AP Literature and Composition Reading & Writing Transition Tasks

NAME: ______

AP Literature and Composition Reading & Writing Transition Tasks In addition to getting to know you, and your writing style, through the College Application Personal Statement Essay, I am also providing you the opportunity to alleviate some of the learning curve associated with the transition from AP Language & Composition (English 5, 6) to AP Literature & Composition. During the 2018-19 school year, we will focus on fiction, including novels, plays, short stories, and poetry; therefore, we need to attune your mind to the language of literary analysis. I have aimed the information and activities provided within this packet at doing just this. Enjoy your time off, rest and relax your mind, but please complete the tasks below before you come back (see the suggested timeline as you consider how to budget your time).

Purpose: to practice literary analysis in preparation for AP Literature and Composition

Tasks: 1. Pre-view this packet. o For the final tasks, you will need to access and read the short stories on my website, the given websites, or another source, so pre-view these stories before you start 2. Read and annotate “Essential Elements of Fiction;” we will use these to discuss fiction. 3. Access the short story “The Yellow Wallpaper” by Charlotte Perkins Gilman, and read it closely in order to complete the “Elements of Fiction Graphic Organizer.” 4. Read and annotate the “Literary Devices That Create Voice” (tone, diction, detail, figurative language, imagery, & syntax); these are the main devices that create what we call “voice” in writing 5. Complete all six “Literary Device Practice” (practice, read, think, annotate, respond sections for each device) 6. Access and read the six other short stories; we will start the year with these stories.

Outcome: Turn in all of your written work (this completed packet) on August 17, 2018.

Suggested Timeline: Before the school year officially starts (at the end of July, beginning of August), carve out 30 minutes to 2 hours each day to complete the written tasks and reading. If you have a trip planned during this time, either complete this in the earlier part of the summer and/or use “down time” (plane or driving time, sitting in waiting rooms, etc.) to complete these.

 Day 1: Familiarize yourself with this packet, including accessing short stories  Day 2: Read and annotate “Essential Elements of Fiction”  Day 3: Close reading of “The Yellow Wallpaper,” annotating for “Elements of Fiction”  Day 4: Complete the “Elements of Fiction Graphic Organizer” for “The Yellow Wallpaper”  Day 5: Read & annotated “Literary Devices That Create Voice” for Tone and complete all Tone Practice (A)  Day 6: Read & annotated “Literary Devices That Create Voice” for Diction and complete all Diction Practice (B)  Day 7: Read & annotated “Literary Devices That Create Voice” for Detail and complete all Detail Practice (C)  Day 8: Read & annotated “Literary Devices That Create Voice” for Imagery and complete all Imagery Practice (D)  Day 9: Read & annotated “Literary Devices That Create Voice” for Figurative Language and complete all Figurative Language Practice (E)  Day 10: Read & annotated “Literary Devices That Create Voice” for Syntax and complete all Syntax Practice (F)  Days 11- 16: Selected a short story from the list and read it; read all six. Task 2: Essential Elements of Fiction (read & annotate)

An author of literary fiction uses the elements defined and discussed below to not only create a work but also to create deeper meanings within a work. By studying how these elements work individually and together, we can consider how they produce the meaning of the work as a whole, a fundamental concept in an AP literary analysis.

PLOT: what happens in a narrative; a series of events; arranged conflicts, complications, resolutions creating logical cause-effect relationships; the what & the why; believable (but not necessarily realistic) Five main stages of a conventional narrative: Exposition: opening section providing background of character, setting, situation, nature of conflict Rising Action: conflicts and complications begin to build. Conflict: the struggle within the plot between opposing forces, taking the form of a character, society, nature, or an aspect of the protagonist’s personality; external: a struggle against some outside force, another character, society as a whole, or some natural force; internal: a conflict between forces or emotions within one character Climax: occurs when the emotional tension or suspense of the plot reaches its peak; includes a turning point where fortunes of the protagonist move or worsen; building to this occupies most of the story, what follows is relatively brief. Falling Action: details the result (or fallout) of the climax or turning point; conflicts are resolved. Denouement (pronounced day-noo-mah): French for “untying the knot;” very brief; conflict resolved and balance restored; 20th-21st century writers often close without this final resolution. In medias res: Latin for “in the middle of the action;” a story starting just as an important event is to take place Flashback: describes events that have taken place before the story begins Foreshadowing: hints at things that might happen later in the story Questions: Is the plot arranged in chronological order, or does it being in medias res, or other progression? Does the plot contain flashbacks or foreshadowing? To what purpose? What is the nature of the conflict? Is it external or internal? How is the conflict resolved? Is there a denouement? If not, why is the story inconclusive?

