AP English Literature & Composition Ms. Morgan [email protected] HS East W24 2013-2014 Summer Reading Assignment

Welcome to the strange and exciting world of AP Literature!

Yes, we will work hard. Yes, we willieam a lot. Yes, we will have FUN!! (You might have to trust me on that last one .. .)

First, though, we have to get through the summer. And who wants to lie around on the beach or by the pool when you could be studying great literature? The good news is, you don't have to make that horrible choice-you can kill two birds with one stone!

Your AP Lit assignment for this summer has two parts:

(1) The Dastardly Lit Terms­ • Study the attached list of literary terms and definitions. They are one among several tickets to the Mystical Land of 5! . Be prepared for a comprehensive vocabulary test in September. That will be one among several tickets to the Mystical Land of A+!

(2) The Dastardly Lit (naturally)­ • Read two (2) works from the reverse list that you have NOT read before. If you took AP Language last year instead of American Lit, then you MUST include at least one (l) American work among your selections. • Complete a Yellow Review Form for each work you read. (Don't lose these! They are more tickets to your desired destination...) • Be prepared to write an extensive analysis of both works in September, including plot, character, and thematic development as well as the author's use of literary devices such as symbolism, figurative language (metaphors, similes, etc), imagery (visual as well as the other senses), character foils, parallel plot lines, etc.

· DO YOUR OWN INTERPRETIVE WORK! "Easy interpretation" sites such as SparkNotes, etc, are NOT acceptable sources of academic literary analysis, especially at the AP level. Additionally, working from such sites without crediting them is PLAGIARISM. Copying from one another is also plagiarism and is NOT allowed.

(See reverse for list ofSummer Reading selections.) Read Two! (See front for further instructions.)

1984 (George Orwell) Love in the Time of Cholera (Gabriel Garcia Marquez) Atonement (Ian McEwan) Middlemarch (George Eliot, Beloved (Toni Morrison) i.e. Mary Ann Evans)

La Bete Humaine (Emile Zola) Mrs. Dalloway (Virginia Woolf)

Catch-22 (Joseph Heller) My Antonia (Willa Cather)

The Catcher in the Rye (J.D. Salinger) No Country for Old Men (Connac McCarthy)

Crime and Punishment (Fyodor Dostoevsky) One Hundred Years of Solitude (Gabriel Garcia Marquez) Dr. Faustus (Christopher Marlow) The Poisonwood Bible (Barbara Kingsolver) East of Eden (John Steinbeck) The Portrait of a Lady (Henry James) Emma (Jane Austen) Pygmalion (George Bernard Shaw) A Farewell to Arms (Ernest Hemingway) The Scarlet Letter (Nathaniel Hawthorne) Faust, Part I (Johann Wolfgang von Goethe) Silas Marner (George Eliot, For Whom the Bell Tolls (Ernest Hemingway) i.e. Mary Ann Evans)

The Glass Menagerie (Tennessee Williams) The Stranger (Albert Camus)

The Grapes of Wrath (John Steinbeck) A Streetcar Named Desire (Tennessee Williams)

The Great Gatsby (F. Scott Fitzgerald) The Sun Also Rises (Ernest Hemingway)

The Handmaid's Tale (Margaret Atwood) Their Eyes Were Watching God (Zora Neale Hurston) Inferno (Part ~;fDivina Commedia) (Dante Alighieri) Things Fall Apart (Chinua Achebe)

Jude the Obscure (Thomas Hardy) The Trial (Franz Kafka)

Les Miserables (The novel, not the musical!) Who's Afraid of Virginia Woolf? (Victor Hugo) (Edward Albee)

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LITERATURE: Reading Fiction, Poetry, and Drama Published by McGraw-Hill, an imprint ofThe McGraw-Hill Companies, Inc. 1221 Avenue of the Americas, New York, NY, 10020. Copyright © 2002, 1998, 1994, 1990, 1986 by The McGraw­ Hill Companies, Inc. All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a data base or retrieval system, without the prior written consent ofThe McGraw-Hili Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. Some ancillaries, including electronic and print components, may no.t be available to customers outside the United States.

This book is printed on acid-free paper.

