English 11 Honors Syllabus
Rachael Gerber
Gerber 2014-15
A206
rgerber@esusd.k12.ca.us
http://www.elsegundousd.com/eshs/teachers/rgerber/index.htm
“The genius of the United States
is not best or most in its executives or legislatures,
nor in its ambassadors or authors or colleges, or churches, or parlors,
nor even in its newspapers or inventors,
but always most in the common people.” -WALT WHITMAN
Welcome
English 11 Honors is a Language Arts course devoted to an intense, in-depth study of American
Literature that parallels the students’ study of U.S. History. By studying the country’s literature within a
chronological, historical perspective, students will examine attitudes, behavior patterns, and ideals that
define and reflect American culture.
At its core, this course will focus on exploring the vast range of possible answers to an essential question:
“What is an American?” This is no simple query to answer. Consider some of the following quotes about
America from a variety of different people, from different backgrounds, uttered at different points in
history:
“There is a New America every morning when we wake up. It is upon us whether we will it or not.”
– Adlai E. Stevenson Jr. (1900 – 1965)
“Let America first praise mediocrity even in her children, before she praises…the best excellence in the
children of any other land.” – Herman Melville (1819 – 1891)
“There’s the country of America, which you have to defend, but there’s also the idea of America. America
is more than just a country, it’s an idea. An idea that’s supposed to be contagious.” – Bono (1960 - )
“When asked by an anthropologist what the Indians called America before the white man came, an Indian
said simply, ‘Ours.’” – Fr. Andrew, SDC
“It was wonderful to find America, but it would have been more wonderful to miss it.” – Mark Twain
(1835 – 1910)
“America is not merely a nation but a nation of nations.” – Lyndon B. Johnson (1908 – 1973)
“Europe will never be like America. Europe is a product of history. America is a product of philosophy.”
– Margaret Thatcher (1925 - )
“America is the only country that went from barbarism to decadence without civilization in between.”
– Oscar Wilde (1854 – 1900)
“America lives in the heart of every man everywhere who wishes to find a region where he will be free to
work out his destiny as he chooses.” – Woodrow Wilson (1856 – 1924)
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The class traces many contemporary values back to the Puritans. You will see that literary philosophies
are dictated by the contemporary conditions under which authors write (i.e., that history informs the
narrative).
In addition, this course is intended to further your vocabulary, composition, and research skills.
What You Will Need
English 11 Honors has a reputation as a rigorous, demanding course; and for good reason. It is a
significant step up from your previous academic grade and level. A minimum grade of 86% in the 10
Honors course or 90% or above in 10 CP are the basic qualifications. Your teachers assume you are
proficient with the essay writing form, analysis tools, and the definitions of rhetoric. This is most
definitely NOT a basic writing class; though we will spend time building on the skills you have learned in
9th and 10th grade and evolving to higher level writing skills. That said, you do not have to be an English
scholar to succeed in the course. You do, however, have to demonstrate a commitment to the work.
Failure to read will be sniffed out immediately, as will a diet of Spark Notes or any other supplemental
materials used in place of the actual novel. And as Honors students, “not-knowing” will not fly in this
course, in which rules, protocols, expectations, and rubrics are built into every lesson and procedure.
Commitment, motivation, curiosity, and a desire to improve will mark your success.
Literature
You read selected American literature and documents from the anthology United States in Literature as
well as the novels listed later in this syllabus.
Writing
You write journal entries responding to literature studied that explore your own ideas and opinions. You
also write formal essays structured to prove a thesis. The writing process is emphasized, including timed
writings and multi-draft writing, peer editing, and self-editing. A major literary analysis is required. For
this writing assignment the student may select any one of three dates (one in Semester 1 and two in
Semester 2) to submit the work. Additionally, students conduct a major research project culminating in a
20-minute group presentation for Second Semester. This work adheres to MLA formatting rules and
guidelines.
Vocabulary
You study 30 new vocabulary words every other week from College Entrance Review, for a total of 19
lists over the year. You are tested weekly on their ability to spell words, define them, and use them
correctly. There is a cumulative midterm and final vocabulary test each semester.
Speaking and Listening
You participate in making and evaluating oral presentations. Nearly every unit requires students to work
in groups of varying size to construct an oral presentation (usually in the form of a PowerPoint) that will
present an argument relevant to the current text(s) of study, and you substantiate this assertion coherently
and cogently through thoughtful, in-depth analysis of the literature. Each oral presentation is graded for
organization, understanding of text, development of argument, and oratory skills. You MUST have
completed all reading assignments prior to the presentations; your negligence in doing so is immediately
obvious to both your teacher and your group members, who are also responsible for evaluating your
individual performance. These presentations enhance your ability to construct a well-produced,
persuasive argument through the benefit of student collaboration.
Notebook and Note Taking
You are required to create and keep a notebook specifically for this English class. Dividers should include
sections for Vocabulary, Journals, Notes, Handouts, and Essays. All handouts, journals, notes, and essays
must be kept in chronological order. You are expected to take notes in class using Cornell Notes. You are
expected to take notes consistently, with depth and clarity. You keep these notes in your English
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notebook. I call on students randomly during the class and expect you to know and understand the topic
under discussion by referring to you notes. These notes are used for open-note assessments.
I perform several random note collections throughout each semester, of which the quality of note taking,
margin annotations, and/or highlighting is evaluated for a grade. Your notes offer a tangible reflection of
your degree of engagement with the class discussion and/or understanding of a text, not to mention
attentiveness. These random note checks encourage the previously mentioned qualities, as they are critical
to, of course, future standardized tests, but most importantly, they serve your independent reading and
study habits.
Grades
This honors class is graded using a point system as opposed to a weighted system. These are the basic
categories on which you will be graded/assessed:
 Vocabulary
 Tests
 Oral Presentations
 Homework Packets
 Term Project
 Notes
 Journals
 Reader’s Response
 Thesis Development
 Citizenship/Participation
Homework
Homework is assigned as many as five days a week. You may need some weekend time to complete
independent reading and projects. Reading encompasses the vast majority of homework assignments.
Homework and Reading Packets accompany all major units. Because these packets are assigned long in
advance of the due date, they are due on the due date, regardless of whether you are in. You can email me
the packet or have another student drop it with me or you may submit the work in advance of the due
date. There are no exceptions to this rule.
CRITICAL: If you are absent the day a major assignment is due (e.g., term paper, homework
packet, oral presentation), you must submit the completed assignment by the time your class meets
or have someone submit it to the front office. Failure to do either will result in a 0 for that
assignment. An email to me explaining any “special” circumstances MAY buy you time or
consideration, but don’t count on it. I am firm on this policy; notes from parents will not excuse a
late project or essay that has been assigned a week or more in advance.
Still….things happen, people miss due dates. To address this kind of “life” stuff, you are issued THREE
(3) Redemption Days each semester. These days buy you an extra day to submit assignments.
Weekends DO count toward the number of days used, so be aware. You must turn in the work by your
period the next day and you must write at the top of the assignment “Redemption” and the date the work
was due and the date the work is submitted. Hand the assignment directly to me or no points. I do not
acknowledge work that veers from this protocol in any way.
Student Responsibility
Communication is central to understanding, and this class is no exception. I am receptive to your concerns
and invite your feedback. But make note, it is critical that this communication comes from you, a nearyoung adult. Resist the temptation to have your parents speak for you. If my introduction to one of your
concerns originates from a parent, I will speak to you before I speak to your parent. However, if you
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would like to include your parents in our interaction, cc them in your communications via email, and I
will follow suit. Be responsible, be grown up, advocate for yourself.
Makeup Tests
Students can make-up missed vocabulary quizzes Wednesday at lunch, and missed literature unit tests
Thursdays after school. It is the student’s responsibility to show up for these times or to coordinate a
different make-up with me should there be a scheduling conflict. If you miss a makeup, you will receive
a 0 for that assignment.
Success in this Class
You impress me beyond measure and enhance your academic standing if you practice these habits of
mind:
 Ask probing questions
 Demonstrate engagement
 Exhibit curiosity
 Make academic mistakes
 Challenge your beliefs
 Do your best! Don’t compare yourself, doubt yourself, or shortchange yourself
 Think outside the box, take chances and generate ideas
I deduct points for violating any of the following Classroom Rules:
 Have all appropriate materials (I will check randomly).
 Show up on time (in your seat when the bell rings).
 Treat yourself, your classmates, instructors, and visitors with respect.
 Practice courteous and ethical behavior.
 Absolutely NO FOOD of any kind, especially gum.
 NO drinks other than plain old simple water (if the liquid has color, it doesn’t belong in class).
 No electronic devices (headphones, cell phones, sidekicks, nothing, nada, zilch). These items will
be confiscated without question and given to the principal. This is business, not personal.
 No hats or hoods.
 Doing work for other classes on my time. (Same consequence as electronic devices.)
 Profanity (so unoriginal).
The Honors Program
English 11 Honors is an academically challenging course. You must maintain a B average to remain in
the course. If you do not, I will recommend a transfer to a regular College Prep English 11 class. You
must adhere to the school policy on academic honesty. Any student found cheating, including plagiarism,
lack of participation in group projects, or borrowing from past or published works, will be removed from
the Honors program.
A Final Word
English 11 Honors is indeed known as a rigorous course, but oddly, it is also known as quite
entertaining. The literature and documents we read are enormously engaging, the work
satisfying, and the class environment vibrant. You will be challenged, but it is far to say that if
you fully engage in the work, you will emerge from the course with a great sense of satisfaction
and with refined reading, writing, and presentation skills.
I look forward to a wonderful year with you, the wondrous class of 2016.
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Please sign and return this syllabus by
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I have read, understood, and will adhere to the classroom expectations, requirements, and
conduct for English 11H, 2014-2015.