CHARACTERS: Protagonist: main or central character; often in conflict with another character (see next); engages the reader’s interest and empathy Antagonist: character, force, or collection of forces that stands directly opposed to the protagonist and gives rise to the conflict of the story. Round character: complex, more fully developed; exhibits a range of emotions and changes over the course of the story; dynamic Flat character: embodies one or two traits or qualities, not as psychologically complex; provide background to protagonist’s actions; static Stock characters: stereotypes (e.g. "town drunk" or the "mean stepmother") Foil: character who through contrast underscores the distinctive characteristics of another; usually a minor character to serve as a foil for a major character. CHARACTERIZATION: the process by which a writer reveals the personality of a character Two major methods: Direct characterization (telling): author intervenes to describe and/or evaluate the character (e.g. humble, ambitious, vain, gullible, etc.) Indirect characterization (showing): the author presents a character* letting the reader infer what kind of person the character is. *describes how the character looks and dresses, allows the reader to hear the character speak, reveals the character’s private thoughts and feelings, portrays the character’s effect on other individuals— showing how other characters feel or behave toward the character, presents the character’s actions Questions: Who are the main characters in this story? Protagonist? Antagonist? What do you know about them? Direct or indirect characterization? How do they, or do they, change from the beginning to the end? What is the function of the minor characters in the story? SETTING: time and place; the where and when; may include objective facts: nation, town, date, time, weather and season; the physical and social context Geographical location: topography, scenery, and physical arrangements Historical era: a time-period (with political, economic, or social upheavals) Cultural environments: manners, mores, customs, rituals, codes of conduct related to actual period culture, or community, or an invented one Questions: What is the geographical setting? Time, place, weather, seasons? What is the historical or social environment being depicted? What background information is required to understand the situation? What details of the setting create an atmosphere or mood?

POINT OF VIEW: perspective through which a story is presented/told, whether by one character or from different vantage points (layered perspectives); narrative voice (vs. author) First-Person POV: a major or minor character in the story, tells the tale from his or her point of view; use of I, we pronouns; some include multiple narrators; a narrator may be unreliable (naïve, mentally ill, biased, corrupt, or immoral) Third-Person POV: an outside narrator, not playing a role in the actual plot; use of he, she, it pronouns; Omniscient narrator: third-person narrator who sees into each character’s mind and understands all the action going on; has access to what all characters think and feel Limited omniscient narrator: third-person narrator who generally reports what only one character sees and thinks Objective narrator: third-person neutral narrator; reports recounts only what characters say and do Stream of consciousness: inside the mind of the narrator, recounting thoughts, impressions, and feelings; without filters of causality or logic, the reader is privy to all of the character’s thoughts, scrolling through his or her consciousness/interior monologue Narrative frame (frame story): establishes who is telling the story and under what circumstances; usually create a shift in perspective (e.g. first POV to flashback) Questions: Is the point of view first person or third person? Is the narrator a participant or an observer in the story? If the POV is first person, how reliable is the narrator? If the POV is third person, is the narrator omniscient or limited omniscient? Does the POV shift during the course of the story? If so, what is the impact?

SYMBOL: objects, places, events, or even characters that carry meaning or associations beyond the literal; begin as literal objects, events, etc. (e.g. a glass slipper) then take on metaphorical significance (e.g. beauty and fragility); allows authors to draw connections to theme and point towards the meaning of the work as a whole ALLEGORY: a literary work that portrays abstracted ideas in concrete ways; fixed symbols encompass the entire work to create allegories; often contain archetypes (cultural symbols universally understood and recognized) Questions: What objects does the writer seem to emphasize, through description, repetition, or placement in the story? What might be symbolic about the setting? What characters or aspects of a character might be symbolic? What events? Is there a reoccurring pattern, or motif, of images or events?