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ISBN 0-07-242617-9

Editorial director: Phil/ipA. Butcher Executive editor: Sarah Touborg Developmental e~itor II: Alexis Walker iRobert DiYanni is Director ofInternational Services for the College Board's Senior marketing manager: David Patterson Advanced Placement Program. Dr. DiYanni has been a Professor ofEnglish and Project manager: Karen j. Nelson Humanities for nearly thirty years, including serving as Visiting Professor at Manager, new book production: Melonie Salvati NYU and Harvard. He holds a B.A. in English from Rutgers University and a Media producer: Todd Vaccaro Ph.D. from the City University ofNewYork. Freelance design coordinator: Pam Verros Lead supplement producer: Cathy L. Tepper Dr. DiYanni has written and edited two dozen books, primarily for college Photo research coordinator: Judy Kausal students ofliterature and the humanities. His publications include The McGraw­ Cover design: JoAnne Schopler Hill Book ojPoetry, me McGraw-Hill Book ojFiction, Writing about the Humanities, Cover Art: Pablo Picasso (1881-1973) Two Girls Reading © copyrightARS, NY. Private Collection The Scribner Handbook for Writers, The Insider's Guide to College Success, and Mod­ Typeface: 10.5112 Bembo emAmerican Poets: Their liOices and Visions (a text to accompany the popular PBS Compositor: GAC Indianapolis television series). He updated the most recent edition of Strunk and White's Printer: R. R. Donnelley & Sons Company classic Elements oj Style and co-authored Arts and Culture: An Introduction to the liumanities, the basis for a lecture series at the Metropolitan Museum ofArt. Library of Congress Ca~oging-in-PublicationData DiYanni, Robert. I Li~erature: reading fiction, poetry, and drama 1 Robert DiYanni.-5th ed. I p. cm. I Includes bibliographical references and index. ISBN 0_07'-242617-9 (:11k. paper) I 1. Literature. 2;-Literature-Collections. I.Title. ,PN49 .052 2002:" '.. ;808--<1c21 2001031249

www.mhhe.com 2I60 TIMELINE: LITERATURE IN CONTEXT

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,e (193(1.. ): "M,arriage Is a Privata A r"; B.mbara (1939-): "The Lesson" (197 Sliko (194 ): "Yellow Womsn"; Walker -----­ Glossary (1944- ): verydlay Use" (1973) McPherson (19 )= "Why I Like Country ----­ Music" (1974)

Wideman (1941-): "Damballah' Mason (1940-): "Shiloh"; vale~1938-): ""m Your Horse lin the Night" (19~ Atwood (1939-): "Hlappy Endings"; C, (1939-88): "Cath,edral"; Wasserstaln (195G-): Tender OOer(1983) Hood (1946-): "HoV'V Far She Went"; --.),\:~---l Kincaid (1949- I:: "Girt"; Sanchez-Scott (1953-): The Culban Swlmmer(1984) Wilson (1945- ): Fences (1985) L~ T. O'Brien (1946- ): "'The Things They :-..,/ Carried"; Dove (1952-): Thomas and Beulah (1986) Hegi (1946-): "To the Gate"; Morrison, ~ Beloved (1987) Allegory A symbolic narrative in which the surface details imply a secondary meaning. Alle­ Hwang (1957-): M. Butterfly; Mukherjee (194G-): "The Tenant" (1998) gory often takes the form of a story in which the characters represent moral qualities. The Tan (1952-), "Rules 01 tha Game" (1989) most famous example in English is John Bunyan's Pilgrim's Progress, in which the name ofthe McNally (1939-): Andre's Mother, Hall (' central character, Pilgrim, epitomizes the book's allegorical nature. Kay Boyle's story ','As­ Poems Old and New (1990) Cisneros (1954-): ~Eleven," "Barb' Q," -----­ tronomer's Wife" and Christina Rossetti's poem "Up-Hill" both contain allegorical elements. ''There Was 8 Melin, There Was Woman," Alliteration The repetition of consonant sounds, especially at the beginning of words. Exam­ "Woman Holleriflg Craek" (1 1) Keillor (1942-): prod/gal Son: boon, Lost in ---­ ple: "Fetched fresh, as 1suppose, offsome sweet wood." Hopkins, "In thev..lley ofthe Elwy." Yonkers (1991) Anapest Two unaccented syllables followed by an accented one, as in comprehend or intervene. Alexie (1961>- ): "Indian E cation"; Kushner, Angels in Am . (1993) ------­ An anapestic meter rises to the accented beat as in Byron's lines from "The Destruction of Song (1955- ): SChool ures (1994) ------Sennacherib": "And the sheen of their spears was like stars on the sea, I When the blue McKenty (1935- ): Fa t/rom tha Nuclear ----­ Family; Sanchez 935- ): Does your house wave rolls nightly on deep Galilee." have lions? Col (1941-): Antagonist A character or force against which another character struggles. Creon is TheArtolD n/ng(1995) L6pez (1969-): Imply Maria; Taylor (1962-): ---­ Antigone's antagonist in Sophocles' play Antigoni!; Tiresias is the antagonist of Oedipus in Only D,.., sand Chl/dren Tel/the Truth Sophocles' Oedipus the King. (1996) Alvarez (1 G-): "The Kiss"; Jln (1956-): ----­ Aside Words spoken by an actor directly to the audience which are not "heard" by the other ''Tak g a Husb..nd"; Hirshfield (1953- ): characters on stage during a play. In Shakespeare's Othello, lago voices his inner thoughts a U~ 01 the Heat1 (1997) ngl der (1971-)' ''The Tumblers"; Jon number of times as "asides" for the play's audience. 956-): "Who's Irish?"; E. O'Brien (1936-): Assonance The repe~ition ofsimilar vowel sounds in a sentence or a line ofpoetry or prose, . "long Distance"; Pastan (1932-): Camlval I if Evening; Proulx (1935-): ''The Bunchgrass as in "I rose and told him ofmy woe."Whitman's "When I Heard the Learn'd Astronomer" . Edge ot the World" (1996) contains assonantal ''I's'' in the following lines: "How soon unaccountable I became tired •/ Desai (1937-): ~'Di. ..mond Dust" (2000) ~­IIiIIIiIWI George W. Bush elected president' and sick, I Till rising and gliding out I wander'd offby myself." " Aubade A love lyric in which the speaker complains about the arrival of the dawn, when he must part from his 10ver.John Donne's "The Sun Rising" exemplifies this poetic genre.