________________________________
(Print Student Name)
______________________________
(Date)
________________________________
(Student Signature)
I have read, understood and support the classroom expectations, requirements, and conduct for
my student’s English class and will help my student adhere to them.
________________________________
(Print Parent/Guardian Name)
________________________________
(Parent/Guardian Signature)
______________________________
(Date)
_______________________________
(Parent/Guardian Phone Number)
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Reading List for 11th Grade Honors
The Catcher in the Rye, J.D. Salinger (Summer Reading)
The Scarlet Letter, Nathaniel Hawthorne
Into the Wild, Jon Krakauer
The Adventures of Huckleberry Finn, Mark Twain
The Great Gatsby, F. Scott Fitzgerald
The Grapes of Wrath, John Steinbeck
The Glass Menagerie, Tennessee Williams
In addition to the novels, selections include works from United States in Literature and various
primary documents. Selections include but are not limited to
UNIT 2: Puritanism & Colonialism
 Native American works
 “Of Plymouth Plantation” by William Bradford
 "They're Made Out of Meat" by Terry Bisson
 Poetry by Sherman Alexie
 "Sinners in the Hands of an Angry God" by Jonathan Edwards
 “Upon the Burning of Our House” by Ann Bradstreet
 “Upon What Base” by Edward Taylor
 "Moral Perfection" from The Autobiography by Benjamin Franklin
 Notes and Comments from Poor Richard's Almanack by Benjamin Franklin
 "Remarks Concerning the Savages of North America" by Benjamin Franklin
 "The Declaration of Independence" by Thomas Jefferson
 "What is an American?" by Hector St. John de Crévecoeur
 Letters from Abigail and John Adams
 Phillis Wheatley's letter to Reverend Samson Occum
UNIT 3: Romanticism & Literary Nationalism
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"The Devil and Tom Walker" by Washington Irving
"A Rescue" from The Deer Slayer by Washington Irving
"Escape: A Slave Narrative" by James W. C. Pennington
"The Cask of Amontillado" by Edgar Allan Poe
"Hop-Frog" by Edgar Allan Poe
"Annabel Lee" by Edgar Allan Poe
"The Raven" by Edgar Allan Poe
“A Rose for Emily” by William Faulkner
“A Good Man is Hard to Find” by Flannery O’Conner
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UNIT 4: Transcendentalism
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"A Nonconformist" from Self-Reliance by Ralph Waldo Emerson
"Traveling" from Self-Reliance by Ralph Waldo Emerson
"Reliance on Property" by Ralph Waldo Emerson
"Man Thinking" from American Scholar by Ralph Waldo Emerson
"Why I Went to the Woods" from Walden by Henry David Thoreau
"The Battle of the Ants" from Walden by Henry David Thoreau
"Why I Left the Woods" from Walden by Henry David Thoreau
from Civil Disobedience by Henry David Thoreau
"The Minister's Black Veil" by Nathaniel Hawthorne
"What Redburn Saw in Launcelott's-Hey" by Herman Melville
from "What the Black Man Wants" by Frederick Douglass
"Gettysburg Address" by Abraham Lincoln
"This Sacred Soil" by Chief Seattle (p. 282)
UNIT 5: The American Classic (1870 - 1915)
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"I Hear America Singing" by Walt Whitman
"I Sit and Look Out" by Walt Whitman
"When I Hear the Learn'd Astronomer" by Walt Whitman
"Sparkles from the Wheel" by Walt Whitman
"The Celebrated Jumping Frog of Calaveras County" by Samuel Clemens
from Life on the Mississippi by Samuel Clemens
"My Heart Feels Like Bursting" by Satanta
"I Will Fight No More Forever" by Chief Joseph
"An Occurrence at Owl Creek Bridge" by Ambrose Bierce
"An Episode of War" by Stephen Crane
"Of the Meaning of Progress" by W. E. B. Du Bois
UNIT 6: The Hemingway Hero
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"In Another Country" by Ernest Hemingway
"A Clean, Well-Lit Place" by Ernest Hemingway
"Hills Like White Elephants" by Ernest Hemingway
"The Snows of Kilimanjaro" by Ernest Hemingway
UNIT 7: Neo-Realism (1915 - 1945)
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"Brother Death" by Sherwood Anderson
"The Bear" by William Faulkner
"The Man Who Saw the Flood" by Richard Wright
"A Worn Path" by Eudora Welty
"Chicago" by Carl Sandburg
"Theme for English B" by Langston Hughes
"Stopping by Woods on a Snowy Evening" by Robert Frost
"pity this busy monster, manunkind" by ee cummings
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English 11 Honors Schedule
First Semester (2013-14)
Gerber, rgerber@esusd.k12.ca.us
http://elsegundousd.com/eshs/teachers/rgerber/
Week #
1
Week
Activity
Introductory activities, syllabus, policies, website, essential question, Catcher Quiz
2
Unit 1: Catcher in the Rye, Vocab Unit 1a, Begin reading The Scarlet Letter.
3
Unit 2: Colonial Era (Sub Unit A: When Worlds Collide – First Encounters) Vocab 2a
4
Unit 2: Colonioal Era (Sub Unit B: Revolutionary Period), Vocab 3a
5
Unit 2: Colonial Era (Sub Unit B: Revolutionary Period), Unit 2 Exam
6
Unit 3: The Scarlet Letter, Vocab 4a
7
Unit 3: The Scarlet Letter, Vocab 5a, Reading Quiz, Group Presentations
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Unit 3: The Scarlet Letter, Unit 3 Exam, assign Research Paper, Into the Wild
9
Unit 4: Romanticism and Literary Nationalism (Sub Unit A: The American Hero) Vocab 6a,
Archetype group work and presentations
10
Unit 4: Romanticism and Literary Nationalism (Sub Unit A: The American Hero)
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Unit 4: Romanticism and Literary Nationalism (Sub Unit B: American Gothic), Unit 4 Exam
12
Unit 5: Transcendentalism (Sub Unit A: Celebrations of the Self)
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Thanksgiving Vacation
14
Unit 5: Transcendentalism (Sub Unit A: Celebrations of the Self), Vocab 7a
15
Unit 5: Transcendentalism (Sub Unit B: A House Divided), Vocab 8a, Research Paper due
16
Unit 5: Transcendentalism (Sub Unit C: Anti-Transcendentalists), Vocab 9a, Unit 5 Exam
17
Winter Break
18
Winter Break
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Unit 6: Huckleberry Finn,
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Unit 6: Huckleberry Finn, Spring Registration
21
Unit 6: Huckleberry Finn, Vocab 10a
22
Finals Week (Vocabulary Final/Unit 6 Exam)
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English 11 Honors Schedule
Second Semester (2013-14)
Gerber, rgerber@esusd.k12.ca.us
Week #
Activity
1 (23)
Realism
2 (24)
Begin The Great Gatsby Reading, Continue Realism
3 (25)
Realism
4 (26)
Gatsby Project Work, The Progressive Period
5 (27)
Gatsby Presentations
6 (28)
Modernism
7 (29)
Modernism
8 (30)
The Great Gatsby Reading
9 (31)
The Great Gatsby
10 (32)
Beyond Gatsby - Emerging Sensibilities in Turbulent Times
11 (33)
New Poetic Forms and Devices
12 (34)
Spring Break
13 (35)
The Hemingway Code Hero – Embracing “the Nada”
14 (36)
The Grapes of Wrath
15 (36)
The Grapes of Wrath
16 (38)
The Grapes of Wrath
17 (39)
The Grapes of Wrath
18 (40)
The Grapes of Wrath
19 (41)
The Modern Drama – The Glass Menagerie
Finals Week
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Successful English Students Do and Know the Following Fundamentals
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Address the Prompt
o What (what insightful answer addresses the prompt?)
o How (how does the author create meaning?)
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Embrace AMBIGUITY
o What does the complexity and ambiguity in the literature suggest about life?
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Learn to Move from LITERAL TO FIGURATIVE
o Go beyond the obvious to the place of reflection, even epiphany.
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Know the Terminology for Discussing Literature. Know STYLISTIC DEVICES
o Syntax, Diction, Irony, Tone, Style, Narration, Imagery, Figurative Language,
Meter
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Craft a Responsive, Subjective, and Insightful Thesis
o Do not parrot the prompt or argue the question. Think in terms of topic, position,
and rationale.
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Argue the THESIS THROUGHOUT THE PAPER
o Stick to the purpose established in the introduction.
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Provide TEXTUAL EVIDENCE to Support the Thesis
o Smoothly integrate quotes.
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Practice CLOSE READING of Novels, Plays and Poems
o Analyze WHAT (message) the writer communicates and HOW the author
communicates it (rhetoric).
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Write to Express not to Impress
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Use Appropriate COLLEGIATE DICTION
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Are Familiar with ALLUSIONS
o Mythological, biblical, literary and historical.
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Possess a Broad Range of Readings
o From 16th century to contemporary authors, male and female, of ranging races,
cultures,
o religions, social class, and political viewpoints.
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TAKE ACADEMIC RISKS!
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Bring unique understandings to the work.
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Realize that the Secret of Success will not Work Unless You Do
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Discover Something New Each Day
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Homework Policy
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Daily homework is written on the whiteboard AND posted on the website
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Assignments to be submitted each day are also posted on the whiteboard under “DUE”
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Homework is due at the START of class the day after it is assigned unless instructed
otherwise. I collect it after the bell rings so no points if you submit it after the bell.
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DO NOT USE CLASS TIME TO PREPARE YOUR WORK FOR THE BOX – that’s
the “home” part of homework.
