Advanced Placement English Literature and Composition Syllabus
Course Overview
Advanced Placement Literature and Composition is designed to be a college level course.
This course will provide the student with intellectual challenges through critical thinking
and problem-solving activities as well as a workload consistent with a college English
course. As a culmination to the course, the student will take the Advanced Placement
Literature and Composition Exam that is given in May. AP Exam practice will be
ongoing throughout the school year. The student will practice with essay timed-writings
and multiple-choice questions and work through a complete retired test.
In this course, the student will determine the qualities of great literature. The student will
read literature from the sixteenth century to contemporary times (C1, C2). During this
study of literature, the student will look at such elements as style, tone, structure, diction,
imagery, and syntax through the analysis of a work. In turn, the student will keep a daily
response journal over the course of the year to engage himself in thoughts about his
reading and his own writing (C3).
The course is divided by genres and then into individual elements of each genre.
Throughout the study of each genre, various special activities will be incorporated into
the study. For example, the student will have opportunities to participate in Socratic
seminars, panel discussions, group presentations, and cooperative learning groups. In
addition to the group activities, there will be quizzes on the reading, daily response
writing in the journals as well as in-class timed essays, out of class essays, peer-editing
sessions, and conferences with the teacher (C14, C15). The student will write analytical
essays demonstrating his ability to produce insightful writing based on AP prompts. The
papers will go through a series of editing sessions and rewrites before they are submitted
for a final grade. The teacher will provide instruction and feedback on the student’s
writing before and after the student revises his work. A series of workshops addressing
writing skills will be taught throughout each quarter. Time will be set aside each week for
feedback on previous essays in which the teacher will make recommendations and
suggestions (C15).
The student must read every assignment in order to discuss and write each day. Quizzes
will be given on the reading in the form of multiple-choice questions, short essays, AP
response questions, or short answer questions. Some quizzes may be in the form of the
response journal entries.
The student will write two-three major papers outside of class, including a documented
paper, and three-four papers in class each quarter. The writing will be critical in nature;
however, there will be opportunities for the student’s creative side to emerge with
occasions to write short stories and poetry. Specific rubrics including the standard AP
generic rubric will be given at the time of each assignment. In addition, the writing
assignments will include writing to understand a given work, writing to explain a work,
and writing to evaluate a work (C6, C7). Throughout the entire course, the student’s
writing will examine structure, style, theme, social, historical, and cultural significance
(C 11). Essential literary techniques such as figurative language, symbolism, and tone
will be addressed in writing workshops as well as various techniques of sentence
combining and sentence patterns (inverted order, parallelism, balanced, periodic,
rhetorical fragments) (C13, C7). The teacher will provide instruction and feedback during
the workshops and after the papers are written to guide students in developing various
sentence structures. Writing workshops will also address lessons such as controlling tone
of voice and using active and passive voice effectively (C15). The class periods are one
hour and fifty minutes in length allowing ample time for discussion, workshop sessions,
and writing in a class period.
Another significant component of the student’s writing is the response journal (C8). In
his response journal, the student will include reflections about his reading, write
questions he may have about his reading, and take account of new vocabulary words
from his reading (C12). The journal will serve as a prewriting activity in that it will
contain short writings that can be the basis for longer essays. Reactions to reading will be
written both in class and outside of class and will be used as a starting point for class
discussion (C15). The response journal will also serve as a means of relating the student’s
personal experience to the class. The response journals and the writing workshops will
aim to help the student to understand his own writing process.
The SOAPSTone strategy, adopted from AP Central, will be introduced and used in the
writing workshop sessions. The strategy will help the student to organize his thoughts
about a piece of literature and about his own writing. The strategy helps to provide a
specific structure or an outline for the student’s text. Another organizational method is
DIDLS (diction, imagery, details, language, and sentence structure). DIDLS is useful in
tone analysis and will be introduced during the workshop sessions as well (C14). In
addition, other acronyms will be introduced such as TPCASTT for use with poetry
analysis. See Appendix.
Vocabulary study will be incorporated into the reading of the stories, the response
journals and the use of Vocabulary Workshop, Sadlier-Oxford (weekly basis) (C12).