Ballad A narrative poem written in four-line stanzas, characterized by swi'ft action and nar­ rated in a direct style.The anonymous medieval ballad "Barbara Allan" exemplifies the genre. Blank verse A line ofpoetry or prose in unrhymed iambic pentameter. Shakespeare's sonnets, Milton's epic poem Paradise Lost, and Robert Frost's meditative poems such as "BircheS"

2161 2 1/ GLOSSARY ....,..,--~< Glossary 2163 include many lines of blank verse. Here are the opening blank verse lines of "Birches"·, Comic relief The use of a comic scene to interrupt a succession. of intensely tragic dra­ "When I see birches bend .to the left and right / Across the lines ofstraighter darker tre matic moments.The comedy ofscenes offering comic relief typically parallels the. tragic I like to think some boy's been swingng them." action that the scenes interrupt. Comic reliefis lacking in Greek tragedy, but occurs.reg.:. . .~ . ularly in Shakespeare's tragedies. One example is the opening scene ofAct V of Hamlet, in which a gravedigger banters with Hamlet. Caesura A strong pause within a line ofverse. The following stanza from HardY's'''Th~ MJ.,j Complication An intensification ofthe conflict in a story or play. Complication builds up, He Killed" contains caesuras in the middle of two lines: !.1 accumulates, and develop~ the primary OF central conflict'in a literary work. Frank 'I O'Connor's story "Guests of the Nation" provides a striking example, as does Ralph El­ He thought he'd 'list, perhaps, It lison's "Battle Royal." Off-hand-like-just as 1­ 1 II1 Conflict A struggle between opposing forces in a story or play, usually resolved'by the end Was out ofwork-had sold his traps­ I of the work. The conflict may occur within a character as well as between characters. No other reason why. 1 Connotation The associations called up by a word that go beyond its dictionary meaning. Catastrophe The action at the end of a tragedy that initiates thl1. denouement or faIl!Eg~,a..t~'· Poets, especially, tend to use words rich in connotation, Dylan Thomas's "Do not go gen­ tion of a play. One example is the dueling scene in Act V of Hamlet in which Hamlet.dies, tle into that good night" includes intensely connotative language, as in these lines: "Good along with Laertes, King Claudius, and Queen Gertrude. men, the last wave by, crying how bright / Their frail deeds might have danced in a green Catharsis The purging of the feelings of pity and fear that, according to Aristotle, occurs in bay, I Rage, rage against the dying of the light." . . the audience of tragic drama. The audience experiences catharsis at the end ofthe play, fol­ Convention A customary feature of a literary work, such as the use of a chorus in Greek lowing the catastrophe. tragedy, the inclusion of an explicit moral in a fable, or the use of a pailicular rhyme Character An imaginary person that inhabits a literary work. Literary characters may be ma­ scheme in a villanelle. Literary conventions are defining features of particular literary jor or minor, static (unchanging) or dynamic (capable of change). In Shakespeare's q~h.~lI..A genres, such as novel, short story, ballad, sonnet, and play. Desdemona is a major character, but one who is static, like the minor character B,~~nca. Couplet A pair of rhymed lines that mayor may not constitute a separate stanza in a poem. Othello is a major character who is dynamic, exhibiting an ability to change. : <>.;, Shakespeare's sonnets end in rhymed couplets, as in "For thy sweet lQve remembered such Characterization The means by which writers present and reveal character.Although,:~ech~ wealth brings / That then I scorn to change niy state with kings." niques of characterization are complex, writers typically reveal characters through,!their speech, dress, manner, and actions. Readers come to understand the character Miss EmifX~~' Faulkner's story"A Rose for Emily" through what she says, how she lives, and what sh~f floes'. Dactyl A stressed syllable followed by two unstressed ones, as injIut-ter-lng or blue-bir-fy. Chorus A group ofcharacters in Greek tragedy (and in later forms ofdrama) who cO!]ffi1e.!3~ The following playful lines illustrate double dactyls, two dactyls per line: on the action of a play without participation in it. Their leader is the choragos. SOPhocles' Higgledy piggledy, Antigone and Oedipus the King both contain an explicit chorus with a choragos. Teppessee Emily Dickinson Williams's Glass Menagerie contains a character who functions like a chorus. Gibbering; jabbering. climaxrepr~s.~9.~ Climax The turning point of the action in the plot of a play or story. The Denotation The dictionary meaning of a word. Writers typically playoff a word's denota­ the point ofgreatest tension in the work.The climax ofJohn Updike's "A&P," for example, tive meaning against its connotations, or suggested and implied associational implications. occurs when Sammy quits his job as a cashier. In the following lines from Peter Meinke's "Advice to My Son," the references to flowers cq~~s-:­ Closed form A type of form or structure in poetry characterized by regularity and and fruit, bread and wine denote specific things, but also suggest something beyond the tency in sllch elements as rhyme, line length, and metrical pattern. Frost's "Stopp~ng by literal, dictionary meanings of the words: Woods on a Snowy Evening" provides one of many examples. A single stanza illustrates To be specific, between the peony and rose some of the features of closed form:' ... " .J.::' Plant squash and spinach, turnips and tomatoes; Whose woods there are I think I know. Beauty' is nectar and nectar, in"a 'desert, saves- , 'I·