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All missed assignments must be submitted the day after you return from an excused
absence or after the number of days you were absent– no later. Keep in mind you can
always check the website if you want to get a jump on the work – EARLY
SUBMISSION FOR MISSED WORK IS HIGHLY ENCOURAGED.
o Example 1 – You miss a Wednesday, you return Thursday = The homework
assigned Tuesday is now due on Thursday; the homework assigned on the day
you were absent is due Friday (the day after you return).
o Example 2 – You miss a Tuesday, Wednesday and Thursday = The homework
assigned Monday is due on Friday; the homework assigned on the 3 missing days
is due 3 days (the number you missed) from the day you return or Tuesday of the
next week.
 ANYTHING ASSIGNED A WEEK OR MORE AHEAD OF TIME IS DUE ON THE
ASSIGNED DATE – ABSENCES DO NOT BUY YOU AN EXTRA DAY.
CRITICAL: If you are absent the day a major assignment is due (e.g.,
term paper, homework packet, oral presentation), you must submit the
completed assignment by the time your class meets or have someone
submit it to the front office. Failure to do either will result in a 0 for
that assignment. An email to me explaining any “special”
circumstances MAY buy you time or consideration, but don’t count on
it. I am firm on this policy; notes from parents will not excuse a late
project or essay that has been assigned a week or more in advance.

Remember, you can always use your Redemption Points for assignments (see policy
posted in class and in class syllabus)
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Redemption Policy and Submission
Redemption days buy you an extra day to submit assignments. Weekends DO count toward the
number of days used. You get three per semester.
Submission: Followed to the letter. You must:
 Turn in the work by your period the next day
 Write at the top of the assignment “Redemption”
 Write the date the work was due
 Write the date the work is submitted.
 Write the number of days of Redemption you are claiming
 Hand the assignment directly to me.
Note: Redemption does not apply to all assignments; ask first to avoid disappointment.
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Glossary of Literary Terms
Abstract: Describes a word or phrase that refers to an idea rather than a concrete object or thing (which would be
called literal). Liberty, prejudice, love, and freedom are examples of abstract concepts.
Action: What happens in a story; the events or conflicts. If the action is well organized, it will develop into a pattern
or plot.
Allegory: A story in which people, things, and actions represent an idea or generalization about life; allegories often
have a strong moral or lesson. For example, in Spenser’s The Faerie Queen, the Red Cross Knight is a heroic knight
in the literal narrative, but also represents the ordinary human in the Christian journey.
Alliteration: The repetition of consonant sounds at the beginning of adjacent or closely connected words in a line of
poetry.
Allusion: A reference in literature to a familiar person, place, thing, or event.
Analogy: A comparison of two or more similar objects so as to suggest that if they are alike in certain respects, they
will probably be alike in other ways as well.
Anecdote: A short summary of a funny or humorous event.
Antagonist: The person or thing working against the protagonist or hero of the work. When this is a person, he is
usually the villain.
Anaphora: The repetition of a word or phrase at the beginning of successive clauses.
Apostrophe: An emotional address to a person or thing not literally listening.
Apotheosis: The elevation of a character (usually a hero) to the status of a god or deity. Joseph Campbell includes
this as the fifth step in the Initiation Phase of the hero’s journey. When someone dies a physical death, or dies in
body to live in spirit, he or she moves beyond the pairs of opposites to a state of divine knowledge, love,
compassion, and bliss. This is a god-like state; the person is in heaven and beyond all strife. A more mundane way
of looking at this step is that it is a period of rest, peace, and fulfillment before the hero begins the return.
Archaic: Describes words that are old-fashioned and no longer sound natural when used, such as “I believe thee
not” for “I don’t believe you.” (see diction)
Aside: A line spoken by an actor to the audience but not intended for others on stage.
Assonance: repetition of a vowel sound in a line of poetry.
Autobiography: An author’s account or story of his/her own life.
Backdrop Setting: A setting this is relatively unimportant to the plot.
Ballad: A poem that tells a story and usually rhymes every other line.
Bard: A poet, traditionally one reciting epics and associated with a particular oral tradition.
Bias: An attitude or tendency to favor one thing over another.
Biography: The story of a person’s life written by another person.
Blank Verse: An unrhymed form of poetry that normally consists of ten syllables in which every other syllable,
beginning with the second, is stressed.
Burlesque: (see parody)
Caesura: A pause or sudden break in a line of poetry.
Canon: A list of literary works considered to be permanently established as being scared or of the highest quality.
Canto: A division of a long poem.
Cause and Effect: Events in a story are linked; one event leads to another.
Character: A person in a story or poem.
Character Foil: Another character in the story, sometimes a sidekick, who is there to illuminate or reflect the
characteristics of the protagonist.
Characterization: The method an author uses to reveal or describe his characters and their various personalities.
This can be done through a variety of ways, such as description of appearance, dialogue, behavior, other characters’
reactions or thoughts, or first-person narration.
Cliché: A word or phrase so overused that it is no longer effective in most writing situations, as in “I slept like a
log” or “as busy as a bee.”
Climax: The high point or turning point in a work, usually the most emotionally intense point.
Colloquialism: An expression that is usually accepted in informal writing or speaking but not in a formal situation,
as in “Hey, man, what’s happenin’?” (See diction)
Comedy: Literature dealing with comic or serious subject matter in life in a light, humorous, or satiric manner. In
comedy, human errors or problems appear funny.
Concrete: (adj.) Describes a word that refers to an object that can be heard, seen, felt, tasted, or smelled. Wall, desk,
car, and cow are examples of concrete objects.
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Conflict: The struggle between the protagonist and an opposing force; the “problem” in a story that triggers the
action. There are five basic types of conflict:
 Man vs. Man: One character in a story has a problem with one or more of the other characters.
 Man vs. Society: A character has a conflict or problem with some element of society—the school, the law,
the accepted way of doing things, and so on.
 Man vs. Himself: A character has trouble deciding what to do in a particular situation.
 Man vs. Nature: A character has a problem with some natural happening: a snowstorm, an avalanche, the
bitter cold, or any of the common elements of nature.
 Man vs. Fate (God): A character has to battle what seems to be an uncontrollable problem. Whenever the
problem seems to be a strange or unbelievable coincidence, fate can be considered as the cause of the
conflict.
Connotation: The emotions or feelings a word can arouse, such as the negative or bad feeling associated with the
word pig or the positive or good feeling associated with the word love.
Context: The environment of a word; that is, the words, sentences, and paragraphs that surround a particular word
and help to determine or deepen its meaning.
Crisis: The moment when the character faces a harsh situation or when the character is faced with his/her internal
conflict and realizes she/he must make a decision.
Cycle: A series of songs, stories, plays, or poems composed around a particular theme and usually intended to be
performed or read in sequence.
denotation: The literal or dictionary meaning of a word. (See connotation)
Denouement: (see resolution)
Dialogue: The conversation carried on by the characters in a literary work.
Diction: An author’s choice and arrangement of words based on their correctness, clearness, or effectiveness. It is
comprised of vocabulary and syntax. (See archaic, colloquialism, jargon, profanity, slang)
Direct Characterization: When the author explicitly tells the reader about the character, such as, “Helen is
intelligent.”
Drama: The form of literature known as plays; but drama also refers to the type of serious play that is often
concerned with the leading character’s relationship to society rather than with some tragic flaw within his
personality.
Dramatic Monologue: A piece of spoken verse that offers great insight into the feelings of the speaker. Not to be
confused with a soliloquy in a play (which the character speaking speaks to themselves), a dramatic monologue
suggests there are listeners or even other characters in the speaker’s presence, though they remain silent.
Dynamic Character: A character that is altered is some way by the end of the story. (see static character for
contrast)
Eclogue: A short poem about country life. (see pastoral)
Elegy: A formal poem mourning the death of a certain individual.
Enjambment: Running over of a sentence or thought from one verse or line to another.
Epic: A long poem, typically one derived from ancient oral tradition, narrating the deeds and adventures of heroic or
legendary figures or the history of a nation.
Epigraph: A short quotation or saying at the beginning of a book or chapter, intended to suggest its theme.
Epithet: An adjective or descriptive phrase expressing a quality characteristic of the person or thing mentioned.
(e.g., swift-footed Achilles; Zeus, father of gods and men)
Exclamation: A sudden cry or shout that conveys extreme emotion.
Exposition: How things are before the action of a story starts.
External Conflict: Conflict that exists outside the character. It involves person vs. nature, person vs. person, person
vs. society, person vs. fate, person vs. monster, or sometimes a combination.
Falling Action: The action that occurs after the climax.
First Person: When the story is told through the point of view of one character. The character uses the pronoun “I”
when narrating the story, and we are limited only to what this character knows. (see point of view)
Flat Character: A character is never fully developed.
Foot: Unit of meter that denotes the combination of stressed and unstressed syllables. (See verse.)
Frame Story: A story told within a story. A narrative structure that provides a setting and exposition for the main
narrative in a novel. Often, a narrator will describe where he found the manuscript of the novel (e.g., The Scarlet
Letter) or where he heard someone tell the story he is about to relate (e.g., A Connecticut Yankee in King Arthur’s
Court). The frame helps control the reader’s perception of the work, and has been used in the pas to help give
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credibility to the main section of the novel, though the implication or claim that the novel represents a true account
of events, written by someone other than the author.
Free Verse: Poetry that does not have a regular meter or rhyme scheme.
Foil: (see character foil)
Genre: A category of literature characterized by similarities in form, style, or subject matter, such as tragedy,
comedy, science fiction, epic, essay, mystery, biography, or lyric poetry.
Gothic: A genre of literature characterized by supernatural horrors and an atmosphere of unknown terror pervades
the action. The setting is often a dark, mysterious castle or mansion, where ghosts and sinister humans roam
menacingly.
Haiku: A form of Japanese poetry comprised of three lines: the first line has five syllables, the second has seven
syllables, and the third has five syllables. The subject of the haiku has traditionally been nature.
