figures of speech, metaphor. Sonnet A fixed form of lyric poetry that consists of fourteen lines, usually written in iambic pentameter. There are two basic types of sonnets, the Italian and the English. The Italian sonnet, also known as the Petrarchan sonnet, is divided into an octave, which typically rhymes abbaabba, and a sestet, which may have varying rhyme schemes. Common rhyme patterns in the sestet are cdecde, cdcdcd, and cdccdc. Very often the octave presents a situation, attitude, or problem that the sestet comments upon or resolves, as in John Keats’s "On First Looking into Chapman’s Homer." The English sonnet, also known as the Shakespearean sonnet, is organized into three quatrains and a couplet, which typically rhyme abab cdcd efef gg. This rhyme scheme is more suited to English poetry because English has fewer rhyming words than Italian. English sonnets, because of their four-part organization, also have more flexibility with respect to where thematic breaks can occur. Frequently, however, the most pronounced break or turn comes with the concluding couplet, as in Shakespeare’s "Shall I compare thee to a summer’s day?" See also couplet, iambic pentameter, line, octave, quatrain, sestet. Style The distinctive and unique manner in which a writer arranges words to achieve particular effects. Style essentially combines the idea to be expressed with the individuality of the author. These arrangements include individual word choices as well as matters such as the length of sentences, their structure, tone, and use of irony.

Symbol A person, object, image, word, or event that evokes a range of additional meaning beyond and usually more abstract than its literal significance. Symbols are educational devices for evoking complex ideas without having to resort to painstaking explanations that would make a story more like an essay than an experience. Conventional symbols have meanings that are widely recognized by a society or culture. Some conventional symbols are the Christian cross, the Star of David, a swastika, or a nation’s flag. Writers use conventional symbols to reinforce meanings. Kate Chopin, for example, emphasizes the spring setting in "The Story of an Hour" as a way of suggesting the renewed sense of life that Mrs. Mallard feels when she thinks herself free from her husband. A literary or contextual symbol can be a setting, character, action, object, name, or anything else in a work that maintains its literal significance while suggesting other meanings. Such symbols go beyond conventional symbols; they gain their symbolic meaning within the context of a specific story. For example, the white whale in Melville’s Moby-Dick takes on multiple symbolic meanings in the work, but these meanings do not automatically carry over into other stories about whales. The meanings suggested by Melville’s whale are specific to that text; therefore, it becomes a contextual symbol.

Syntax The ordering of words into meaningful verbal patterns such as phrases, clauses, and sentences. Poets often manipulate syntax, changing conventional word order, to place certain emphasis on particular words. Emily Dickinson, for instance, writes about being surprised by a snake in her poem "A narrow Fellow in the Grass," and includes this line: "His notice sudden is." In addition to the alliterative hissing s-sounds here, Dickinson also effectively manipulates the line’s syntax so that the verb is appears unexpectedly at the end, making the snake’s hissing presence all the more "sudden." Theme The central meaning or dominant idea in a literary work. A theme provides a unifying point around which the plot, characters, setting, point of view, symbols, and other elements of a work are organized. It is important not to mistake the theme for the actual subject of the work; the theme refers to the abstract concept that is made concrete through the images, characterization, and action of the text. In nonfiction, however, the theme generally refers to the main topic of the discourse. Thesis The central idea of an essay. The thesis is a complete sentence (although sometimes it may require more than one sentence) that establishes the topic of the essay in clear, unambiguous language. Tone The author’s implicit attitude toward the reader or the people, places, and events in a work as revealed by the elements of the author’s style. Tone may be characterized as serious or ironic, sad or happy, private or public, angry or affectionate, bitter or nostalgic, or any other attitudes and feelings that human beings experience. See also style.