His house is in the village though. ·il.. ;/,;.: He will not see me stopping here 'I ,J'. To watch his woods fill up with snow. and always serve bread with your wine. Comedy A type of drama in which the characters experience reversals of fortune, usually But, son, for the better. In comedy, things work out happily in the end. Comic drama may be e~­ always serve wine. ~-: it,.-•. j, ~ •.•/ ther romantic-characterized by a tone of tolerance and geniality-or satiric. Satiric' Denouement The resolution ofthe plot ofa literary work.The denouement ofHamlet .bk~s works offer a darker vision of human nature, one that ridicules human folly. Shaw's Arms place after the catastrophe, with the stage littered with corpses. During. the deno~ement and the Man is a romantic comedy; Chekhov's A Marriage Proposal is a satiric comedy. ". ,j!'1 2164 GLOSSARY Glossary ...

Fortinbras makes an ~ntrance and a speech, and Horatio speaks his sweet lines in praise of Fable A briefstory with an explicit moral provided by the author. Fables typically include an­ Hamlet. imals as characters. Their most famous practitioner in the West is the ancient Greek writer Deus ex machina A god who resolves the entanglements of a play by supernatural interven­ Aesop, whose "The Dog and the Shadow" and "The Wolf and the Mastiff" are included in tion. The Latin phrase means, literally, "a god from the machine."The phrase refers to the this book. Compare Parable. use ofartificial means to resolve the plot ofa play. Falling action In the plot ofa story or play, the action following the climax ofthe work that Dialogue The conversation ofcharacters in a literary work. In fiction and poetry dialogue:is moves it towards its denouement or resolution. The falling action of Othello begins after typically enclosed within quotation marks. See Frost's "Home Burial" for an example. In Othello realizes that Iago is responsible for plotting against him by spurring him on to plays, characters' speech is preceded by their names. ~ murder his wife, Desdemona. ' . Diction The selection ofwords in a literary work.A work's diction forms one ofits centrally Falling meter Poetic meters such as trochaic and dactylic that move or fall from a stre~sed to important literary elements, as writers use words to convey action, reveal character;'imply an unstressed. syllable. The nonsense line, "Higgledy, piggledy," is dactylic, with' the accent attitudes, identify themes, and suggest values. We can speak of the diction particular to a on the first syllable and the two syllables following falling offfrom that accent in each wotd'. character, as in Iago's and Desdemona's very different ways ofspeaking in Othello:· We'crn. Trochaic meter is represented by this line: "Hip-hop, be-bop, treetop-freedom? also refer to a poet's diction as represented over the body ofhi~ or her work, as in'Donne's Fiction An imagined story, whether in prose, poetry, or drama, or an imagined character-a or Hughes's diction. ,II "fiction." Ibsen's Nora is fictional, a "make-believe" character in a play, as are Hamlet and Dramatic monologue A type ofpoem in which a speaker addresses a silent Iistener.As'read~. Othello. Characters like Robert Browning's Duke and Duchess from his poem "My Last ers, we overhear the speaker in a dramatic monologue. Robert Browning's "'MyfLast Duchess" are fictional as well, though they may be based on actual historical individuals. Duchess" represents the epitome of the genre. ·· ....,v·I>iJ And, ofcourse, characters in stories and novels are fictional, t110ugh they, too,.may be based, Dramatispersonae Latin for the characters or persons in a play. Included among the':dramatis' in some way, on real people.The important thing to remember is that writers embellish and personae of Miller's Death of a Salesman are Willy Loman, the salesman, ius wife ,Lintla': arid embroider and alter actual life when they use real life as the basis for their work; They fic­ his sons Biff and Happy. tionalize facts, deviate from real life situations as they "make things up." . Figurative language A form of language use in which writers and speakers convey some­ .. ' : .