Hyperbole: An exaggerated statement or claim not meant to be taken literally.
Imagery: Language that appeals to the five senses (sight, sound, taste, touch, smell).
Indirect Characterization: When the character is revealed through his/her actions and words, such as, “Helen’s
hair was gray; her face marked by deep lines and sagging skin. Her once vibrant eyes had gone dull from knowing
only years of hard work and many disappointments.” (see direct characterization for contrast)
Integral Setting: Setting that is essential to the plot.
Internal Conflict: The conflict a person has within himself or herself, which can be emotional, psychological,
moral, spiritual, etc. These are the moral dilemmas, personal traumas, inner turmoil, or psychological problems that
complicate a person’s ability to overcome a challenge, make a critical decision, or succeed in a journey.
Internal Rhyme: Occurs when the rhyming words appear in the same line of poetry.
Irony: The contrast between what is expected and what actually happens; the difference between appearance and
reality.
Juxtaposition: Placing ideas, characters, settings, or objects side by side to emphasize the difference between them.
Lyric: A short verse that is intended to express the emotions of the author; quite often these lyrics are set to music.
Metaphor: A comparison of two unlike objects to show a likeness between them.
Meter: The repetition of stressed and unstressed syllables in a line of poetry. (See foot). In English poetry, the most
common meters are:
 Iambic: a foot consisting of an unaccented and accented syllable. Shakespeare often uses iambic, for
example the beginning of Hamlet's speech (the accented syllables are italicized), "To be or not to be. Listen
for the accents in this line from Marlowe, "Come live with me and be my love." English seems to fall
naturally into iambic patterns, for it is the most common meter in English.
 Trochaic: a foot consisting of an accented and unaccented syllable. Longfellow's Hiawatha uses this meter,
which can quickly become singsong (the accented syllable is italicized):
"By the shores of GitcheGumee
By the shining Big-Sea-water."
 Anapestic: a foot consisting of two unaccented syllables and an accented syllable. These lines from
Shelley's Cloud are anapestic:
"Like a child from the womb, like a ghost from the tomb
I arise and unbuild it again."
 Dactylic: a foot consisting of an accented syllable and two unaccented syllables, as in these words:
swimingly, mannikin, openly.
 Spondee: a foot consisting of two accented syllables, as in the word heartbreak. In English, this foot is
used occasionally, for variety or emphasis.
 Pyrrhic: a foot consisting of two unaccented syllables, generally used to vary the rhythm.
Motif: Any reoccurring character, incident, idea, or structure in literature, such as a hero saving a damsel in distress,
society vs. nature, or the loss of innocence. As a literary device, motifs are used to communicate themes.
Mood: The overall feeling or emotional atmosphere of a story. A story or scene can feel creepy, suspenseful,
cheerful, sad, etc.
Myth: Any story that attempts to explain how the world was created or why the world is the way that it is. Myths
are stories that are passed on from generation to generation and normally involve religion. M.H. Abram refers to
myths as a “religion in which we no longer believe.” Most myths were first spread by oral tradition and then were
written down in some literary form. Many ancient literary works are, in fact, myths as myths appear in every ancient
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culture of the planet. For example you can find them in ethnological tales, fairy tales as well as epics. A good
example of a myth is The Book of Genesis, which recounts tales of the creation of the universe, the Earth and
mankind.
Ode: A lyric poem written to someone or something. It is serious and elevated in tone. (See lyric, tone)
Onomatopoeia: The use of a word whose sound suggests its meaning, as in clang, buzz,, and twang.
Paradox: A statement that at first seems contradictory but turns out to have a profound meaning, such as this line
from Robert Frost: “Nature’s first green is gold.” Green is not gold, yet gold is symbolic of something great or
valuable.
Parallelism: Repeating of phrases or sentences that are similar, parallel in meaning and structure, as with “of the
people, by the people, and for the people.”
Parody: A literary form intended to mock a particular literary work or its style. A burlesque, or comic effect, is
created.
Pastoral: A poem or literary work portraying or evoking country life, usually in a romanticized or idealized form.
Pathos: A Greek root meaning suffering or passion. It is usually applied to the part in the play or story intended to
bring out pity or sorrow from the audience or reader.
Persona: In literature, the persona is the narrator, or the storyteller, of a literary work created by the author. The
persona is not the author, but the author’s creation—the voice “through which the author speaks.” It could be a
character in the work, or a fabricated onlooker, relaying the sequence of events in a narrative.
Personification: Giving human attributes to a non-human creature or thing.
Plot: The action in a story. It is usually a series of related events that builds and grows as the story develops. There
are five basic parts or elements in a plot, which make up a plotline: exposition, rising action, climax, falling action,
and resolution.
Plotline: The five basic parts or elements in a plot. (see plot)
Point of View: A way the events of a story are conveyed to the reader, it is the “vantage point” from which the
narrative is passed from author to the reader. The point of view can vary from work to work. For example, in the
Book of Genesis the objective third person point of view is presented, where a “nonparticipant” serves as the
narrator and has no insight into the characters' minds. The narrator presents the events using the pronouns he, it,
they, and reveals no inner thoughts of the characters. In Edgar Allan Poe’s short story “The Cask of Amontillado,”
the first person point of view is exhibited. In this instance the main character conveys the incidents he encounters, as
well as giving the reader insight into himself as he reveals his thoughts, feelings, and intentions. Many other points
of view exist, such as omniscient (or “all knowing”) in which the narrator “moves from one character to another as
necessary” to provide those character’s respective motivations and emotions. Understanding the point of view used
in a work is critical to understanding literature; it serves as the instrument to relay the events of a story, and in some
instances the feelings and motives of the character(s). (see first person, second person, third person limited, third
person objective, third person omniscient)
Poetry: Language that reflects imagination, emotion, and thinking in verse form.
Protagonist: The main character or lead figure in a novel, play, story, or poem. It may also be referred to as the
"hero" of a work. Over a period of time the meaning of the term protagonist has changed. The word protagonist
originated in ancient Greek drama and referred to the leader of a chorus. Soon the definition was changed to
represent the first actor onstage. In some literature today it may be difficult to decide who is playing the role of the
protagonist. For instance, in Othello, we could say that Iago is the protagonist because he was at the center of all of
the play's controversy. But even if he was a main character, was he the lead character? This ambiguity can lead to
multiple interpretations of the same work and different ways of appreciating a single piece of literature.
Pun: A joke exploiting the different possible meanings of a word or the fact that there are words that sound alike but
have different meanings. (e.g., “The pigs were a squeal—if you’ll forgive the pun.)
Repetition: Repeating of a word or idea for emphasis.
Resolution: The way a story ends and all the loose ends are tied up. Also called denouement.
Rhetoric: The art of effective or persuasive speaking or writing.
Rhetorical Question: A question that has no expectation of a reply or answer, used as a persuasive technique.
Rising Action: The sequence of conflicts and crises that lead to a climax.
Romance: An extended fictional prose narrative about improbable events involving characters that are quite
different from ordinary people. Knights on a quest for a magic sword and aided by characters like fairies and trolls
would be examples of things found in romance fiction.
Round Character: A character that is fully developed.
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Satire: A literary mode based on criticism of people and society through ridicule. The satirist aims to reduce the
practices attacked by laughing scornfully at them—and being witty enough to allow the reader to laugh, also.
Ridicule, irony, exaggeration, and several other techniques are almost always present. The satirist may insert serious
statements of value or desired behavior, but most often he relies on an implicit moral code, understood by his
audience and paid lip service by them. The satirist's goal is to point out the hypocrisy of his target in the hope that
either the target or the audience will return to a real following of the code. Thus, satire is inescapably moral even
when no explicit values are promoted in the work, for the satirist works within the framework of a widely spread
value system. Many of the techniques of satire are devices of comparison, to show the similarity or contrast between
two things. A list of incongruous items, an oxymoron, metaphors, and so forth are examples.
Science Fiction: A novel in which futuristic technology or otherwise altered scientific principles contribute in a
significant way to the adventures. Often the novel assumes a set of rules or principles or facts and then traces their
logical consequences in some form. For example, given that a man discovers how to make himself invisible, what
might happen? Examples: H. G. Wells, The Invisible Man; Aldous Huxley, Brave New World; Arthur C. Clarke,
2001: A Space Odyssey; Ray Bradbury, The Martian Chronicles
Second Person: When the author speaks directly to the reader, such as “You should note, dear reader, that….” (see
point of view)
Setting: The total environment for the action of a fictional work. Setting includes time period (such as the 1890's),
the place (such as downtown Warsaw), the historical milieu (such as during the Crimean War), as well as the social,
political, and perhaps even spiritual realities. The setting is usually established primarily through description, though
narration is used also.
Simile: A comparison of two unlike objects using “like” or “as.”
Soliloquy: A (usually long) dramatic speech whereby a character relates his/her thoughts and feelings without
addressing any of the other characters, giving the illusion of an unspoken reflection. Soliloquies will often occur
with no other characters on the stage, though it is not unusual for other actors to be present; regardless, the idea is
that the audience is getting a peek into the inner thoughts of the speaking character. A soliloquy is not the same as a
monologue or an aside.
Sonnet: A fourteen-line poem, usually in iambic pentameter, with a varied rhyme scheme. The two main types of
sonnet are the Petrarchan (or Italian) and the Shakespearean.
 The Petrarchan Sonnet is divided into two main sections, the octave (first eight lines) and the sestet (last
six lines). The octave presents a problem or situation which is then resolved or commented on in the sestet.
The most common rhyme scheme is A-B-B-A A-B-B-A C-D-E C-D-E, though there is flexibility in the
sestet, such as C-D-C D-C-D.