Grading Scale
Minor: in-class timed writings, discussions, special activities, quizzes, homework,
response journal writings 35%
Major: out-of-class writings, exams, major projects 65%
Reading and Writing Outline
First Semester
First Quarter
Weeks 1 and 2: Introduction to the Course
What is analysis? Examine the painting Marketing by American artist Robert Gwathmey
and art by Edward Hopper.
What is art? Students will write about a piece of art to demonstrate their understanding
of analysis and art. The essay will be developed into a rough draft and formal paper.
Come to the next session prepared to read the rough draft.
Summer Reading:
Each book will be discussed and assessed over the period of first quarter. These novels
will not be studied in the same depth as the novels in the novel unit later this year.
1984 – What are the elements of dystopian literature? What are the various forms of
control the government exercises over its citizens, and how does technology play a role?
Discuss how tone and diction undermine each other. Note and explain the various forms
of paradox appearing in the novel. Practice multiple-choice questions similar to those
appearing on the AP exam.
Wuthering Heights - What is an antihero? How do social class and wealth play a role in
character motivations? Explore the significance of setting. Discuss themes just as
revenge, jealousy, and love. How do social class and wealth play a role in character
motivations?
Wide Sargasso Sea – Explore the role identity in the novel. What do Antoinette and her
husband have in common when it comes to identity struggles? How does colonization
affect the relationships and views of white creoles, natives, and Englishmen? Note
significant symbols such as the burning bird and the presence of systems of belief and
spirituality (such as obeah).
Methods of assessment may include some or all of the following: quotation test, Socratic
discussion, and in-class timed writings, special projects.
Introduction to Close Reading:
Read “The Hills Like White Elephants,” p. 268
Read orally as a play.
Close reading activity: List all references to the interior and exterior setting, the two rails,
the beaded curtain, and the landscape on both sides of Ebro Valley. Why does
Hemingway include these items? What is their significance? Note references to body
language and the effect it has on communication.
Out of class essay- Reread “Hills Like White Elephants.” Write an essay analyzing the
effect of Hemingway’s sparse dialogue, setting, actions, and symbolism to convey the
central conflict of the story (C9). Bring a rough draft to the following class.
Weeks 3-9 - Introduction to Elements of Fiction (Perrine’s Literature: Structure,
Sound, and Sense, 9th Edition)
The students will differentiate between commercial and literary fiction, explain the
purpose of literary fiction, review different types of short stories, describe how to read a
short story for deeper meaning and serious study, and examine different expectations we
bring to reading commercial and literary fiction.
Read “The Most Dangerous Game,” Richard Connell, p. 67 and “Hunters in the Snow,”
Tobias Wolff, p. 86
Writing Workshop:
Introduce SOAPSTone strategy. Apply the strategy to Hemingway essay. Students are to
rewrite rough drafts from the previous class (C14). Peer editing session. Students will be
given guidelines to follow in the editing. Due date will be assigned.
Response journal writing: Examine Brueghel’s painting Hunters in the Snow, William
Carlos Willliams’ poem “Hunters in the Snow,” and Wilson’s “Henzey’s Pond.” To what
extent does Wolff borrow from the painting and the poem, and in what way does he
establish his own direction (C9)?
Fiction, Plot and Structure (Perrine’s)
The students will discuss the meaning of “plot” and importance of conflict; differentiate
between protagonist and antagonist, discuss the importance of the element of surprise,
consider differences in ending types –happy, unhappy, and indeterminate.
Read and discuss “Interpreter of Maladies, “ Jhumpa Lahir, p. 141. What are maladies?
What would an interpreter of maladies actually do?
In class timed writing: Contrast the language, behavior, and apparent social status of the
Das family with that of Mr. Kapasi. Make a judgment based on these contrasts (C5, C11).
How do these contrasts contribute to the theme?
After a discussion of the story including social and cultural values of the characters the
students will write an analytical essay using textual details for support. This paper will be
developed into a major paper continuing in the writing workshop.