THEME: a question raised or issue explored in a literary work; a central meaning or dominant idea; a unifying point around which the plot, characters, setting, point of view, symbols, and other elements of a work are organized. Several themes can exist in a work, and it requires observing and interpreting the other literary elements. A theme is not a general subject/topic of the work, is not a cliché, is not a moral, and it is not an oversimplification of details. Theme statements express a sophisticated opinion (What does the work seem to say about…?) about an abstract concept (i.e. freedom, jealousy, guilt, unrequited love, self-pity) presented in the work Theme should be written in a complex statement, e.g.: The [genre] [title] by [author] is about [topic/abstract concept] and reveals that [opinion]. Questions: What is this work about? What issues are explored? What questions are raised by this work? What is this work really saying about ____ (this subject or issue)? What possible answers does this work provide to this question? By examining the plot, characters, setting, point of view, and other literary elements, what can the reader glean about what it means to be a human being?

Jago, Carol, et al. “Elements of Fiction.” Literature and Composition. Boston, Bedford, Freeman, & Worth, 2017. Task 3: Elements of Fiction Graphic Organizer for “The Yellow Wallpaper”

Task 3: Based on your reading understanding of Gilman’s short story, neatly record notes for each section below. Use the concepts and questions to guide the ideas you write in the right column. Please make sure that you record ideas in such a manner that anyone could understand your written conclusions.

PLOT: Exposition, Rising Action, Climax, falling Action, Denouement, Resolution Is the plot arranged in chronological order, or does it being in medias res, or other progression? Does the plot contain flashbacks or foreshadowing? To what purpose? What is the nature of the conflict? Is it external or internal? How is the conflict resolved? Is there a denouement? If not, why is the story inconclusive?

CHARACTERS: Who are the main characters in this story? Protagonist? Antagonist? What do you know about each character? How do you know this? Do characters change from the beginning to the end? How? What is the function of minor characters in the story?

SETTING: Where and when does the story take place? What is the geographical setting? Over what period of time? What particular place, or weather or seasons? What is the historical or social environment being depicted? What background information is required to understand the situation? What details of the setting create an atmosphere or mood? POINT OF VIEW: Is the point of view first person or third person? Is the narrator a participant or an observer in the story? If the POV is first person, how reliable is the narrator? If the POV is third person, is the narrator omniscient or limited omniscient? Does the POV shift during the course of the story? If so, what is the impact? SYMBOL: What objects does the writer seem to emphasize, through description, repetition, or placement in the story? What might be symbolic about the setting? What characters or aspects of a character might be symbolic? What events? Is there a reoccurring pattern, or motif, of images or events? THEME: What is this work about? What issues are explored? What questions are raised by this work? What is this work really saying about ____ (this subject or issue)? What possible answers does this work provide to this question? By examining the plot, characters, setting, point of view, and other literary elements, what can the reader glean about what it means to be a human being?

Task 4: Literary Devices That Create Voice (read & annotate)

TONE is the expression of attitude or the attitude of the speaker (narrator or writer) towards the subject matter (or audience). “Tone sets the relationships between reader and writer,” and a reader needs to understand tone in order to understand meaning. Tone is most often implied; thus, it is created through the selection of words (diction) and their arrangement (syntax) and by a purposeful use of details and images. Tones may be complimentary or shifting. Use the Tone Word List (Appendix A, in this packet) to help you consider tone.

DICTION refers to the author’s choice of words; it is the foundation to “voice.” Just like selecting a brush and type of paint, specific word choice creates color and texture to a written work. Diction determines a level of formality and shapes the reader’s perception of the topic. The writer’s purpose partly determines the diction, and it depends on the occasion for writing. Keep in mind both the connotation (the meaning suggested by the words) as well as the denotation (the literal or “dictionary” definition of the words). Diction may be defined in many ways, consider the following: technical, formal, informal, familiar. There are also special types of diction: slang, dialect, jargon.

DETAIL includes the facts and observations used to develop and describe a subject. Because detail adds life and action to a text, it influences how the reader views the topic by focusing the reader’s attention on particular objects, incidents, or ideas. Understatement, or lack of detail, is also a way in which an author creates meaning.

IMAGERY is the verbal representation of our five senses: sight, sound, touch, taste, and smell. Visual imagery is most common, but good writers often employee a combination of auditory, tactile, gustatory, and olfactory images. Diction and detail create imagery. Imagery creates a vivid experience and conveys specific emotion.