~ I. ; I. thing other than the literal ineaning oftheir words. Examples include hyperbole or exagger­ Elegy A lyric poem that laments the dead. Robert Hayden's "Those Winter Sunda~s"iis ele­ ation, litotes or understatement, simile and metaphor, which employ comparison, and syne(doche giac in tone. A more explicitly identified elegy is WH. Auden's "In Memory ofWilIiam" and metonymy, in which a part of a thing stands for the whole. BuderYeats" and his "Funeral Blues." • II Flashback An interruption ofa work's chronology to describe or present an incident that oc­ Elision The omission ofan unstressed vowel or syllable to preserve the meter ofa Iin~'ljf'~o~ curred prior to the main time frame of a work's action. Writers use flashbacks to compli­ etry.A1exander uses elision in "Sound and Sense": "Flies o'erth' unbending corn.'.·!"" . ,..:. cate the sense of chronology in the plot of their works and to convey the richness of the Enjambment A run-on line ofpoetry in which.logical and grammatical sense carrieseYG~t,.. experience of human time. Faulkner's story "A Rose for Emily" includes flashbacks. from one line into the next. An enjambed line differs from an end-stopped line inwiiicli~; II Foil A character who contrasts and parallels the main character in a play or story. Laertes, in the grammatical and logical sense is completed within the line. In the opening line~ :'ot Hamlet, is a foil for the main character; in Oihello, Emilia and Bianca are foils for Desdemona. Robert Browning's "My Last Duchess;' for example, the first line is end-stop~~.1;;~j~{*; Foot A metrical unit composed of stressed and unstressed syllables. For example, an iamb or =~~~ . iambic foot is represented by "' that is, an unaccented syllable followed by an accented one. II That's my last Duchess painted on the wall, Frost's line "Whose woods these are I think I know" contains four iambs, and is thus an Looking as ifshe were alive. I call iambic foot. That piece a wonder, now ... Foreshadowing Hints of what is to come in the action of a play or a story. Ibsen's A Doll Epic A long narrative poem that records the adventures of a hero. Epics typically'dironi:a House includes foreshadowing as does Synge's Riders to the Sea. So, too, do Poe's "Cask of the origins ofa civilization and embody its central values. Examples from Western Iiteratute.. Amontillado" and Chopin's "Story of an Hour." include Homer's iliad and Odyssey, Virgil's Aeneid, and Milton's Paradise Lost. . . Fourth wall The imaginary wall of the box theater setting, supposedly removed to allow the Epigram A brief witty poem, often satirical. Alexander Pope's "Epigram engraved,chth . audience to see the action. The fourth wall is especially common in modern and contem­ Collar of a Dog" exemplifies the genre: porary plays, such as Hansberry's A Raisin in the Sun, Wasserstein's Tender Offer, and Wilson's I am his Highness' dog at Kew;· Fences. Pray tell me, sir, whose dog are you? Free verse Poetry without a regular pattern ofmeter or rhyme.The verse is "free" in not be­ ing bound by earlier poetic conventions requiring poems to adhere to an explicit and iden­ Exposition The first stage of a fictional or dramatic plot, in which necessary backgrtiuitd :~ tifiable meter and rhyme scheme in a form such as the sonnet or ballad. Modern and formation is provided. Ibsen's A Doll House, for instance, begins With a conversati0nib-e~ contemporary poets of the twentieth and twenty-first centuries often employ free verse: the two central characters, a dialogue that fills the audience in on events that oc~~n-:;d:b{,i6' Williams's "This Is Just to Say" is one of many examples. the action ofthe play begins, but which are important in the development ofits plot GLOSSARY Gloss.ary 2167

Gesture The physical movement of a character during a play. Gesture is used to reve'al char­ is one ofthe most important ofliterary uses oflanguage. Shakespeare employs a wide range acter, and may include facial expressions as well as movements of other parts of an actor's of metaphor in his sonnets and his plays, often in such density and profusion that readers body. Sometimes a playwright will be very explicit about both bodily and facial gestures, are kept busy analyzip.g and interpreting and unraveling them. Compare Simile. providing detailed instructions in the play's stage directions. Shaw's Arms and the Man in­ Meter The measured pattern of rhythmic accents in poems. See Foot and Iamb. cludes such stage directions. See Stage direction. Metonymy A figure of speech in which a closely related term is substituted for an object or idea. An example: "We have alWolYS remained loyal to the crown.~' Compare Synecdoche. Monologue A speech by a single character without another character:s response. See Dramatic Hyperbole A figure of speech involving exaggeration. John Donne uses hyperbole in_his monologue and Soliloquy. . poem "Song: Go and Catch a Falling Star."