Writing Workshop: Review SOAPSTone method. Write a thesis statement and an
outline for the following essay topic. Review thesis and discuss ideas in class. The
teacher will provide instruction and feedback on writing an effective thesis, using
adequate examples and evidence for support, and organizing ideas (C15). The student
will write thesis statements for the assignment. The class will review and discuss the
strength of the thesis statements. The thesis must be supported with detailed evidence and
specific quotations from the story. After the teacher approves the thesis and outline, the
student will write a first rough draft.
Develop a rough draft for a formal paper (out of class essay) in which the cultural clash
between the middle-aged Indian tour guide and the second generation Indian Americans
is examined. Examine symbolism, dialogue, tone, and point of view in the discussion.
Use MLA format. Come to class prepared to read the rough draft and participate in a peer
edit review (C5, C11, C14, C15).
Characterization (Perrine’s)
Discuss characterization in literary fiction and commercial fiction. Distinguish between
direct and indirect characterization, flat, round, and stock characters, and static and
dynamic characters.
Read and discuss “Everyday Use,” Alice Walker, p. 166. What do we mean by racial or
ethnic identity?
Response journal entry: To what extent does our acceptance of our names reflect our
acceptance of our parents and our heritage (C11)?
Fiction, Theme (Perrine’s)
Discuss the definition of “theme” in fiction, describe the best ways the theme may be
stated, distinguish between theme and purpose, differentiate between typical commercial
themes and literary stories, discuss the six principles of theme.
Read and discuss “Gooseberries,” Anton Chekhov, p. 202. What are denotative and
connotative meanings of gooseberries?
Writing Workshop:
Response journal entry: Analyze how Ivan is characterized by the way he narrates the
story of his brother, Nikolay. How does Chekhov reveal Ivan’s character through Ivan’s
narration? The student will focus on sentence variety and structure in this lesson (C13).
The teacher will provide instruction on sentence structures; subordination, inverted word
order, periodic, loose, parallel construction, etc. The students will write a response
journal entry using some of the methods discussed. The teacher will place various
examples on the projector for discussion and feedback (C13). Introduce DIDLS and tone
analysis method.
Fiction, Point of View (Perrine’s)
Discuss how to determine the point of view of a story, discuss characteristics of
omniscient, review meaning of third-person limited.
Read and discuss “The Lottery,” Shirley Jackson, p. 251; “The Jilting of Granny
Weatherall, Katherine Anne Porter, p. 260; and “Paul’s Case,” Willa Cather, p. 234.
Timed Writing: Evaluate how Cather (or another author) uses literary techniques such as
point of view, characterization, symbolism, and setting contribute to the story’s theme
(C3, C10).
Fiction, Symbol, Allegory, and Fantasy (Perrine’s)
Discuss the definition of a literary symbol, discuss symbolic names, describe the
difference between symbolism and allegory, and describe the features of a fantasy.
Read and discuss “Rocking-Horse Winner,” D.H. Lawrence, p. 285. How important is
fortune or luck, in living a happy life?
Writing Workshop:
Group activity- Imitate Lawrence’s fairy tale style and framework by writing a tale.
Begin with a moral concept or concern and shape a fairy tale around the theme. Decide
whether a happy or unhappy ending is appropriate for the story’s message.
Read and discuss “Where Are You Going, Where Have You Been?” Joyce Carol Oates,
p. 311. Have you ever been attracted to a person you later come to recognize as all
wrong? Why are we attracted to evil? Danger?
Timed In-Class Writing: Read the first eleven paragraphs of the story and write a timed
essay in which the student examines narrative techniques, such as detail, point of view,
and symbolism that the author uses to characterize Connie and her relationship with her
mother (C11, C15). The teacher will provide instruction on supporting generalizations
with specific illustrative detail from the story. The students receive feedback as they read
their papers aloud in class as well as written comments from the teacher.
Fiction, Humor and Irony
Discuss the difference between verbal irony and dramatic irony, define irony of situation,
examine why sentimentality is an undesirable trait in literary fiction, and discuss the five
characteristics of sentimental writing.
Read and discuss “ The Kugelmass Episode,” Woody Allen, p. 348. Read this story aloud
to determine Woody Allen’s methods that bring out humor in the story.
Read and discuss “The Cask of Amontillado,” Edgar Allan Poe, p. 611.