FIGURATIVE LANGUAGE is language that is not used in a literal way. “It’s a way of saying one thing and meaning another” or, at least, suggesting another. Basic figures of speech include the following: Metaphors imply comparisons by, actually, saying something is something else (“That test was a bear.”) Similes state comparisons directly by using “signal words” (as, like, than) to make the comparison explicit (“Alice sang like a crow.”); be careful, not all uses of like or as signify a simile. Personification, a special kind of metaphor, gives human qualities to something that is not human, like an animal, object or idea (“The tree sighed sadly in the cold.”) Hyperbole is an exaggeration that is based to some degree in truth. (“I’m so tired I could sleep for a week.”) Symbols stand for something else, beyond their literal meaning. They appear in the text, but they also represent something beyond themselves, like an abstract idea. (A dove might represent hope). Irony comes in three forms: verbal, situational, and dramatic. The most common is verbal, saying the opposite of what you mean, and the most common of this is sarcasm, a verbal irony most often meant to hurt. Verbal irony in literature, however, can be funny or serious, affectionate or contemptuous. It may be conveyed through overstatement or understatement. Situational irony is a discrepancy between what is expected to happen and what actually happens. Dramatic irony occurs when the reader/audience is aware of something a character is not.

SYNTAX is the way the words are arranged within the sentences. This includes word order, sentence length, sentence order, and punctuation. Deviation from a normal sentence pattern can serve to draw attention to or emphasize an idea. By controlling pace, the writer can create interest, reinforce meaning, and carry or relieve tension. Use the Syntax Analysis sheet (Appendix B, in this packet) as a reference. Literary Elements in Action Basic Sentence: Robbie reached for the ball. Detail Sentence: Robbie reached for the ball, successfully took possession, pulled it to his chest, looked at the basket, then aimed, threw, and watched it drop through the rim to score the winning point. Diction Sentence: Desperate to win, Robbie lunged for the ball. Figurative Language Sentence: Thinking like a winner, Robbie’s controlled frenzy enabled him to reach for the ball, jump gracefully as a gazelle as he threw it toward the basket, and – unfortunately – heard it smack against the backboard and rebound into the arms of an opponent. Imagery Sentence: Robbie felt the round, nubby ball as his hands curled around the worn leather, hugged it protectively to his chest, then lobbed it toward the basket as the crowd roared. Task 5: Literary Device Practice (complete all)

Task5A: TONE (expression of attitude) Introductory Practice Read the passage below. Specific words and phrases have been underlined for you. Re-read just these words. Use your Tone Word List (Appendix A) to select two complementary tones.

“There was a steaming mist in all the hollows, and it had roamed in its forlornness up the hill, like an evil spirit, seeking rest and finding none. A clammy and intensely cold mist, it made its slow way through the air in ripples that visibly followed and overspread one another, as the waves of an unwholesome sea might do. It was dense enough to shut out everything from the light of the coach-lamps but these its own workings, and a few yards of road; and the reek of the labouring horses steamed into it, as if they had made it all.” – A Tale of Two Cities by Charles Dickens

Write the two complementary tone words you have selected with definitions below: ______

More Practice Read the passage. Specific words and phrase have been underlined for you. Re-read just these words. Use your Tone Word List to select two words that represent the shifting tone of the selection.

“It was bad enough having an invalid brother, but having one who possibly was not all there was unbearable, so I began to make plans to kill him by smothering him with a pillow. However, one afternoon as I watched him, my head poked between the iron posts of the foot of the bed, he looked straight at me and grinned. I skipped through the rooms, down the echoing halls, shouting, ‘Mama, he smiled. He’s all there! He’s all there!’ and he was.” – “The Scarlet Ibis” by James Hurst

Write the two complementary tone words you have selected with definitions below: ______

Read, Think, Annotate & Respond

What a thrill --- My thumb instead of an onion. The top quite gone Except for a sort of a hinge

Of skin, A flap like a hat, Dead white. Then that red plush. - “Cut: For Susan O’Neill Roe” by Sylvia Plath

1. What is the poet’s attitude (tone) toward the cut? ______2. What words, images, and details create the tone? Highlight 4-5 specific words or phrases in the poem 3. In the second stanza, Plath uses colors to intensify the tone. The flap of skin is dead white, the blood is a red plush. What attitude toward the cut and, by implication toward life itself, does this reveal?