Narrative poem A poem that tells a'Story. See Ballad. Iamb An ullStressed syllable followed by a stressed one, as in today. See Foot. Narrator The voice and implied speaker ofa fictional work, to be distinguished from the ac­ Iambic pentameter A poetic line of five iambic feet: When i;l. disgrace With fortune and tualliving author. For example, the narrator ofJoyce's "Araby" is not James Joyce himself mel'i's eyes. ~ but a literary fictional character created expressly to tell the story. Faulkner's"A Rose for Image A concrete representation of a sense impression, a feeling, or an idea. Imagery refers to Emily" contains a communal narrator, identified only as "we." See Point of view. the pattern of related details in a work. In some works one image predominates either by NoveUa A short novel,as, for example, Kafka's "The Metamorphosis." recurring throughout the work or by appearing at a critical point in the plot. Often writ­ ers use multiple images throughout a work to suggest states offeeling and to convey impli­ Octave An eight-line unit, which may constitute a stanza or a section ofa poem,'as in the oc­ cations of thought and action. Some modern poets, such as Ezra Pound and William Carlos tave of a sonnet. Williams, write poems that lack discursive explanation entirely and include only images. Ode A long, stately poem in stanzas ofvaried length, meter, and form. Usually a serious poem Among the most f.1mous examples is Pound's poem "In a Station of the Metro": on an exalted subject, such as Horace's "Eheu fugaces," but sometimes a more lighthearted The apparition of these faces in the crowd; work, such as Neruda's "Ode. to My Socks." Petals on a wet, black bough. Onomatopoeia The use of words to imitate the sounds they describe. Words such as buzz Imagery The pattern of related comparative aspects of language, particularly of images, in a and crack are onomatopoetic.The following from Pop~'s "Sound and Sense" onomatopoet­ literary work. Imagery of light and darkness pervades James Joyce's stories "Araby:' "The ically imitates in sound what it describes: Boarding House," and "The Dead." So, too, does religious imagery. When Ajax strives some rock's vast weight to throw, Irony' A contrast or discrepancy between what is said and what is meant or between what The line too labors, and the words move slow. happens and what is expected to happen in life and in literature. In verbal irony, characters say the opposite of what they mean. In irony of circumstance or situation, the opposite of Most often, however, o.nomatopoeia refers to words and groups ofwords, such as Tennyson's what is expected occurs. In dran1<1tic irony, a character speaks in ignorance ofa situation or description ofthe "murmqr ofinnumerable bees," which attempts to capture the sound ofa event known to the audience or to the other characters. Flannery O'Connor's short stories Sw.Irm ofbees buzzing. employ all these forms of irony, as does Poe's "Cask ofAmontillado." Open form A type of structure or form in poetry characterized by freedom from regular­ ity and consistency in such elements as rhyme, line length, metrical pattern, and overall Literallanguage A form oflanguage in which writers and speakers mean exactly what their poetic structure. E. E. Cummings's "Buffalo Bill's" is one example. See also Free verse. words denote. See Figurative language, Denotation, and Connotation. Lyric poem A type of poem characterized by brevity, compression, and the expression of Parable A briefstory that teaches a lesson often ethical or spiritual. Examples include "The feeling. Most of the poems in this book are lyrics. The anonymous "Western Wind" epito­ Prodigal Son," from the New Testament, and the Zen parable, "Learning to Be Silent." mizes the genre: Compare Fable. Parody A humorouos, mocking imitation of a literary work, sometimes sarcastic, but often Western Wind, when will thou blow, playful and even respectful in its playful imitation. Examples include Bob MeKenty's par­ The small rain down can rain? ody of Frost's "Dust of Snow" and Kenneth Koch's parody ofWilliams's "This Is Just to Christ, if my love were in my arms Say." And I in my bed again! Pathos A quality of a play's action that stimulates the audience to feel. pity for a character. Pathos is alWolys an aspect of tragedy, and may be present in comedy as v:.ell. Metaphor A comparison between essentially unlike things without an explicitly comparative Personification The endowment ofinanimate objects or abstract concepts with animate or word such as like or as. An example is "My love is a red, red rose," from Burns's "A Red, living qualities. An example: "The yellow leaves flaunted their color gaily in the breeze.',' Red Rose." Langston Hughes's "Dream Deferred" is built entirely ofmetaphors. Metaphor Wordsworth's "I WoIndered lonely as a cloud" exemplifies personification. "r'