 The Shakespearean Sonnet, (perfected though not invented by Shakespeare), contains three quatrains and
a couplet, with more rhymes (because of the greater difficulty finding rhymes in English). The most
common rhyme scheme is A-B-A-B C-D-C-D E-F-E-F G-G. In Shakespeare, the couplet often undercuts
the thought created in the rest of the poem.
Static Character: A character that doesn’t change over the course of the story. Also called a flat character. (see
dynamic character for contrast)
Style: An author’s distinctive voice; the manner of expression of a particular writer, produced by choice of words,
grammatical structures, use of literary devices, and all the possible parts of language use. Some general styles might
include scientific, ornate, plain, emotive. Most writers have their own particular styles.
Subplot: A subordinate or minor collection of events in a novel or drama. Most subplots have some connection with
the main plot, acting as foils to, commentary on, complications of, or support to the theme of, the main plot.
Sometimes two opening subplots merge into a main plot.
Symbol: In general terms, a symbol is anything that stands for something else. It is something that on the surface is
its literal self but which also has another meaning or even several meanings. For example, a sword may be a sword
and also symbolize justice. A symbol may be said to embody an idea. There are two general types of symbols:
universal symbols that embody universally recognizable meanings wherever used, such as light to symbolize
knowledge, a skull to symbolize death, etc., and constructed symbols that are given symbolic meaning by the way an
author uses them in a literary work, as the white whale becomes a symbol of evil in Moby Dick.
Theme: The message or reoccurring idea of a literary work; the universal truth of a story. A theme is a thought or
idea the author presents to the reader that may be deep, difficult to understand, or even moralistic. Generally, a
theme has to be extracted as the reader explores the passages of a work. The author uses the characters, plot, and
other literary devices to assist the reader in this endeavor.
Third Person limited: When the story is seen through the eyes of one particular character. The narrator reveals only
one character’s inner thoughts and is not a character in the story himself. (see point of view)
Third Person objective: When the author uses “he” or “she” to refer to the character. The author states only what
can be seen; not what’s in characters’ minds. (see point of view)
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Third Person omniscient: When the story is told through the point of view of an all-knowing (i.e., omniscient)
narrator who supplies more information about all of the characters and events than any one character could know.
The narrator knows the thoughts and feelings of all the characters. (see point of view)
Tone: The writer's attitude toward his readers and his subject; his mood or moral view. A writer can be formal,
informal, playful, ironic, and especially, optimistic or pessimistic.
Tragedy: Broadly defined, a literary and particularly a dramatic presentation of serious actions in which the chief
character has a disastrous fate. There are many different kinds and theories of tragedy, starting with the Greeks and
Aristotle's definition in The Poetics, "the imitation of an action that is serious and also, as having magnitude,
complete in itself...with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions." In
the Middle Ages, tragedy merely depicted a decline from happiness to misery because of some flaw or error of
judgment.
Travesty: A work that treats a serious subject frivolously—ridiculing the dignified. Often the tone is mock serious
and heavy handed.
Unreliable Narrator: One who gives his or her own understanding of a story, instead of the explanation and
interpretation the author wishes the audience to obtain. This type of action tends to alter the audience’s opinion of
the conclusion. An author quite famous for using unreliable narrators is Henry James. James is said to make himself
an inconsistent and distorting “center of consciousness” in his work, because of his frequent usage of deluding or
deranged narrators. They are very noticeable in his novella The Turn of the Screw, and also in his short story, “The
Aspern Papers.” The Turn of the Screw is a story based solely on the consistency of the Governess’s description of
the events that happen. Being aware of unreliable narrators are essential, especially when you have to describe the
characters and their actions to others, since the narrator, unreliable as they are, abandons you without the important
guidance to make trustworthy judgments.
Verisimiliture: How fully the characters and actions in a work of fiction conform to our sense of reality. To say that
a work has a high degree of verisimilitude means that the work is very realistic and believable—it is "true to life."
Verse: Writing arranged with a metrical rhythm. A verse can also refer to a group of lines that form a unit in a
poem. Identification of verse structure includes the name of the metrical type and the name designating number of
feet:
 Monometer: 1 foot
 Dimeter: 2 feet
 Trimeter: 3 feet
 Tetrameter: 4 feet
 Pentameter: 5 feet
 Hexameter: 6 feet
 Heptameter: 7 feet
 Octameter: 8 feet
 Nonameter: 9 feet
Western: A novel set in the western United States featuring the experiences of cowboys and frontiersmen. Many are
little more than adventure novels or even pulp fiction, but some have literary value.
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Taboo Words and Forms to Avoid
English 9 Honors
In high school you will want to take care to write with academically appropriate language.
Therefore, you will want to avoid taboo words and conventions. You are held responsible for
knowing these words and conventions on all academic writing, including essays, homework
packets, vocabulary sentences and dialectical journals.
1. thing, things
2. stuff
3. a lot of
4. okay, ok
5. common adjectives (good, bad, happy, sad, mad) choose more precise language
6. wanna
7. gonna
8. kid
9. guy
10. kind of/sort of
11. Nowadays
12. Common modifiers such as very, extremely, incredibly (chose a precise word)
13. could of, would of, should of (could have, would have)
14. & instead of and
15. Contractions (won’t = will not)
16. Text messaging terms: lol = hilarious, 2 = to, 4 = for, GF = death
17. First person in academic writing except personal narratives: I, we, us, our, me
18. Second person: you,
19. numbers ten and under should be spelled out unless part of a date, street numbers or
proper names. Numbers over ten are spelled out if they start a sentence.
20. slang (my bad, emo, fugly, peeps, dawgs, homies, sup, rad)
21. anything obscene
22. jargon (“technical talk” example: Bilateral probital hematoma (jargon)
for a black eye, or “shiner” (SLANG)
23. The fact that = that
24. In order to = to
Additionally avoid
1. Avoid using “one” when referring to an anonymous person – reword the sentence.
2. Being that
3. “Talks about” when referencing a writer’s statement in a novel
4. Being and all its forms (as much as possible) (is, are, were = recast)
5. There is (are) (there is a woman I know who is insane about her dog = A woman I know
is insane about her dog)
6. Gerunds or verbs ending in “ing.” Paul is reflecting on the war = Paul reflects on the war
7. The author wants to show that (assumes)
8. Do not refer to the reader (the reader will see that....) elements
9. Do not refer to the quote (the quote is important because…)
10. Passive voice. The review will be performed by Ms. Miller = Ms. Miller will perform the
review.
11. “The reader”
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12. “What people don’t know/realize is” (assumes)
13. “The author wants people to know”
14. Rhetorical questions except in intro and conclusion
15. The author “is able to” – this implies a lack of qualifications.
Additionally:
 When you write about fiction, you use present tense.
 Non-fiction is written in authentic tense
 Never critique (“Steinbeck beautifully and accurately portrays the life of disposed
migrants.” This is not your job nor are you qualified to judge iconic American literature –
simply argue your thesis).
 Omit all summary – ARGUE instead
 KNOW THY AUDIENCE – Your audience is me, your teacher, who has read the works
countless times. You do not need to say “Jim, a slave, is set adrift on the vast Mississippi
River.” I am well aware Jim is a slave. Nor do you need to relate that “The protagonist in
the novel is a boy named Huckleberry Finn, who takes a journey down the river.”
Likewise, you should assume I know the name of the protagonist. This type of writing
reads as fluff and filler and a pretty clear indication that you don’t have much to say
regarding your argument.

KNOW THY REGISTER – unless specifically stated, assume the register for academic
writing is formal – do not adopt a friendly, casual demeanor with your reader, do not invoke
second person, and do not EVER summon the egregious first person (I, we, us, our). EVER.
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Language Registers
There are five language register or styles. Each level has an appropriate use that is determined
by differing situations. It would certainly be inappropriate to use language and vocabulary
reserved for a boyfriend or girlfriend when speaking in the classroom. Thus, the appropriate
language register depends upon the intended audience (who), the topic (what), purpose (why)
and location (where). I will tell you which language to use for a specific assignment, so please
familiarize yourself with them.
You must control the use of language registers to enjoy success in every aspect and situation you
encounter.
1. Static Register
This style of communications RARELY or NEVER changes. It is “frozen” in time and content,
e.g. the Pledge of Allegiance, the Lord’s Prayer, and the Preamble to the US Constitution, the
Alma Mater, a bibliographic reference, and laws.
2. Formal Register
This language is used in formal settings and is one-way in nature. This use of language usually
follows a commonly accepted format. It is usually impersonal and formal. A common format
for this register are speeches, e.g. sermons, rhetorical statements and questions, speeches,
pronouncements made by judges, announcements.
3. Consultative Register
This is a standard form of communications. Users engage in a mutually accepted structure of
communications. It is formal and societal expectation accompanies the users of this speech. It is
professional discourse, e.g. when strangers meet, communications between a superior and a
subordinate, doctor and patient, lawyer and client, judge and lawyer, teacher and student,
counselor and client.
4. Casual Register
This is informal language used by peers and friends. Slang, vulgarities and colloquialism are
normal. This is a “group” language. One must be a member to engage in this register, e.g.
buddies, teammates, chats, emails, blogs and letters to friends.
5. Intimate Register
This communication is private. It is reserved for close family member or intimate people, e.g.,
husbands and wives, boyfriend and girlfriend, siblings, parent and children.
Rule of Language Use:
One can usually transition from one language register to an adjacent one without encountering
repercussions. However, skipping one or more levels is usually considered inappropriate and
even offensive.
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Readers Response Logs/RR NOTES
RR Notes are mandatory for each reading assignment, including novel chapters, short stories,
play scenes and acts, and poems. The purpose of RR Notes is to encourage active reading and the
utilization of essential comprehension strategies, such as asking questions, clarifying
uncertainties when possible, predicting outcomes based on inferences and knowledge of common
motifs, evaluating a text’s contents and its author’s style, and making personal connections with
the literature.
