Reference Section

REFERENCE SECTION

Literary Terms Handbook ...... R1

Reading Handbook ...... R20 Vocabulary Development ...... R20 Comprehension Strategies ...... R21 Literary Response ...... R23 Analysis and Evaluation ...... R24

Foldables™ ...... R26

Writing Handbook ...... R30 The Writing Process ...... R30 Using the Traits of Strong Writing ...... R33 Writing Modes ...... R35 Research Paper Writing ...... R36

Business Writing ...... R42

Language Handbook ...... R46 Grammar Glossary ...... R46 Mechanics ...... R53 Spelling ...... R58

Test-Taking Skills Handbook ...... R61 Glossary/Glosario ...... R64

Academic Word List ...... R82

Index of Skills ...... R85

Index of Authors and Titles ...... R100

Index of Art and Artists ...... R104

Acknowledgments ...... R108

R000 EMTOC-845482.indd 2 2/5/07 4:06:34 PM LITERARY TERMS HANDBOOK

A Anapest A metrical foot of three syllables in which two unstressed syllables are followed by a stressed one (˘˘). Act A major unit of a drama, or play. Modern dramas In the following line from Siegfried Sassoon’s “Does It generally have one, two, or three acts. Older dramas, Matter?” the feet are divided by slashes: including Shakespeare’s, often have five acts. Acts may ˘ ˘ ˘ ˘ ˘ ˘ be divided into one or more scenes. You can drink / and forget / and be glad. . . . See also DRAMA, SCENE. See also FOOT, METER, SCANSION.

Allegory A literary work in which all or most of the Anecdote A brief account of an interesting happening. characters, settings, and events stand for ideas, qualities, Essayists often use anecdotes to support their opinions, or figures beyond themselves. The overall purpose of an clarify their ideas, get the reader’s attention, or entertain. allegory is to teach a moral lesson. Bunyan’s The Pilgrim’s Biographers often include anecdotes to illustrate points Progress is an allegory in which Vanity Fair represents the about their subjects. Boswell’s The Life of Samuel world and the Celestial City symbolizes heaven. Johnson contains an anecdote about the first time See pages 154, 533. Boswell was introduced to Johnson by Thomas Davies. See also SYMBOL. Antagonist A person or a force that opposes the pro- Alliteration The repetition of consonant sounds, gener- tagonist, or central character, in a story or drama. The ally at the beginnings of words. Alliteration can be used reader is generally meant not to sympathize with the to emphasize words, reinforce meaning, or create a musi- antagonist. In Beowulf, Grendel is an antagonist. cal effect. Note the repeated s and d sounds in the fol- See also CONFLICT, PROTAGONIST. lowing line from Hopkins’s “Pied Beauty”: With swift, slow; sweet, sour; adazzle, dim; Anthropomorphism The assignment of human characteristics to gods, animals, or inanimate objects. It is a key See pages 276, 800, 936. element in fables, where the main characters are often See also SOUND DEVICES. animals. The sheep in Janet Frame’s “Two Sheep” have Allusion A reference to a well-known character, place, or human characteristics. situation from history, music, art, or another work of literature. See page 1319. Discovering the meaning of an allusion can often be essential See also FABLE. to the understanding of a work. W. H. Auden alludes to the Greek myth of Icarus in his poem “Musée des Beaux Arts.” Aphorism A short, pointed statement that expresses a wise or clever observation about human experience, such See pages 520, 600, 733. as Pope’s saying from An Essay on Criticism: Ambiguity The state of having more than one mean- We think our fathers fools, so wise we grow; ing. The richness of literary language lies in its ability to Our wiser sons, no doubt, will think us so. evoke multiple layers of meaning. See also EPIGRAM. See also CONNOTATION. Apostrophe A figure of speech in which a speaker Analogy A comparison that shows similarities between addresses an inanimate object, an idea, or an absent per- two things that are otherwise dissimilar. A writer may use son. In Percy Bysshe Shelley’s “Ode to the West Wind,” an analogy to explain something unfamiliar by compar- the speaker addresses the wind. ing it to something familiar. Shakespeare pokes fun at See page 271. analogies in “Sonnet 130,” claiming, “My mistress’ eyes See also PERSONIFICATION. are nothing like the sun.” Archetype A symbol, a character, an image, or a story See also METAPHOR, SIMILE. pattern that recurs frequently in literature and evokes strong