. I Glossary b 2168 GLOSSARY Sestet A six-line unit of verse constituting a stanza or section of a poem; the last six lines of Plot The unified structure of incidents in a literary work. See Conflict, Climax, Denouement, an Italian sonnet. Examples: Petrarch's "Ifit is not love, then what is it that I feel" and Frost's and Flashback. ", "Design." Point of view The angle of vision from which a story is narrated. A work's point of view Sestina A poem of dllrty-nine lines written in iambic pentameter. Its six-line stanzas repeat can be first person, in which the narrator is a character or an observer; objective, in which in an intricate and prescribed order the final word in each of the first six lines. After the the narrator knows or appears to know no more than the reader; omniscient, in which th~ . sixth stanza, there is a three-line envoi, which uses the six repeating words, two words, two narrator knows everything about the characters; and limited omniscient, which allows the per line. narrator to know some things about the characters but not everything. See Narrator. . .-1,. Setting The time and place ofa literary work that establish its context.The stories ofSandra Props Articles or objects that appear on stage during a play. The Christmas tree in A Do'll Cisneros are set in the American Southwest in the mid- to late twentieth century, those of Hor./se and Laura's collection of glass animals in The Glass Menagerie are examples. James Joyce in Dublin, Ireland, in the early twentieth century. Protagonist The main character of a literary work-Hamlet and Othello in the plays Simile A figure of speech involving a comparison between unlike things using like, as, or as named after them, Gregor Samsa in Kafka's Metamorphosis, Paul in Lawrence's "RocIqng-" though. An example: "My love is like a red, red rose." Compare Metaphor. Horse Winner." Soliloquy A speech in a play that is meant to be heard by the audience but not by other char­ Pyrrhic A metrical foot with two unstressed syllables ("of the"). acters on the stage. If there are no other characters present, the soliloquy represents the character thinking aloud. Hamlet's "To be or not to be" speech is an example. Compare Quatrain A four-line stanza in a poem, the first four lines and the second four lines in a Pe~ Aside and Monologue. trarchan sonnet. A Shakespearean sonnet contains three quatrain's followed by a couplet. Sonnet A fourteen-line poem in iambic pentameter. The Shakespearean or English sonnet is arranged as duee quatrains and a final couplet, rhyming abab cdcd efefgg. The./letrarchan or Recognition The point at which a character understands his or her situation as it really is. Italian sonnet divides into two parts: an eight-line octave and a six-line sestet, rhyming abba Sophocles' Oedipus comes to this point near the end of Oedipus the King; Othello comes abba cde cde or abba abba cd cd cd. to a similar understanding of his situation in ActV of Othello. Spondee A metrical foot represented by two stressed syllables, such as kn{ck~knack. Resolution The sorting out or unraveling of a plot at the end of a play, novel, or story. See Stage direction A playwright's descriptive or interpretive comments that provide readers Plol and Denouemenl. (and actors) wiili information about the dialogue, setting, and action of a play. Modern Reversal The point at which the action of the plot turns in an unexpected direction (or the playwrights, including Ibsen, Shaw, Miller, and Williams, tend to include substantial stage protagonist. Oedipus' and Othello's recognitions are also reversals. They learn what they directions, while earlier playwrights typically used them more sparsely, implicitly, or not at did not expect to learn. See Recognition and also Irony. all. See Gesture. Rhyme The matching of final vowel or consonant sounds in two or more words. The fol­ Staging The spectacle a play presents in performance, including the position ofactors on stage, lowing stanza of Ric/lard Cory employs alternate rhyme, with. the third line rhyming with the scenic background, the props and costumes, and ilie lighting and sound effects.Tennessee the first and the fourth with the second: Williams describes these in his detailed stage directions for The Glass Menagerie and also in his Whenever Richard Cory went down town, Production Notes for the play. We people on the pavement looked at him; Stanza A division or unit o( a poem that is repeated in ilie same form-either wiili similar or He was a gendeman from sole to crown, identical patterns or rhyme and meter, or with variations from one stanza to anoilier. The Clean favored and imperially slim. stanzas of Gertrude Schnackenberg's "Signs" are regular; those of Rita Dove's "Canary" are irregular. Rhythm The recurrence of accent or stress in lines of verse. In the following lines from Style The wayan author chooses words, and arranges them in sentences or in lines of dialogue "Same in Blues" by Langston Hughes, the accented words and syllables are underlined: or verse, and develops ideas and actions with description, imagery, and other literary tech­ I mrl to illy baby, niques. See also Connotation, Denotation, Diction, Figurative language, Image, Imagery, Irony, ~by t..'\ke it ~ ... Metaphor, Narrator, Point of view, Syntax, and Tone. ldllu said to I&2nard, Subject What a story or play is about; to be distinguished from plot and theme. Faulkner's "A I Y!1alll a .diamond ~ Rose for Emily" is about the decline of a particular way of life endemic to the American Souili before ilie Civil War.That is its subject. (Its plot is how Faulkner organizes the actions Rising action A set of conflicts and crises that constitute that part of a play's or story's plot of the story's characters. Its ilieme is the overall meaning Faulkner conveys.) leading up to the climax. See Climax, Denouement, and Plot. Subplot A subsidiary or subordinate or parallel plot in a play or story iliat coexists wiili the Rising meter Poetic meters such as iambic and anapestic that move or ascend from an un~ main plot.The story ofRosencrantz and Guildenstern forms a subplot wit!J.in ilie overall plot stressed to a stressed syllable. See Anapest, Iamb, and Falling Meter. of Hamlet. Symbol An object or action in a literary work that means more than itself, that stands for some­ Satire A literary work that criticizes human misconduct and ridicules vices, stupidities, and thing beyond itself.The glass unicorn in The Glass Menagerie, the rocking horse in "The Roc~­ follies. Swift's Gr

Synecdoche A figure ofspeech in which a part is substituted for the whole.An example:"Lend me a hand." Compare Metonymy. iU\;;" Syntax The granunatical order ofwords in a sentence or line of verse or dialogue. The organi­ z.1tion ofwords and phrases and clauses in sentences ofprose, verse, and dialogue. In the fol­ \ Acknowledgmen '-'(11 lowing example, normal syntax (subject, verb, object order) is inverted: "Whose woods these . -: ; ~.