Writing Thematic Statements or What IS a Theme Anyway? “Theme is the central message of a literary work. It is not the same as a subject, which can be expressed in a word or two: courage, survival, war, pride, etc. The theme is the idea the author wishes to convey about that subject. It is expressed as a sentence or general statement about life or human nature. A literary work can have more than one theme, and most themes are not directly stated but are implied. The reader must think about all the elements of the work and use them to make inferences, or reasonable guesses, as to which themes seem to be implied.” (from Laying the Foundation series of books published by AP Strategies in Dallas) For example, if love is a topic/subject of two novels, a major theme in one of the novels could be “Love, if taken to extremes, can produce devastating consequences,” while in the other novel, the theme might be “Love can conquer even the greatest evil.” Notice that the topic/subject is the same, but the messages about that topic/subject are different in different works. Consider this: A theme is a meaning of a work. (Yes, there can be more than one “meaning.”) Can the meaning of a work be love? hate? greed? No—that makes no sense! Those are just topics, not themes. The theme is the statement an author is making about a topic. Stating the theme of a work of literature: Begin by using several abstract words to state the principal ideas of the work (topics that the piece is really about). Abstract words describe concepts or ideas that exist only in our minds like alienation, prejudice, ambition, freedom, love, loyalty, passion, etc. Combine those abstract ideas with comments that reflect the author’s observations about human nature, the human condition, or human motivation. In other words, what is the author saying about the abstract idea? Is he/she, for example, saying something about the qualities of people and/or commenting on society?

Avoiding the common mistakes in writing a thematic statement: A theme is NOT a moral, a directive, or an order. A moral/directive/order tells us how to behave or what to do. A theme observes, weighs, and considers actions and ideas, but it avoids judging what people should or should not do; therefore, words like “should” and “ought” are not appropriate in a thematic statement. Also not appropriate is an order/directive such as “Be nice to elderly people” or “Love like there’s no tomorrow.” Themes are NOT trite sayings (clichés, maxims, or aphorisms) such as “Actions speak louder than words,” “Love hurts,” or “Absence makes the heart grow fonder.” Themes do NOT refer to the specific names or events of a particular literary piece. A theme does not summarize a work, but it does reflect what happens in the work. A theme drops character names and uses more general terms like “parents,” “leaders,” “society,” or “young people” in a general observation about the human experience. Themes avoid absolute terms such as “all,” “none,” “everything,” or “always” because they indicate sloppy thinking; they are categorical, no exceptions. Terms like “we,” “sometimes,” or “often” suggest a more realistic view of the variety of human experiences.





AP Rhetorical Devices List Anecdote Perspective Aphorism

A brief story or tale told by a character in a piece of literature A character's view of the situation or events in the story A concise statement designed to make a point or illustrate a commonly held belief. The writings of Benjamin Franklin contain many aphorisms, such as "Early to bed and early to rise/Make a man healthy, wealthy, and wise." Contradiction A direct opposition between things compared; inconsistency Apostrophe A figure of speech in which a person, thing, or abstract quality is addressed as if present; for example, the invocation to the muses usually found in epic poetry. Oxymoron A figure of speech that combines two apparently contradictory elements, as in "jumbo shrimp" or "deafening silence." Allusion A figure of speech which makes brief, even casual reference to a historical or literary figure, event, or object to create a resonance in the reader or to apply a symbolic meaning to the character or object of which the allusion consists. For example, in John Steinbeck's Of Mice and Men, the surname of the protagonist, George Milton, is an allusion to John Milton, author of Paradise Lost, since by the end of the novel, George has lost the dream of having a little ranch of his own to share with his friend Lennie. Syllogism A form of deduction. An extremely subtle, sophisticated, or deceptive argument Satire A literary style used to make fun of or ridicule an idea or human vice or weakness Bildungsroman A novel or story whose theme is the moral or psychological growth of the main character. Devices A particular word pattern or combination of words used in a literary work to evoke a desired effect or arouse a desired reaction in the reader Foil A person or thing that makes another seem better by contrast Epistolary A piece of literature contained in or carried on by letters Epitaph A piece of writing in praise of a deceased person Parody A satirical imitation of a work of art for purpose of ridiculing its style or subject. Delayed sentence A sentence that withholds its main idea until the end. For example: Just as he bent to tie his shoe, a car hit him. Sarcasm A sharp caustic remark. A form of verbal irony in which apparent praise is actually bitterly or harshly critical. For example, a coach saying to a player who misses the ball, "Nice catch." Expletive A single word or short phrase intended to emphasize surrounding words. Commonly, expletives are set off by commas. Examples: in fact, of course, after all, certainly Irony A situation or statement characterized by significant difference between what is expected or understood and what actually happens or is meant. Irony is frequently humorous, and can be sarcastic when using words to imply the opposite of what they normally mean Eulogy A speech or writing in praise of a person or thing; an oration in honor of a deceased person Paradox A statement that seems contradictory, but is actually true. Epiphany A sudden or intuitive insight or perception into the reality or essential meaning of something usually brought on by a simple or common occurrence or experience Onomatopoeia A word capturing or approximating the sound of what it describes, such as buzz or hiss. Diction An author's choice of words to convey a tone or effect Utopia An imaginary place of ideal perfection. The opposite of a dystopia. —An imaginary place where people live dehumanized, often fearful lives. Hyperbole An overstatement characterized by exaggerated language Deus ex machina Antagonist Analogy Inductive