______Task5B: DICTION (word choice) Introductory Practice: First, look up and write definitions for the words below Denotation ______Connotation ______Now, read the sentence below. Specific words and phrases have been underlined for you. Re-read just these words.

“M.C. heard him scramble and strain his way up the slope of Sarah’s mountain.”-M.C. Higgins, the Great by Virginia Hamilton

Close your eyes and picture this. What does it mean to scramble and strain up a mountain? ______How does your mental picture change if we re-write the sentence like this? M.C. heard him walk up the slope of Sarah’s mountain. ______

Read, Think, Annotate, & Respond: Read the passage below describing the setting of the House of Usher. Highlight the words (adjectives, adverbs, verbs, etc.) which stand as descriptive or important; a few have been done for you.

“DURING the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was --but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment, with which the mind usually receives even the sternest natural images of the desolate or terrible. I looked upon the scene before me --upon the mere house, and the simple landscape features of the domain --upon the bleak walls --upon the vacant eye-like windows --upon a few rank sedges --and upon a few white trunks of decayed trees --with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveller upon opium --the bitter lapse into everyday life-the hideous dropping off of the reveller upon opium --the bitter lapse into everyday life --the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart --an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime. What was it --I paused to think --what was it that so unnerved me in the contemplation of the House of Usher? It was a mystery all insoluble; nor could I grapple with the shadowy fancies that crowded upon me as I pondered. I was forced to fall back upon the unsatisfactory conclusion, that while, beyond doubt, there are combinations of very simple natural objects which have the power of thus affecting us, still the analysis of this power lies among considerations beyond our depth. It was possible, I reflected, that a mere different arrangement of the particulars of the scene, of the details of the picture, would be sufficient to modify, or perhaps to annihilate its capacity for sorrowful impression; and, acting upon this idea, I reined my horse to the precipitous brink of a black and lurid tarn that lay in unruffled lustre by the dwelling, and gazed down --but with a shudder even more thrilling than before --upon the remodelled and inverted images of the gray sedge, and the ghastly tree-stems, and the vacant and eye-like windows.” – “The Fall of the House of Usher” by Edgar Allan Poe

Re-read only the words that are underlined. Diction directly affects tone. What is the effect? Identify two tone words for the passage: ______

What does the author want the reader to know or understand because of this diction (word choice)? The author’s purpose in using this diction is to______

Read, Think, Annotate, & Respond: You may be familiar with the excerpt below; it is a scene describing the transporting of Jews from Auschwitz to Buchenwald, both concentration camps in World War II.

“Twenty bodies were thrown out of our wagon. Then the train resumed its journey, leaving behind it a few hundred naked dead, deprived of burial, in the deep snow of a field in Poland.” – Night by Elie Wiesel

1. In this selection, Wiesel never refers to the men who die on the journey as men. Instead, he refers to them as bodies or simply dead. How does his diction shape the reader’s understanding of the horror? ______2. How would the meaning change if we substituted dead people for bodies? (Twenty dead people were thrown…) ______Task5C: DETAIL (facts, observations, items, particulars) Introductory Practice: Read the passage below and note how the details focus on people (not scenery or buildings).

“Meanwhile, Confucius pursued his studies. Whenever he had a chance, he visited the state capital, Qufu, a lively town thronged with people talking, laughing, and shouting; buying, selling, and gambling; eating at food stalls in every street; and watching acrobats, jugglers, and magicians at the marketplace, where vendors hawked such delicacies as bears’ paws, the fins of sharks, the livers of peacocks, and bees fried in their own honey.” – from Russell Freedman, Confucius: The Golden Rule

How would the feeling and impact of this passage change if Freedman had ended the second sentence at the word “people,” removing all of the details that follow? ______

Read, Think, Annotate & Respond: The following is about Jane Eyre’s impressions as she observes the new boarding school that she will be attending. Read the passage. Highlight the words or phrases that are details (facts). Be selective! Consider, what details does the Bronte use to describe the two women and the girls?