Writing Workshop:
Discuss tone, connotation, denotation, diction, understatement, sentence structure, irony,
and transitions. Reread the first paragraph of “Amontillado” and rewrite with a groupchange the tone of the piece. The tone may be playful, solemn, mocking, reverent, calm,
excited, resigned, wistful, or pessimistic (C15). Develop a draft into a very short story.
Write a Poe scene employing tone.
Review the two basic principles for evaluating fiction. Describe the elements that make a
first-rate story, discuss the importance of length in evaluating fiction.
Evaluating Fiction: Flannery O’Connor and William Faulkner
Read and discuss “ A Good Man Is Hard to Find,” p. 454.
What is a “good man”? What makes a person “good”?
Read and discuss “ A Rose for Emily,” p. 556.
Major out of class essay: Research is required with specific details and documentation.
O’Connor is considered a descendant of William Faulkner in the great literary heritage of
America’s South. Write a paper comparing Faulkner’s rendering of the South in “A Rose
for Emily” with that of O’Connor in “A Good Man Is Hard to Find.” (C11) Bring the
rough draft for a peer-editing session to the next class.
Examinations at intervals: Reading Short Fiction
Second Quarter
Week 1: Introduction: Elements of Poetry (Perrine’s)
Throughout the poetry unit, there will be various opportunities for the student to engage
in creative activities, such as writing poetry of his own. The students will use the DIDLS,
TPCASTT methods in analysis and explication.
What is poetry? Understanding and Evaluating Poetry (Perrine’s)
Read and discuss: “Dulce et Decorum Est” – Wilfred Owen
“Shall I Compare Thee to a Summer’s Day” – William Shakespeare
Weeks 2-9: Poetry, Reading the Poem (Perrine’s)
Students will read poems aloud and discuss throughout the unit.
Read and discuss: “ A Study of Reading Habits,” Philip Larkin, p. 671
“Mirror,” Sylvia Plath, p. 680
“Storm Warnings,” Adrienne Rich, p. 684
Writing Workshop:
After a discussion of “Storm Warnings,” the student will write a well-organized essay,
examining the literal and metaphorical meanings of the impending storm and the effect
these metaphors have on the reader and the meaning of the poem. Note diction, syntax,
and concrete details in the poem (C14). The teacher will provide instruction on effective
rhetorical modes such as tone and voice, simple, compound, complex, compoundcomplex sentences, action verbs vs. be verbs, and parallel constructions. The student will
write an opening paragraph for discussion in class and continue the assignment outside of
class.
Poetry, Connotation and Denotation (Perrine’s)
Discussion of poems as they use connotation and denotation of words and levels of
meanings.
“The World’s Too Much with Us,” Wordsworth, p. 694
“One Art,” Elizabeth Bishop, p. 698
“Desert Places,” Robert Frost, p. 696
Timed In–Class Writing:
“One Art.” Examine how the poem’s organizing structure (villanelle) effectively conveys
the deep feeling and meaning of the poem or another topic. Review DIDLS strategy
(C14).
Imagery (Perrine’s)
Discussion of poems and imagery in poetry.
“After Apple-Picking,” Robert Frost, p. 708
“Those Winter Sundays,” Robert Hayden, p. 709
“The Destruction of Sennacherib,” Lord Byron, p. 710
“To Autumn,” John Keats, p. 711
Poetry, Figurative Language: Simile, Metaphor, Personification, Apostrophe, and
Metonymy (Perrine’s)
Read and discuss poems and note how critical terms enhance meaning of the poems.
“Song of Powers,” David Mason, p. 719
“Mind,” Richard Wilber, p. 725
“A Valediction: Forbidden Mourning,” John Donne P. 729
“Dream Deferred,” Langston Hughes, p. 732
Writing Response Entry:
“Valediction: A Forbidden Mourning”
Analyze how the speaker’s metaphors reveal the nature of his love and his feeling about
the lovers’ impending separation.
Poetry, Figurative Language Continued: Symbol and Allegory (Perrine’s)
Students will read and discuss poems to help them recognize symbols and develop
justifiable interpretations of symbolism.