There are four sections to each RR log: 1. Summary 2. Questions 3. Quotation 4. Class Notes
Make the Reading Response page a productive part of your homework routine. Try to be in the
habit of having your text and your RR log on your desk as soon as class begins. Occasionally
you may be permitted to use these notes on a quiz or other important assessment. All RR Notes
should help you to review for tests and help you to contribute to class discussions.
DIRECTIONS: Include the title of the text at top of page and the specific reading assignment
(chapters, pages, due date). You may format your RR log in the way that best suits your personal
note-taking style, but those notes should be organized to record the following information:
1. SUMMARY: Take notes on the content, style, and structure of the text. These notes should focus
on many of the following tasks:
 Keep track of plot elements: exposition, rising action, climax, falling action, resolution,
internal/external conflicts, protagonist, antagonist, minor characters, setting, etc.
 Comment on point of view: speaker, first person narrator, unreliable narrator, third person
omniscient, third limited, audience, etc.
 Record your observations on author’s style: diction, syntax, tone, mood, etc.
2. QUESTIONS: Generate at least three questions for class discussion. Consider any combination
of factual, interpretative, and/or evaluative questions.
 Problematic Vocabulary: create a section in your notes for words that you need defined;
new words, foreign phrases, figures of speech, etc.
 Factual: right there on the page; you can put your finger on the answer; this is what the
author says
 Interpretive: reading between the lines; more than one possible answer; what we think the
author says
 Evaluative: judging and evaluating validity of a concept or point; what we think about what
the author says; a level of right or wrong
3. QUOTATION: Copy one significant quotation or passage from the text. Include page number,
brief description of scene/setting, speaker, and audience (if any). This could be a line that you
found particularly intriguing or beautiful, funny or crucial to the story. Include a sentence or two
reflecting on why you chose this line.
4. CLASS NOTES: When the class reconvenes on the day the reading assignment is to have been
completed, add any additional notes, details, reflections, or questions that arise during the in-class
post-reading discussion. This discussion is intended to explore abstract qualities of the literature
and clarify any problematic vocabulary or plot details, not to retell or explain the text.
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26
Insert RR Example
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Insert RR Example
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HOMEWORK PACKET SCORING RUBRIC
16 - 0
19 - 17
22 - 20
25 - 23
POINT
RANGE
PERFORMANCE DECSCRIPTION
SCORE
Student’s responses to questions are clear, effective, and
demonstrate a thorough critical understanding of the text in
developing insightful answers. Answers are coherently organized,
with ideas supported by apt reasons and well-chosen examples.
Student’s work is original, thoughtful, and complete. The work is
generally free from errors in grammar, usage, and mechanics;
writing style is effective and fluent, marked by syntactic variety
and a clear command of language.
Student’s responses to questions are clear and demonstrate a
critical understanding of the text in developing insightful answers.
Answers are well organized, with ideas supported by apt reasons
and well-chosen examples. Student’s work is thoughtful and
complete. The work may have a few errors in grammar, usage,
and mechanics; writing style is effective, marked by some variety
and facility in the use of language.
Student’s responses generally address the topic, but may slight
some aspects of the task; responses demonstrate a generally
accurate understanding of the text in developing plausible
answers. Answers are adequately organized, with ideas generally
supported by reasons and examples. Student’s work is thoughtful
and complete. The work may have a few errors in grammar,
usage, and mechanics; writing style is effective, marked by some
variety and facility in the use of language.
Responses are comprised largely of superficial analysis, tending
to discuss the obvious, showing a lack of imagination or insight.
Answers generally lack coherence and often fail to use sufficient
or accurate evidence or reasoning to prove an argument. The work
in general is lackluster, sloppy, carelessly composed, and
obviously was denied the serious and scholarly attention it was
expected to receive.
**Any homework packet that is incomplete cannot receive a score higher than 15
points.
**Handwriting that is illegible due to careless transcription will be regarded as
incomplete. If your penmanship cannot be read, it cannot be graded.
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Insert Participation Rubric
30
El Segundo High School Essay Writing Rubric
SCORE
Superior
100 – 90 (A)
CRITERIA
Convincingly and ardently communicates a noteworthy idea to an audience through sophisticated use of rhetorical strategies.
____ Thesis/focus—demonstrates an awareness of audience, is sophisticated, and is clearly established and maintained throughout.
____ Organization—has a clear sense of logical order appropriate to the content and the thesis.
____ Development—demonstrates critical thinking that is clear, insightful, in depth, and relevant to the topic.
____ Syntax and Diction—uses sophisticated language that engages the reader; manipulates sentence length to enhance the total effect of
the essay; uses precise language that expresses complex ideas clearly.
____ Format and Design—fully integrates elements of design to best serve rhetorical purpose.
____ Research (if applicable)—uses sources effectively and documents sources accurately.
____ Mechanics—contains very few errors of spelling, grammar, paragraphing, or manuscript format.
Strong
89 – 80 (B)
Effectively conveys an insightful idea to an audience through consistent and controlled use of rhetorical strategies.
Competent
79 – 70 (C)
Communicates an idea, but does not consistently address the needs of its audience.
Inadequate
69 – 60 (D)
Ineffectively communicates its idea to its intended audience.
____ Thesis/focus—is superficial and inconsistently addressed; reveals limited awareness of audience
____ Organization—reveals no apparent strategy and lapses in focus and logic.
____ Development—displays little knowledge of the subject, does not form conclusions, or fails to exhibit critical thinking or clear reasoning.
____ Syntax and Diction—contains repetitive, incorrect, or ineffective sentence structure; displays a limited vocabulary.
____ Format and Design—bears little relevance to the assignment’s rhetorical purpose or guidelines.
____ Research (if applicable)—lacks sufficient research for the topic, poorly incorporates sources, or fails to document sources accurately.
____ Mechanics—contains many errors that garble the meaning or intent
Incompetent
59 – 0 (F)
____ Thesis/focus—is intelligent, clearly established, and consistently addressed throughout.
____ Organization—is logical, clear, and controlled.
____ Development—demonstrates critical thinking that is more than adequate, with significant detail; may show depth in thinking and
research.
____ Syntax and Diction—demonstrates knowledge of and skill with complex and varied sentence constructions and vocabulary.
____ Format and Design—consistently contributes to the persuasive aims of the assignment.
____ Research (if applicable)—uses sources effectively and documents accurately.
____ Mechanics—may contain errors, but these errors do not interfere with the essay’s overall effectiveness.
____ Thesis/focus—has a central idea that is conventional or general.
____ Organization—the essay’s organization is choppy and may, at times, be difficult to follow.
____ Development—demonstrates limited critical thinking and limited knowledge of the subject.
____ Syntax and Diction—demonstrates competency with language use, but sentence constructions and vocab may be limited or repetitive.
____ Format and Design—unevenly incorporates elements of design to aid its argument
____ Research (if applicable)—lacks sufficient research for the topic, poorly incorporates sources, or fails to document accurately
____ Mechanics—contains multiple errors that hinder the essay’s readability.
Fails to present its ideas to the audience and does not meet some or all of the criteria for the assignment.
____ Thesis/focus—lacks a central idea; has no awareness, or limited awareness, its audience and purpose.
____ Organization—is random and without focus or logic.
____ Development— displays little or no knowledge of the subject, does not form conclusions, or fails to exhibit critical thinking or clear
reasoning
____ Syntax and Diction— fails to demonstrate competency with language use; sentence constructions and vocab may be inappropriate,
facile, or incoherent.
____ Format and Design—makes no attempt to use the elements of design to help persuade its audiences
____ Research (if applicable)—fails to include sufficient sources for topic, incorporates irrelevant or inadequate sources, or plagiarizes.
____ Mechanics—contains serious and multiple errors that seriously hinder the reading of the paper
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Group Presentations: RUBRIC
Organization
Focus
Content
Support
Oratory
Style &
Delivery
Excellent
4
Satisfactory
3
Needs Improvement
2
Presentation was logically
organized and easy to follow.
Information was delivered
with coherence and cogency.
Transitions between group
members were well planned
and executed fluidly.
Organization was acceptable
and mostly easy to follow.
Delivery was mostly coherent
and cogent. Transitions might
have been slightly
discontinuous but did not
detract greatly from overall
presentation.
Presentation addresses the
topic clearly, but may respond
to some aspects of the task
more effectively than others.
Most of the group members
demonstrate a sufficient
understanding of content.
Analysis shows some depth
and complexity of thought.
Content missing minor
elements or contained minor
errors.
Examples and reasoning
validate argument, though
some evidence and logic may
be inappropriate or flawed.
Graphics (if required) relate to
screen text and presentation.
Student maintains eye contact
most of time but frequently
returns to notes. Student’s
voice is clear. Student
pronounces most words
correctly. Most audience
members can hear
presentation.
Presentation was not clearly
organized. Delivery was
marred by incoherence and
lacking in cogency. Transitions
between members were jumpy
or awkward.
Presentation lacked
organization and was
difficult to follow. Poor
transitions between group
members’ individual parts.
Presentation distorts or
neglects aspects of the task.
Mostly off-topic.
Presentation indicates
confusion about the topic or
neglects important aspects
of the task.
Group members had little
to no understanding of the
content addressed in the
presentation. Analysis was
simplistic, repetitive, and
superficial.
Presentation addresses the
topic clearly and responds
effectively to all aspects of
the task. Highly persuasive.
Group members demonstrate
a mastery of topic. Content
was thoroughly addressed
and issues were explored
thoughtfully and in depth. No
mistakes were made with
regard to content knowledge.
Argument is substantiated by
well-chosen examples and
logical reasoning. Graphics (if
required) explain or reinforce
screen text and presentation.
Student maintains eye
contact with audience,
seldom returning to notes.