As in Greek theater, use of an artificial device or contrived solution to solve a difficult situation, usually introduced suddenly and unexpectedly Character or force in a literary work that opposes the main character, or protagonist Comparison of two things that are alike in some respects. Metaphors and similes are both types of analogy Conclusion or type of reasoning whereby observation or information about a part of a

class is applied to the class as a whole. Contrast with deductive. Desire to return in thought or fact to a former time Figure of speech by which the order of the terms in the first of parallel clauses is reversed in the second. “Has the Church failed mankind, or has mankind failed the Church?”-- T. S. Eliot, Thesis Focus statement of an essay; premise statement upon which the point of view or discussion in the essay is based. Antithesis—The juxtaposition of sharply contrasting ideas in balanced or parallel words or phrases. Litote Form of understatement in which the negative of the contrary is used to achieve emphasis and intensity. For example, "She is not a bad cook." Or "No man ever followed his genius until it misled him." Thoreau Doppelganger Ghostly counterpart of a living person or an alter ego Zeugma Grammatically correct linkage of one subject with two or more verbs or a verb with two or more direct objects. The linking shows a relationship between ideas more clearly. Ethos In dramatic literature, the moral element that determines a character's actions, rather than thought or emotion. Propaganda Information or rumor deliberately spread to help or harm a person, group, or institution Didactic Intended for teaching or to teach a moral lesson Formal Language Language that is lofty, dignified, or impersonal Allegory Narrative form in which characters and actions have meanings outside themselves; characters are usually personifications of abstract qualities Abstract Not related to the concrete properties of an object; pertaining to ideas, concepts, or qualities, as opposed to physical attributes

Nostalgia Chiasmus

In medias res

Opening a story in the middle of the action, requiring filling in past details by exposition or flashback. Colloquial Ordinary language; the vernacular. For example, depending on where in the United States you live, a sandwich is called a sub, a grinder, or a hero. Isocolon Parallel structure in which the parallel elements are similar not only in grammatical structure, but also in length. For example, "An envious heart makes a treacherous ear" (Their Eyes Were Watching God, Zora Neale Hurston). Aesthetic Pertaining to the value of art for its own sake or for form Juxtaposition Placing of two items side by side to create a certain effect, reveal an attitude, or accomplish some other purpose Elegy Poem or prose lamenting the death of a particular person. Perhaps the most famous elegy is Thomas Grey's poem, "Elegy Written in a Country Churchyard." Antihero Protagonist of a literary work who does not embody the traditional qualities of a hero (e.g., honor, bravery, kindness, intelligence); for example, the protagonists created by Byron in Don Juan and Childe Harold, and the characters of Rosencrantz and Guildenstern in Tom Stoppard's Rosencrantz and Guildenstern Are Dead Catharsis Purification or cleansing of the spirit through the emotions of pity and terror as a witness to a tragedy. Epigraph Quote set at the beginning of a literary work or at its divisions to set the tone or suggest a theme. Motif Recurrent device, formula, or situation that often serves as a signal for the appearance of a character or event Parallelism Recurrent syntactical similarity where several parts of a sentence or several sentences are expressed alike to show that the ideas in the parts or sentences equal in importance. It also adds balance, rhythm, and clarity to the sentence. For example, "I have always searched for, but never found the perfect painting for that wall." Anaphora Regular repetition of the same word or phrase at the beginning of successive phrases or clauses. For example, "We shall fight in the trenches. We shall fight on the oceans. We shall fight in the sky." Anadiplosis Repetition of the last word of one clause at the beginning of the next clause. For example, "The crime was common, common be the pain." (Alexander Pope) Appeals to: Authority, Emotion, Logic Rhetorical arguments in which the speaker: either claims to be