“The Road Not Taken,” Robert Frost, p. 734
“Digging,” Seamus Heany, p. 739
“Fire and Ice,” Robert Frost, p. 746
“Because I could not stop for death,” Emily Dickinson, p. 752
Timed Writing: Examine Dickinson’s “ Because I could not stop for death” or another
Dickinson poem. Analyze Dickinson’s use of such literary elements as detail, setting,
symbolism, and tone to provide an imaginative perception of death. How do these
elements relate to the meaning? Refer to DIDLS (C15)
Poetry, Figurative Language Continued: Paradox, Overstatement, Understatement,
and Irony (Perrine’s)
Through reading and discussion, students will gain confidence in their ability to
recognize paradox, overstatement, understatement, irony, and satire.
“The Chimney Sweeper,” William Blake, p. 763
“Ozymandias,” Percy Bysshe Shelley, p. 764
“The Unknown Citizen,” W. H. Auden, p. 771
“My Last Duchess,” Robert Browning, p. 775
“Porphyria’s Lover,” Robert Browning, handout
Writing Response Entry: In “My Last Duchess,” how does Browning create a work that
succeeds as a play and a poem (C10)?
Read and discuss:
“My Mistress’ Eyes,” William Shakespeare, p. 809
“Dover Beach,” Matthew Arnold, p. 816
Writing Workshop:
Practice with understatement, overstatement, irony, satire, and paradox. Prepare a rough
draft for an out of class essay based on the following topic. Bring rough draft to the next
class session for peer review session (C15).
Read “Church Going,” p. 817. Define the tone of Church Going” as precisely as possible.
Compare the tone to “Dover Beach.” Discuss compare and contrast methods and careful
annotation of texts. How do the poems treat religion and faith?
Poetry, Musical Devices (Perrine’s)
“We Real Cool,” Gwendolyn Brooks, p. 831
“1973,” Marilyn Hacker, p. 836
Writing Response Entry: Discuss the title “We Real Cool.” Discuss tone and speakers.
Write in class an original song lyric using the rhythmic pattern of “We Real Cool.”
Imitate Brooks’ techniques by including the same number of syllables per line as she
does, using single syllable words, and enjambment. (C3, C14)
Poetry, Rhythm and Meter (Perrine’s)
“Introduction” to Songs of Innocence, William Blake, p. 853
“The Tropics in New York,” Claude McKay, p. 857
Poetry, Sound and Meaning (Perrine’s)
“Blackberry Eating,” Galway Kinnell, p.879
“The Dance,” William Carlos Williams, p. 881
Poetry, Pattern (Perrine’s)
“Do Not Go Gentle into That Good Night,” Dylan Thomas, p. 889
“Acquainted with the Night,” Robert Frost, p. 897
Writing Workshop:
Contrast Frost’s poem with Dickinson’s “ We grow accustomed to the dark” by
examining elements of structure, point of view, and imagery. Review TPCASTT,
SOAPSTone and DIDLS as means of structure and starting points for discussion.
Explicate each poem. See appendix for suggestions (C14). The teacher will provide
instruction on various rhetorical structures, use of repetition and transitions, and
organizational structures such as compare and contrast methods. The students will use
these methods to develop a compare and contrast essay for peer review the following
class meeting (C14).
Poetry, Evaluating Poetry (Perrine’s)
“The Love Song of J. Alfred Prufrock,” T.S. Eliot, p.925
Writing Response Entry: How can an evening be like a patient etherized? How can
streets be like an insidious argument? What would someone want to be a pair of ragged
claws? Examine these and three other figurative passages for their effectiveness as
figures of speech and as psychological observations.
Examinations at intervals: Evaluation Poetry
Outside reading: Jane Eyre, Tess of the D’Urbervilles, Adam Bede, Mayor of
Casterbridge, Great Expectations, David Copperfield, A Tale of Two Cities
Second Semester
Third Quarter
Weeks 1-5: Elements of Drama, Nature of Drama, Understanding and Evaluating
Drama, Perrine’s p. 1025
Hamlet, William Shakespeare (C1)
This unit will involve a close reading of Hamlet. All assertions and interpretations will be
supported with direct evidence from the text or noted criticism of the play (C15). The
student will respond to several writing prompts in his response journal. Some of these
prompts will be developed into longer essays. The student will continue to record new
vocabulary words in his response journal (C12). In the writing prompts, the student will
identify and analyze techniques Shakespeare uses to convey character, analyze main
characters, and trace Hamlet’s evolving psychological and emotional state.