Student uses a confident,
clear voice and correct,
precise pronunciation of
terms so that all audience
members can hear
presentation.
Group members had only a
superficial understanding of
content. Analysis was
simplistic, repetitive, and/or
superficial. Several mistakes
were made during the
presentation.
Argument is unconvincing due
to poorly chosen examples
and reasoning that is flimsy or
flawed. Graphics (if required)
rarely support screen text or
presentation, or are too few.
Student occasionally uses eye
contact, but still reads most of
presentation. Student’s voice
is low or student incorrectly
pronounces terms or audience
members have difficulty
hearing presentation. Too
many “likes,” “ahs,” “ums,”
“you knows,” “and yeahs,” etc.
Poor
1
Argument fails due to
erroneous examples and
flawed logic. Graphics (if
required) are irrelevant or
superfluous.
Student reads all of report;
no eye contact. Student
mumbles, incorrectly
pronounces terms, and
speaks too quietly for all
audience members to hear.
Too many “likes,” “ahs,”
“ums,” “you knows,” “and
yeahs,” etc.
TOTAL:
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SCORE
American Literary Movements
Native American – The dates for this period are very unclear because we
have absolutely no idea when they started. Much of the literature of that
period were myths, and, of course, the Native Americans still write
today. Most of what our text calls Native American myths were written
long before Europeans settled in North America.
Puritan – (1472-1750) – Most of this is histories, journals, personal
poems, sermons, and diaries. Most of this literature is either utilitarian,
very personal, or religious. We call it Puritan because the majority of the
writers during this period were strongly influenced by Puritan ideals and
values. Jonathan Edwards continues to be recognized from this period.
Enlightenment – (1750-1800) – Called the Enlightenment period due to
the influence of science and logic, this period is marked in US literature
by political writings. Genres included political documents, speeches, and
letters. Benjamin Franklin is typical of this period. There is a lack of
emphasis and dependence on the Bible and more use of common sense
(logic) and science. There was not a divorce from the Bible but an adding
to or expanding of the truths found there.
Romanticism – (1800-1840) - Romanticism was a literary and artistic
movement of the nineteenth century that arose in reaction against
eighteenth-century Neoclassicism and placed a premium on fancy,
imagination, emotion, nature, individuality, and exotica. There’s a
movement here from personal and political documents to entertaining
ones. Purely American topics were introduced such as frontier life.
Romantic elements can be found in the works of American writers as
diverse as Cooper, Poe, Thoreau, Emerson, Dickinson, Hawthorne, and
Melville. Romanticism is particularly evident in the works of the New
England Transcendentalists.
Transcendentalism – (1840-1855) -Transcendentalism was an American
literary and philosophical movement of the nineteenth century. The
Transcendentalists, who were based in New England, believed that
intuition and the individual conscience “transcend” experience and thus
are better guides to truth than are the senses and logical reason.
Influenced by Romanticism, the Transcendentalists respected the
individual spirit and the natural world, believing that divinity was present
everywhere, in nature and in each person. The Transcendentalists
included Ralph Waldo Emerson, Henry David Thoreau, Bronson Alcott,
W.H. Channing, Margaret Fuller, and Elizabeth Peabody. The antiTranscendentalist (Hawthorne and Melville) rebelled against the
philosophy that man is basically good. A third group, the Fireside poets,
wrote about more practical aspects of life such as dying and patriotism.
Realism – (1865-1915) - Realism is the presentation in art of the details
of actual life. Realism was also a literary movement that began during
the nineteenth century and stressed the actual as opposed to the imagined
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or the fanciful. The Realists tried to write truthfully and objectively about
ordinary characters in ordinary situations. They reacted against
Romanticism, rejecting heroic, adventurous, unusual, or unfamiliar
subjects. The Realists, in turn, were followed by the Naturalists, who
traced the effects of heredity and environment on people helpless to
change their situations. American realism grew from the work of localcolor writers such as Bret Harte and Sarah Orne Jewett and is evident in
the writings of major figures such as Mark Twain and Henry James.
Naturalism – An outgrowth of Realism, Naturalism was a literary
movement among novelists at the end of the nineteenth century and
during the early decades of the twentieth century. The Naturalists tended
to view people as hapless victims of immutable natural laws. Early
exponents of Naturalism included Stephen Crane, Jack London, and
Theodore Dreiser.
Regionalism – Another outgrowth of Realism, Regionalism in literature
is the tendency among certain authors to write about specific geographical
areas. Regional writers like Willa Cather and William Faulkner, present
the distinct culture of an area, including its speech, customs, beliefs, and
history. Local-color writing may be considered a type of Regionalism,
but Regionalists, like the southern writers of the 1920’s, usually go
beyond mere presentation of cultural idiosyncrasies and attempt, instead,
a sophisticated sociological or anthropological treatment of the culture of
a region.
Imagism – Imagism was a literary movement that flourished between
1912 and 1927. Led by Ezra Pound and Amy Lowell, the Imagist poets
rejected nineteenth-century poetic forms and language. Instead, they
wrote short poems that used ordinary language and free verse to create
sharp, exact, concentrated pictures.
Modern Age – (1915-1946) – An age of disillusionment and confusion—
just look at what was happening in history in the US during these dates—
this period brought us perhaps our best writers. The authors during this
period raised all the great questions of life…but offered no answers.
Faulkner, Steinbeck, Fitzgerald, Hemingway, and Frost are all examples.
Harlem Renaissance – Part of the Modern Age, The Harlem
Renaissance, which occurred during the 1920’s, was a time of African
American artistic creativity centered in Harlem, in New York City.
Writers of the Harlem Renaissance include Countee Cullen, Claude
McKay, Jean Toomer, Langston Hughes, and Arna Bontemps.
Contemporary – (1946-present) – great stuff, but not a clear philosophy.
Other terms to know:
34
Classicism – Classicism is an approach to literature and the other arts that
stresses reason, balance, clarity, ideal beauty, and orderly form in
imitation of the arts of ancient Greece and Rome. Classicism is often
contrasted with Romanticism, which stresses imagination, emotion, and
individualism. Classicism also differs from Realism, which stresses the
actual rather than the ideal.
Local Color – Local Color is the use in a literary work of characters and
details unique to a particular geographic area. Local color can be created
by the use of dialect and by descriptions of customs, clothing, manners,
attitudes, scenery, and landscape. Local-color stories were especially
popular after the Civil War, bringing readers the West of Bret harte, the
Mississippi River of Mark Twain, and the New England of Sarah Orne
Jewett.
Gothic – Gothic refers to the use of primitive medieval, wild, or
mysterious elements in literature. Gothic elements offended eighteenthcentury classical writers but appealed to the Romantic writers who
followed them. Gothic novels feature places like mysterious and gloomy
castles, where horrifying, supernatural events take place. Their influence
on Edgar Allan Poe is evident in “The Fall of the House of Usher.”
Grotesque – Grotesque refers to the use of bizarre, absurd, or fantastic
elements in literature. The grotesque is generally characterized by
distortions or striking incongruities. Grotesque characters, like those in
Flannery O’Connor’s “A Good Man is Hard to Find” are characters who
have become ludicrous or bizarre through their obsession with an idea or
value, or as a result of an emotional problem.
35
Archetypes and Symbols
SITUATION ARCHETYPES
1.
The Quest – This motif describes the search for someone or some talisman which, when found and
brought back, will restore fertility to a wasted land, the desolation of which is mirrored by a leader’s illness
and disability.
2.
The Task – This refers to a possibly superhuman feat that must be accomplished in order to fulfill the
ultimate goal.
3.
The Journey – The journey sends the hero in search for some truth of information necessary to restore
fertility, justice, and/or harmony to the kingdom. The journey includes the series of trials and tribulations
the hero faces along the way. Usually the hero descends into a real or psychological hell and is forced to
discover the blackest truths, quite often concerning his faults. Once the hero is at this lowest level, he must
accept personal responsibility to return to the world of the living.
4.
The Initiation – This situation refers to a moment, usually psychological, in which an individual comes
into maturity. He or she gains a new awareness into the nature of circumstances and problems and
understands his or her responsibility for trying to resolve the dilemma. Typically, a hero receives a calling,
a message or signal that he or she must make sacrifices and become responsible for getting involved in the
problem. Often a hero will deny and question the calling and ultimately, in the initiation, will accept
responsibility.
5.
The Ritual – Not to be confused with the initiation, the ritual refers to an organized ceremony that
involves honored members of a given community and an Initiate. This situation officially brings the young
man or woman into the realm of the community’s adult world.
6.
The Fall – Not to be confused with the awareness in the initiation, this archetype describes a descent in
action from a higher to a lower state of being, an experience which might involve defilement, moral
imperfection, and/or loss of innocence. This fall is often accompanied by expulsion from a kind of paradise
as penalty for disobedience and/or moral transgression.
7.
Death and Rebirth – The most common of all situational archetypes, this motif grows out of the parallel
between the cycle of nature and the cycle of life. It refers to those situations in which someone or
something, concrete and/or metaphysical dies, yet is accompanied by some sign of birth or rebirth.
8.
Nature vs. Mechanistic World – Expressed in its simplest form, this refers to situations which suggest
that nature is good whereas the forces of technology are bad.
9.
Battle Between Good and Evil – These situations pit obvious forces which represent good and evil
against one another. Typically, good ultimately triumphs over evil despite great odds.
10.
The Unhealable Wound – This wound, physical or psychological, cannot be healed fully. This would
also indicate a loss of innocence or purity. Often the wounds’ pain drives the sufferer to desperate measures
of madness.
11.
The Magic Weapon – Sometimes connected with the task, this refers to a skilled individual hero’s ability
to use a piece of technology in order to combat evil, continue a journey, or to prove his or her identity as a
chosen individual.
36
12.