“The lady I had left might be about twenty-nine; the one who went with me appeared some years younger: the first impressed me by her voice, look, and air. Miss Miller was more ordinary; ruddy in complexion, though of a careworn countenance; hurried in gait and action, like one who had always a multiplicity of tasks on hand: she looked, indeed, what I afterwards found she really was, an under-teacher. Led by her, I passed from compartment to compartment, from passage to passage, of a large and irregular building; till, emerging from the total and somewhat dreary silence pervading that portion of the house we had traversed, we came upon the hum of many voices, and presently entered a wide, long room, with great deal tables, two at each end, on each of which burnt a pair of candles, and seated all round on benches, a congregation of girls of every age, from nine or ten to twenty. Seen by the dim light of the dips, their number to me appeared countless, though not in reality exceeding eighty; they were uniformly dressed in brown stuff frocks of quaint fashion, and long holland pinafores. It was the hour of study; they were engaged in conning over their to- morrow's task, and the hum I had heard was the combined result of their whispered repetitions.” – Jane Eyre by Charlotte Bronte

Re-read only the words that are underlined/highlighted details. What is the effect? Identify two tone words for the passage: ______

Why does the author include these details? What does the author want the reader to know or understand because of these details (facts, observations)? The author’s purpose in supplying these details is to ______Read, Think, Annotate & Respond

“The dog stood up and growled like a lion, stiff-standing hackles, teeth uncovered as he lashed up his fury for the charge. Tea Cake split the water like an otter, opening his knife as he dived. The dog raced down the back- bone of the cow to the attack and Janie screamed and slipped far back on the tail of the cow, just out of reach of the dog’s angry jaws. “ – from Their Eyes were Watching God by Zora Neale Hurston,

1. Which details reveal that the dog has rabies? Highlight these. 2. What effect do these details have on the reader? ______3. Contrast the details used to describe Tea Cake (the male protagonist) and Janie (the female protagonist). What do these details reveal about the author’s attitude toward these two characters? ______Task5D: IMAGERY (sight, sound, touch, taste, & smell) Introductory Practice: Read the sentence below where Bronte uses both visual and auditory imagery.

“The rainy night had ushered in a misty morning – half frost, half drizzles – and temporary brooks crossed our path, gurgling from the uplands.” – Wuthering Heights by Emily Bronte

Which words create visual images? Label these. Which words create auditory images? Label these. Which create both? What feelings (effect) are traditionally associated with rain, mist, and frost? ______How would the feeling of this sentence be different if the rainy night had ushered in a brilliant, sunny morning? ______

More Practice: Read the following passage from this well-known Christmas story. Highlight the imagery (particular words and phrases that touch the 5 senses)

“Once upon a time -- of all the good days in the year, on Christmas Eve -- old Scrooge sat busy in his counting-house. It was cold, bleak, biting weather: foggy withal: and he could hear the people in the court outside go wheezing up and down, beating their hands upon their breasts, and stamping their feet upon the pavement stones to warm them. The city clocks had only just gone three, but it was quite dark already -- it had not been light all day: and candles were flaring in the windows of the neighbouring offices, like ruddy smears upon the palpable brown air. The fog came pouring in at every chink and keyhole, and was so dense without, that although the court was of the narrowest, the houses opposite were mere phantoms. To see the dingy cloud come drooping down, obscuring everything, one might have thought that Nature lived hard by, and was brewing on a large scale.” – from A Christmas Carol by Charles Dickens

Re-read your highlighted images. What of the five senses are touched? ______What is the effect? Identify two tone words for the passage: ______Bonus Question: Respond: What is ironic about the passage?

Read, Think, Annotate, & Respond Queen: There is a willow grows askant the brook, That shows his hoar leaves in the glassy stream. There with fantastic garlands did she make Of crowflowers, nettles, daisies, and long purples . . . There on the pendent boughs her crownet* weeds (5) *coronet Clamb’ring to hang, an envious sliver broke, When down her weedy trophies and herself Fell in the weeping brook. Her clothes spread wide, And mermaid-like awhile they bore her up, Which time she chanted snatches of old lauds,* (10) *hymns As one incapable of* her own distress, *insensible to Or like a creature native and indued* *endowed Unto that element. But long it could not be Till that her garments, heavy with their drink, Pulled the poor wretch from her melodious lay (15) To muddy death. — from Hamlet by William Shakespeare

Examine lines 8-13. How does the imagery in these lines help the reader understand that Ophelia (the she) is mad? ______Task5E: FIGURATIVE LANGUAGE (non-literal language) Introductory Practice: Re-view the basic figures of speech and their definitions with examples on the “Literary Devices That Create Voice.” Which do you remember? Which do you need to review? What others do you know? ______