This unit, therefore, includes an intense study of Shakespeare. The topics and activities
covered will include the Elizabethan period, London stage, dramatic devices, structure of
Shakespearean tragedy, oral readings of the play, acting exercises, improvisations,
cooperative learning groups, memorizations, passage analyses, short writings based on
reading, a major paper, and creative activities. Kenneth Branagh’s version of Hamlet will
be shown at the end of the unit. The student will compare and contrast his own
interpretations with the film. (Review compare and contrast structures C14.)
Example of response journal entry: Read the soliloquy from Act II, scene ii, and analyze
how Hamlet’s comparison of his situation to a fictional situation contributes to the
reader’s overall understanding of the play.
Examination: Hamlet
Weeks 6-9: A Nineteenth Century Drama (Perrine’s) (C1)
A Doll House, Henrik Isben, p. 1079
What roles are men and women expected to take in marriage? Who defines these roles
and expectations? How and why have these roles changed over time?
This play will be read aloud in class. Close attention will be given to details encouraging
the student’s depth of understanding. The oral reading will encourage discussion that
grows from the text and will allow the student to hear the dialogue.
The student will write reactions to his reading in his response journal as well as record
new vocabulary words (C12). These responses will be the basis for class discussion and
for longer papers. AP prompt questions will be used for writing a well-organized essay
about this play. An example may be as follows: Some of the most significant events are
mental or psychological; for example, awakenings, discoveries, and changes in
consciousness are dramatic events. In a well-organized essay supported with evidence
from the play, describe and analyze how the author manages to give these internal events
the sense of excitement, suspense, and climax usually associated with external action. Do
not summarize the plot. Be prepared to peer edit rough draft at next class meeting.
Examination: A Doll House
Fourth Quarter
Weeks 1-4: A Nineteenth Century Novel
Pride and Prejudice, Jane Austen
The student will be involved in a close reading of Pride and Prejudice and will support
all opinion and interpretations with direct evidence from the text (C15).
In addition to a discussion of the significance of social class and wealth, the student will
study Austen’s style. The student will describe Austen’s use of tone, humor, free
discourse, characterization, point of view, and major themes. The student will discuss the
novel as a commentary on women’s roles and social class, perceptions on marriage in
nineteenth-century England, and unfairness of property inheritance laws (C4).
The student will record new vocabulary and write reading response entries or timed
writings. A sample response question is as follows: Austen originally titled her novel
“First Impressions.” Explore the themes of pride and prejudice and the dangers of first
impressions in the novel; write a well-organized response in which you explain how the
judgment affects character motivations and plot and contributes to the overall meaning of
the novel (C14).
The student will participate in Socratic seminars, panel discussions, group presentations,
and cooperative learning groups throughout the study of the book.
Weeks 1-9: Two Modern Novels
Things Fall Apart, Chinua Achebe
The student will discuss and write about choices, the heroic journey, tone, symbolism,
figurative language, plot, irony, and human rights. As well as these topics, the student
will work with concrete topics in the book such as religious beliefs, customs, bride-price
ceremony, scared python, European colonization of Africa, and ethnic groups of Nigeria
(C 11).
Sample reading response question: The title Things Fall Apart is borrowed from the
poem “The Second Coming.” Read the poem and compare its theme to the novel.
Sample major paper topic: Compare and contrast Five Ibo cultural laws with five laws
found in the American legal system (C11, C5). Review compare and contrast structures.
This reading will be paired with the following:
In addition, Achebe’s “Civil Peace” Perrine, p. 511
“The Second Coming,” William Butler Yeats, Perrine, p. 1022
Ethan Frome, Edith Wharton
This unit involves a close reading of Ethan Frome. The student will analyze characters
and the story’s setting as well as how these features influence the plot and meaning. In
addition, the student will discuss symbols, imagery, and irony (C3, C5). The student will
analyze literary elements in the story, write prompts similar to those that will appear on
the AP test, and support interpretations with direct evidence from the text.
