English III
2014 Spring Semester Review
I.
Short Story Analysis – you will read a contemporary short story and answer questions.
Be sure to know the following terms for literary analysis:
 conflict

tone

metaphor

simile

allegory

irony

climax

theme
II. Poetry Analysis – “Courage” on p. 1212 of your textbook and attached to this review.
Be sure to know the following terms for analysis:
 internal rhyme

blank verse

approximate rhyme

free verse

simile

metaphor

allusion

personification

mood
III. Speech Analysis – you will analyze Faulkner’s Nobel Prize acceptance speech found on
p. 904 of your textbook. A copy of the speech is attached to this review.
 purpose

tone
IV. Literary Movements & Authors
Movements:
Realism
Regionalism
Naturalism
Harlem Renaissance
Modernism
Lost Generation
Imagism
Contemporary
Authors:
Mark Twain
Stephen Crane
Ambrose Bierce
John Steinbeck
Ernest Hemingway
William Faulkner
Robert Frost
Willa Cather
Flannery O’Connor
Kate Chopin
Amy Tan
Langston Hughes
ee cummings
Toni Morrison
V. Literature – Realism, Harlem Renaissance, Modernism, Contemporary
“I Hear America Singing” by Walt Whitman – p. 424 – Poem will be on the
exam.
 free verse

slant rhyme

parallelism

repetition
“I Too” by Langston Hughes – p. 832 – Poem will be on the exam.
 symbolism
“A Rose for Emily” by William Faulkner – p. 896 – The story will NOT be on
the exam.
 Describe the main character, Emily Grierson.

How does the small-town setting affect the story?

What does the house represent? What is its condition at the end of the story?

Describe Emily’s relationship with her father.

What were the expectations for women during this time period?

How does Emily react to the town’s request for her to pay her taxes?

How does Emily react to her father’s death?

Why does Emily go to the druggist? How does Emily get what she wants?

What happens to Homer Barron?

What happens at the end of the story?

What does the strand of gray hair display at the end of the story?
Crossover War Selections – pp. 1191-1198 – The selections will NOT be on the
exam.
 Why does the narrator in “Ambush” throw the grenade?

How does the narrator in “Ambush” feel about his actions?

What is discussed in “The Gift of Wartime”?

In Stay Alive, My Son, what decision does Pin Yathay make about his son? Why?

In Stay Alive, My Son, how does Any feel about Pin’s decision?

What is the tone of “Camouflaging the Chimera” and how does the tone affect the
poem’s message?
VI.
SAT Vocabulary – Units 10 – 12 – The words from units 10 – 12 of the fourth nine
weeks will be used in sentences.
VII.
Research: Be able to apply the research skills you gained through your research
project. Some terms/skills needed:
 Works Cited page – how is it organized?

MLA parenthetical citations – How do you punctuate parenthetical citations?
What information is included in parenthetical citations?

Research sources – How do you know which sources are best for a particular
topic?

What is plagiarism?

What is the role of an editor? An author? A translator?

Why is documentation important?
VIII. Grammar: Be apply to revise and edit selections, especially sentence combining.
Be able to identify and create:
 simple sentence

compound sentence

complex sentence

periodic sentence

interrogatory sentence

imperative sentence

declarative sentence

exclamatory sentence
Courage
by Anne Sexton
It is in the small things we see it.
The child’s first step,
as awesome as an earthquake.
The first time you rode a bike,
wallowing up the sidewalk.
The first spanking when your heart
went on a journey all alone.
When they called you crybaby
or poor or fatty or crazy
and made you into an alien,
you drank their acid
and concealed it.
Later,
if you faced the death of bombs and bullets
you did not do it with a banner,
you did it with only a hat to
cover your heart.
You did not fondle the weakness inside you
though it was there.
Your courage was a small coal
that you kept swallowing.
If a buddy saved you
and died himself in so doing,
then his courage was not courage,
it was love: love as simple as shaving soap.
Later,
if you have endured a great despair,
then you did it alone,
getting a transfusion from the fire,
picking the scabs off your heart,
then wringing it out like a sock.
Next, my kinsman, you powdered your sorrow,
you gave it a back rub
and then you covered it with a blanket
and after it had slept a while
it woke to the wings of the roses
and was transformed.
Later,
when you face old age and its natural conclusion
your courage will still be shown in the little ways,
each spring will be a sword you’ll sharpen,
those you love will live in a fever of love,
and you’ll bargain with the calendar
and at the last moment
when death opens the back door
you’ll put on your carpet slippers
and stride out.
5
10
15
20
25
30
35
40
45
William Faulkner, probably the most important American novelist of the twentieth century,
made this Nobel Prize acceptance speech in Stockholm, Sweden, on December 10, 1950.
1
I feel that this award was not made to me as a man, but to my work – a life’s work in the
agony and sweat of the human spirit, not for glory and least of all for profit, but to create
out of the materials of the human spirit something which did not exist before. So this award
is only mine in trust. It will not be difficult to find a dedication for the money part of it
commensurate with the purpose and significance of its origin. But I would like to do the
same with the acclaim too, by using this moment as a pinnacle from which I might be
listened to by the young men and women already dedicated to the same anguish and
travail, among whom is already that one who will someday stand here where I am standing.
2
Our tragedy today is a general and universal physical fear so long sustained by now that
we can even bear it. There are no longer problems of the spirit. There is only one question:
When will I be blown up? Because of this, the young man or woman writing today has
forgotten the problems of the human heart in conflict with itself which alone can make good
writing because only that is worth writing about, worth the agony and the sweat.
3
He must learn them again. He must teach himself that the basest of all things is to be
afraid; and, teaching himself that, forget it forever, leaving no room in his workshop for
anything but the old verities and truths of the heart, the old universal truths lacking which
any story is ephemeral and doomed – love and honor and pity and pride and compassion
and sacrifice. Until he does so, he labors under a curse. He writes not of love but of lust, of
defeats in which nobody loses anything of value, of victories without hope and worst of all,
without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He
writes not of the heart but of the glands.
4
Until he relearns these things, he will write as though he stood among and watched the
end of man. I decline to accept the end of man. It is easy enough to say that man is immortal
simply because he will endure: that when the last ding-dong of doom has clanged and faded
from the last worthless rock hanging tideless in the last red and dying evening, that even
then there will still be one more sound: that of his puny inexhaustible voice, still talking. I
refuse to accept this. I believe that man will not merely endure: he will prevail. He is
immortal, not because he alone among creatures has an inexhaustible voice, but because he
has a soul, a spirit capable of compassion and sacrifice and endurance. The poet’s, the
writer’s, duty is to write about these things. It is his privilege to help man endure by lifting
his heart, by reminding him of the courage and honor and hope and pride and compassion
and pity and sacrifice which have been the glory of his past. The poet’s voice need not
merely be the record of man, it can be one of the props, the pillars to help him endure and
prevail.