Father-Son Conflict – Tension often results from separation during childhood or from an external source
when the individuals meet as men and where the mentor often has a higher place in the affections of the
hero than the natural parent. Sometimes the conflict is resolved in atonement.
13.
Innate Wisdom vs. Educated Stupidity – Some characters exhibit wisdom and understanding intuitively
as opposed to those supposedly in charge.
SYMBOLIC ARCHETYPES
1.
Light vs. Darkness – Light usually suggests hope, renewal, OR intellectual illumination; darkness
implies the unknown, ignorance, or despair. (this is, of course reversed in Romeo and Juliet)
2.
Water vs. Desert – Because water is necessary to life and growth, it commonly appears as a birth or
rebirth symbol. Water is used in baptism services, which solemnizes spiritual births. Similarly, the
appearance of rain in a work of literature can suggest a character’s spiritual birth.
3.
Heaven vs. Hell – Humanity has traditionally associated parts of the universe not accessible to it with the
dwelling places of the primordial forces that govern its world. The skies and mountaintops house its gods;
the bowels of the earth contain the diabolic forces that inhabit its universe.
4.
Haven vs. Wilderness – Places of safety contrast sharply against the dangerous wilderness. Heroes are
often sheltered for a time to regain health and resources.
5.
Supernatural Intervention – The gods intervene on the side of the hero or sometimes against him.
6.
Fire vs. Ice – Fire represents knowledge, light, life, and rebirth while ice like desert represents ignorance,
darkness, sterility, and death.
7.
Colors
A.
Black (darkness) – chaos, mystery, the unknown, before existence, death, the unconscious, evil
B.
Red – blood, sacrifice; violent passion, disorder, sunrise, birth, fire, emotion, wounds, death,
sentiment, mother, Mars, the note C, anger, excitement, heat, physical stimulation
C.
Green – hope, growth, envy, Earth, fertility, sensation, vegetation, death, water, nature,
sympathy, adaptability, growth, Jupiter and Venus, the note G, envy
D.
White (light) – purity, peace, innocence, goodness, Spirit, morality, creative force, the direction
East, spiritual thought
E.
Orange – fire, pride, ambition, egoism, Venus, the note D
F.
Blue – clear sky, the day, the sea, height, depth, heaven, religious feeling, devotion, innocence,
truth, spirituality, Jupiter, the note F, physical soothing and cooling
G.
Violet – water, nostalgia, memory, advanced spirituality, Neptune, the note B
H.
Gold – Majesty, sun, wealth, corn (life dependency), truth
I.
Silver – Moon, wealth
8. Numbers:
A.
Three – the Trinity (Father, Son, Holy Ghost); Mind, Body, Spirit, Birth, Life, Death
B.
Four – Mankind (four limbs), four elements, four seasons
C.
Six – devil, evil
D.
Seven – Divinity (3) + Mankind (4) = relationship between man and God, seven deadly sins,
seven days of week, seven days to create the world, seven stages of civilization, seven colors of
the rainbow, seven gifts of Holy Spirit.
9. Shapes:
A.
Oval – woman, passivity
37
Triangle – communication, between heaven and earth, fire, the number 3, trinity, aspiration,
movement upward, return to origins, sight, light
C.
Square – pluralism, earth, firmness, stability, construction, material solidity, the number four
D. Rectangle – the most rational, most secure
E. Cross – the Tree of life, axis of the world, struggle, martyrdom, orientation in space
F. Circle – Heaven, intellect, thought, sun, the number two, unity, perfection, eternity, oneness,
celestial realm, hearing, sound
G. Spiral – the evolution of the universe, orbit, growth, deepening, cosmic motion, relationship
between unity and multiplicity, macrocosm, breath, spirit, water
B.
10. Nature:
A.
B.
C.
D.
E.
F.
G.
H.
I.
J.
K.
L.
M.
N.
O.
P.
Q.
R.
S.
T.
U.
V.
W.
X.
11.
Air – activity, creativity, breath, light, freedom (liberty), movement
Ascent – height, transcendence, inward journey, increasing intensity
Center – thought, unity, timelessness, spacelessness, paradise, creator, infinity,
Descent – unconscious, potentialities of being, animal nature
Duality – Yin-Yang, opposites, complements, positive-negative, male-female, life-death
Earth – passive, feminine, receptive, solid
Fire – the ability to transform, love, life, health, control, sun, God, passion, spiritual
energy, regeneration
Lake – mystery, depth, unconscious
Crescent moon – change, transition
Mountain – height, mass, loftiness, center of the world, ambition, goals
Valley – depression, low-points, evil, unknown
Sun – Hero, son of Heaven, knowledge, the Divine eye, fire, life force, creative-guiding
force, brightness, splendor, active awakening, healing, resurrection, ultimate wholeness
Water – passive, feminine
Rivers/Streams – life force, life cycle
Stars – guidance
Wind – Holy Spirit, life, messenger
Ice/Snow – coldness, barrenness
Clouds/Mist – mystery, sacred
Rain – life giver
Steam – transformation to the Holy Spirit
Cave – feminine
Lightning – intuition, inspiration
Tree – where we learn, tree of life, tree of knowledge
Forest – evil, lost, fear, chaos
Objects:
A.
B.
C.
D.
E.
F.
G.
H.
I.
J.
K.
Feathers – lightness, speed
Shadow – our dark side, evil, devil
Masks – concealment
Boats/Rafts – safe passage
Bridge – change, transformation
Right hand – rectitude, correctness
Left hand – deviousness
Feet – stability, freedom
Skeleton – mortality
Heart – love, emotions
Hourglass – the passage of time
CHARACTER ARCHETYPES
38
1.
The Hero – In its simplest form, this character is the one ultimately who may fulfill a necessary task and
who will restore fertility, harmony, and/or justice to a community. The hero character is the one who
typically experiences an initiation, who goes the community’s ritual (s), et cetera. Often he or she will
embody characteristics of YOUNG PERSON FROM THE PROVINCES, INITIATE, INNATE WISDOM,
PUPIL, and SON.
2.
Young Person from the Provinces – This hero is taken away as an infant or youth and raised by
strangers. He or she later returns home as a stranger and able to recognize new problems and new solutions.
(Moses, Oedipus)
3.
The Initiates – These are young heroes who, prior to the quest, must endure some training and ritual.
They are usually innocent at this stage. (Neo)
4.
Mentors – These individuals serve as teachers or counselors to the initiates. Sometimes they work as
role models and often serve as father or mother figure. They teach by example the skills necessary to
survive the journey and quest.
5.
Hunting Group of Companions – These loyal companions are willing to face any number of perils to be
together.
6.
Loyal Retainers – These individuals are like the noble sidekicks to the hero. Their duty is to protect the
hero. Often the retainer reflects the hero’s nobility.
7.
Friendly Beast –These animals assist the hero and reflect that nature is on the hero’s side.
8.
The Devil Figure – This character represents evil incarnate. He or she may offer worldly goods, fame,
or knowledge to the protagonist in exchange for possession of the soul or integrity. This figure’s main aim
is to oppose the hero in his or her quest.
9.
The Evil Figure with the Ultimately Good Heart – This redeemable devil figure (or servant to the devil
figure) is saved by the hero’s nobility or good heart.
10.
The Scapegoat – An animal or more usually a human whose death, often in a public ceremony, excuses
some taint or sin that has been visited upon the community. This death often makes theme more powerful
force to the hero.
11.
The Outcast – This figure is banished from a community for some crime (real or imagined). The outcast
is usually destined to become a wanderer.
12.
The Earth Mother – This character is symbolic of fulfillment, abundance, and fertility; offers spiritual
and emotional nourishment to those who she contacts; often depicted in earth colors, with large breasts and
hips.
13.
The Temptress – Characterized by sensuous beauty, she is one whose physical attraction may bring about
the hero’s downfall.
14.
The Platonic Ideal – This source of inspiration often is a physical and spiritual ideal for whom the hero
has an intellectual rather than physical attraction.
15.
The Unfaithful Wife – This woman, married to a man she sees as dull or distant, is attracted to a more
virile or interesting man.
39
16.
The Damsel in Distress – This vulnerable woman must be rescued by the hero. She also may be used as
a trap, by an evil figure, to ensnare the hero.
17.
The Star-Crossed Lovers – These two character are engaged in a love affair that is fated to end in
tragedy for one or both due to the disapproval of society, friends, family, or the gods.
18.
The Creature of Nightmare – This monster, physical or abstract, is summoned from the deepest, darkest
parts of the human psyche to threaten the lives of the hero/heroine. Often it is a perversion or desecration of
the human body.
RECOGNIZING PATTERNS
The following list of patterns comes from the book How to Read Literature Like a Professor by Thomas C.
Foster who teaches at the University of Michigan. If you are serious about literary analysis, then I highly
recommend buying this book. It goes into detail what I just briefly mention and is written in such a lively, witty
voice that it does not read like a textbook at all! It will be well worth your time and effort to read it.
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Trips tend to become quests to discover self.
Meals together tend to be acts of communion/community or isolation.
Ghosts, vampires, monsters, and nasty people and sometimes simply the antagonists are not about
supernatural brew-ha-ha; they tend to depict some sort of exploitation.
Look for allusions and archetypes.
Weather matters.
Violence can be both literal and figurative.
Symbols can be objects, images, events, and actions.
Sometimes a story is meant to change us, the readers, and through us change society.
Keep an eye out for Christ-figures.
Flying tends to represent freedom. What do you think falling represents?
Getting dunked or just sprinkled in something wet tends to be a baptism.
Geography tends to be a metaphor for the psyche.
Seasons tend to be traditional symbols.
Disabilities, scars, and deformities show character and theme.
Heart disease tends to represent problems with character and society.
So do illness and disease.
Read with your imagination.
Irony trumps everything!
Remember the difference between public and private symbols.
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