\ 10·" are I think 1know."

Tale A story that narrates strange happenings in a direct manner, without detailed descriptions of ;r character. Petronius' "The Widow ofEphesus" is an example. - Tercet A three-line stanza, as exemplified by Shelley's "Ode to the West Wind."The three-line stan­ zas or sections that together constitute the sestet of a Petrarchan or Italian sonnet. Terza rima A three-line stanz:lic pattern with interlocking tercet rhymes: aba bcb, and so on, as in Frost's "Acquainted with the Night." Theme The idea ofa Iiternry work abstracted from its details oflangua~e, character, and action, and cast in the form of a generalization. See the discussion of Dickinson's "Crumbling is not an inst.1nt's Act." Tone The implied attitude of a writer toward the subject and characters of a work, as, for example, ., Flannery O'Connor's ironic tone in her "Good Country People." Compare Irony. Tragedy A type of drama in which the characters experience reversals of fortune, usually for the worse. In tragedy, cat.1strophe and suffering await many of the characters, especially the hero. Ex­ amples include Shakespeare's Othello and Hamlet; Sophocles' Antigone and Oedipus the King; Arthur Miller's Death ofa Salesman. See Tragic.flawand Tragic Hero. CHINUA ACHEBE "Marriage s a rivate Affair" from Girls at War and Other Stories by Tragic flaw A weakness or limitation of character, resulting in the fall of the tragic hero. Othello's Chinua Achebe. Copyright 1972, 973 by Chinua Achebe. Used by permission ofDou­ jealousy is one example. See Tragedy and Tra<~;c hero. bleday, a division of Rand House, c. Reprinted by permission of Harold Ober Asso­ Tragic hero A privileged, exalted character ofhigh repute, who, by virtue ofa tragic flaw and fate, ciates Incorporated. suffers a f.11l from glory into suffering. Sophocles' Oedipus is an example. See Tragedy and Tragic DIANE ACKERMAN "piders" fromJag r of Sweet LAughter by Diane Ackerman. Copy­ .flaw. right © 1991. Repr' ted by permi~sion 0 Random House, Inc. Excerpt from "What a Tragicomedy Works of drama that include and blend tragic anQ comic elements in fairly equal Poem Knows" by lane Ackerman reprinte from The Writer on Her Work, edited by Janet measure. lonesco's The Gap is one example. Sternberg, by pe . sion ofW.W. Norton & ompany, Inc. Copyright © 1980 byW.W. Trochee An accented syllable followed by an unaccented one, as inf6otbiHi. Norton & Co any, Inc. BELLA AKH ULINA "The Bride" by Bella madulina, translated by Stephen Step­ anchev. Co right C 1966 by Harper's Magazine. eprinted by permission of Stephen Understatement A figure of speech in which a writer or speaker says less than what he or she Stepanch . means; the opposite of exaggeration. The last line of i"rost's "Birches" illustrates this literary de­ ANNA AX. TOVA "Requiem" from Poems ofAnna hmatova, translated by Max Hay­ vice:"One could do worse than be a swinger of birches." ward, mted by Stanley Kunitz, May 1997. Reprinted WI permission of Darhansoff and Unities The idea that a play should be limited to a specific time, place, and story line. The events Verr' Literary Agency. SHE ALEXlE "Indian Education" from The Lone Rang and Tonto Fisifight in Heaven of the plot should occur within a twenty-four hour period, should occur within a given geo­ Sherman Alexie. Copyright © 1993 by Sherman Alexie. printed by permission of graphic locale, and should tell a single stoty. Aristotle argued that Sophocles' Oedipus the King was GrovelAtlantic, Inc. "Indian Love Songs I & II" reprinted from e Business of Fancy Danc­ the perfect play for embodying the "unities." ing © 1992 by Sherman Alexie, by permission of Hanging Loose ess. IA ALVAREZ "The Kiss" from How the Garcia Girls LAst Their Ac . Copyright © 1991 Villanelle A nineteen-line lyric poem that relies heavily on repetition.The first and third lines alternate by Julia Alvarez. Published by Plume, an imprint of Dutton Signet, a ivision of Penguin throughout the poem, which is structured in six stanzas-five tercets and a concluding quatrain. USA and originally in hardcover by Algonquin Books of Chapel Hill. eprinted ·by per­ Examples include Bishop's "One Art:' Roethke's "TheWaking:' andThomas's "Do not go gentle into mission of Susan Bergholz Literary Services, NewYork. All rights reserve . that good night." YEHUDAAMICHAI . "A Pity.WeWere Such a Good Invention" from poems ~rusalem and ·LAve Poems I English and Hebrew by Yehuda Amichai, translated by Assia Gutmann, 1993~ . "You Can Rely on Him" from The Great Tranquility: QuestionS and Answers by Yehuda :!

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