an expert or relies on information provided by experts (appeal to authority), attempts to affect the listener's personal feelings (appeal to emotion), or attempts to persuade the listener through use of deductive reasoning (appeal to logic). Imagery Sensory details in a work; the use of figurative language to evoke a feeling, call to mind an idea, or describe an object. Imagery involves any or all of the five senses Euphemism Substitution of a milder or less direct expression for one that is harsh or blunt. For example, using "passed away" for "dead." Genre Term used to describe literary forms, such as tragedy, comedy, novel, or essay Voice The acknowledged or unacknowledged source of words of the story; the speaker, a "person" telling the story or poem. Tone The attitude a literary work takes towards its subject and theme. It reflects the narrator's attitude. Theme The central or dominant idea or concern of a work; the main idea or meaning Protagonist The chief character in a work of literature Denotation The dictionary definition of a word; the direct and specific meaning Mood The feeling or ambience resulting from the tone of a piece as well as the writer/narrator's attitude and point of view. The effect is created through descriptions of feelings or objects that establish a particular feeling such as gloom, fear, or hope Realism The literary practice of attempting to describe life and nature without idealization and with attention to detail Prose The ordinary of form of written language without metrical structure, as distinguished from poetry or verse Audience The person(s) reached by a piece of writing. Asyndeton The practice of omitting conjunctions between words, phrases, or clauses. In a list, it gives a more extemporaneous effect and suggests the list may be incomplete. For example, "He was brave, fearless, afraid of nothing." Deductive The reasoning process by which a conclusion is drawn from set of premises and contains no more facts than these premises Assonance The repetition of identical or similar vowel sounds, usually in successive or proximate words. Alliteration The repetition of initial consonant sounds or any vowel sounds within a formal grouping, such as a poetic line or stanza, or in close proximity in prose Consonance The repetition of two or more consonants with a change in the intervening vowels, such as pitter-patter, splish-splash, and click-clack. Invective The use of angry and insulting language in satirical writing Point of view The view the reader gets of the action and characters in a story Persona The voice or figure of the author who tells and structures the story and who may or may not share of the values of the actual author. Syntax The way words are put together to form phrases, clauses, and sentences. It is sentence structure and how it influences the way a reader perceives a piece of writing. Canon (canonical)— The works of an author that have been accepted as authentic. Foreshadow To hint at or present things to come in a story or play Begging the question To sidestep or evade the real problem. Personification Treating an abstraction or nonhuman object as if it were a person by giving it human qualities. Anachronism Use of historically inaccurate details in a text; for example, depicting a 19th-century character using a computer. Some authors employ anachronisms for humorous effect, and some genres, such as science fiction or fantasy, make extensive use of anachronism Ambiguity Use of language in which multiple meanings are possible. Ambiguity can be unintentional through insufficient focus on the part of the writer; in good writing, ambiguity is frequently intentional in the form of multiple connotative meanings, or situations in which either the connotative or the denotative meaning can be valid in a reading. Connotation What is implied by a word. For example, the words sweet, gay, and awesome have connotations that are quite different from their actual definitions.