Example of response journal entry or timed writing:
A significant symbol in the text is the author’s use of color. Choose examples of color in
the text and write a well-organized essay in which you show the link to characters or
setting and the effect created by the author through its use. This essay can be developed
into a longer essay after a peer review session (C2).
After the AP Exam:
Excerpt from Beowulf - Elements of Fiction, Holt, Rinehart, Winston
Excerpts from Canterbury Tales - Elements of Fiction, Holt, Rinehart, Winston
Through these pieces, students will study the growth of the English language. The student
will memorize the first eighteen lines of Canterbury Tales. The student will write a
dramatic monologue in the voice of a pilgrim.
Resources
Arp, Thomas, Greg Johnson, eds. Perrine’s Literature: Structure, Sound, and Sense,
Ninth Edition. Thomson Wadsworth, 2006.
Holt, Rinehart, and Winston. Elements of Literature, 12.
Sadlier – Oxford. Vocabulary Workshop, Level G.
Bedford/ St. Martin’s. The St. Martin’s Guide to Writing.
1984, George Orwell
Wuthering Heights, Emily Bronte
Wide Sargasso Sea, Jean Rhys
Pride and Prejudice, Jane Austen
Things Fall Apart, Chinua Achebe
Ethan Frome, Edith Wharton
Hamlet, William Shakespeare
A Doll House, Henrik Isben
Beowulf
Canterbury Tales, Geoffrey Chaucer
Various web resources such as OWL at Purdue
Other supplementary resources as needed
Appendix A
SOAPSTone
SOAPSTone is an acronym to use as you start to analyze a text or you write your own
piece.
S: Subject: What is the content of the text?
O: Occasion: What is the rhetorical occasion? Is it a memory, description, argument,
satire, summary, critique?
A: Audience: Toward whom is the text directed? Who is the assumed audience? What are
the characteristics of the audience?
P: Purpose: What is the purpose for writing this text? How does the author develop this
purpose? Are there multiple purposes? What kind of reaction does the author want from
his readers? What is the intended effect of the article?
S: Speaker: Who is the speaker? Sometimes the speaker and the author are not the same.
What is the point of view and how does it affect the construction of the article? Is there a
notable bias in the article?
T: Tone: What is the author’s attitude? Does it differ from the speaker? How has the
author used language (syntax, diction) to develop tone?
Additional thoughts: Organization: How is the text put together? Narrative Style: What is
revealed or hidden?
Appendix B
DIDLS: The Key to Tone
Diction: The connotation of the word choice: Diction refers to the speaker’s word choice
and vocabulary. Diction can be colloquial, slang, technical, formal, informal, etc.
Images: Vivid appeals to understanding through the senses: Imagery refers to the words
and phrases that create a visual for the reader.
Details: Facts that are included or those that are omitted: Objects that are encoded in the
passage.
Language: The overall use of language: Use of literary devices. Similes, metaphors,
paradoxes, personification, allusion, symbols are all language devices. Consider the effect
of each language device.
Sentence Structure (syntax): How structure affects the reader’s attitude- sentence lengths,
multiple phrases, choppy, flowing: Consider the word order, sentence variety, and types
of sentences: periodic, imperative, rhetorical, parallel structure, repetition, etc.
Appendix C
TPCASTT- For Analyzing Poetry
Title: Ponder the title before reading the poem
Paraphrase: Write to poem in your own words.
Connotation: Consider the poem for meaning beyond the literal.
Attitude: Consider both the speaker’s and the poet’s attitude (tone).
Shifts- Note transitions in subject, attitude, mood, and theme
Title-Examine the title again, this time on an interpretative level.
Theme- Determine the overall connection to human experience. What is the poet saying?
Appendix D
Poetry Explication Suggestions
1. Consider the title before and after reading.
2. What are the poem’s subjects, both literal and figurative?
3. Who is the speaker?
4. What is the speaker’s tone?
5. Is the speaker the author or an invented persona?
6. If the speaker is an invented persona, is the author also speaking?
7. If so, what is the author’s tone?
8. How does the tone develop?
Bill Pell – AP English Literature and Composition Institute, Auburn University