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R001-R019 EM-845482.indd 1 7/10/06 8:17:11 AM responses, often based on unconscious memory. The story following purposes: to persuade, to inform, to explain, of a hero who embarks on a dangerous quest is a recur- to entertain, or to describe. John Bunyan wrote The ring story in literature and film. Sir Gawain in Sir Gawain Pilgrim’s Progress to provide moral instruction. and the Green Knight embarks on an archetypal journey. See pages 154, 280, 288, 573, 609, 854, 1098. See pages 173, 205. See also DICTION, STYLE, THEME. See also SYMBOL. Autobiography The story of a person’s life written by Argument A type of persuasive writing in which logic that person. Autobiographies can give insights into the or reason is used to try to influence a reader’s ideas or author’s view of himself or herself and of the society in actions. In A Vindication of the Rights of Woman, Mary which he or she lived. The Book of Margery Kempe is the Wollstonecraft presents a powerful argument for the edu- autobiography of a medieval woman. cation of women. Argument can also refer to a prose See page 146. summary or synopsis of what is in a story or play. This See also BIOGRAPHY, DIARY, MEMOIR, NONFICTION. type of argument appears at the beginning of Coleridge’s The Rime of the Ancient Mariner.

LITERARY TERMSLITERARY HANDBOOK B See pages 124, 352, 425, 456, 603, 726, 1150. See also PERSUASION. Ballad A narrative song or poem. Folk ballads, which usually recount an exciting or dramatic episode, were Aside In a play, a character’s comment that is directed to passed down by word of mouth for generations before the audience or another character but is not heard by any being written down. Literary ballads are written in imita- other characters on the stage. Asides, which are rare in tion of folk ballads but have a known author. Coleridge’s modern drama, reveal what a character is thinking or feel- The Rime of the Ancient Mariner is a literary ballad. ing. An example occurs in Act 1, scene 4, of Shakespeare’s “Bonny Barbara Allan” is a folk ballad. Macbeth. See pages 208–209, 210, 827. King. My worthy Cawdor! See also FOLKLORE, NARRATIVE POETRY, ORAL TRADITION. Macbeth. [Aside.] The Prince of Cumberland! Ballad stanza A quatrain, or four-line stanza, in which That is a step the first and third lines have four stressed syllables, and On which I must fall down, or else o’erleap. the second and fourth lines have three stressed syllables. See also SOLILOQUY. Only the second and fourth lines rhyme. Although the basic foot in this stanza is the iamb (˘), there tend to be Assonance The repetition of the same or similar vowel many irregularities, as in this stanza from “Get Up and sounds in stressed syllables that end with different conso- Bar the Door.” nant sounds. For example, the long i sound is repeated in the opening line from Ben Jonson’s “On My First Son”: It fell about the Martinmas time, Farewell, thou child of my right hand, and joy; . . . And a gay time it was then, See pages 931, 1201. When our goodwife got puddings to make, See also SOUND DEVICES. And she’s boiled them in the pan. Atmosphere The dominant emotional feeling of a See pages 210, 827. literary work that contributes to the mood. Orwell’s See also QUATRAIN, SCANSION. description of the natives’ dislike of him in “Shooting an Elephant” builds an atmosphere of suspense and Bias An inclination toward a certain opinion or position foreboding. on a topic, possibly stemming from prejudice. See page 316. See pages 1173, 1193. See also MOOD. See also NONFICTION.

Author’s purpose An author’s intent in writing a liter- Biography An account of a person’s life written by ary work. Authors typically write for one or more of the someone other than the subject. Biographies have been

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R001-R019 EM-845482.indd 2 7/10/06 8:17:36 AM written of many of the writers in this book. Boswell’s The eloquent language. Love is a popular theme. Herrick, HANDBOOK LITERARY TERMS Life of Samuel Johnson is a famous example. Suckling, and Lovelace were Cavalier poets. See page 660. See pages 452–453. See also AUTOBIOGRAPHY, DIARY, JOURNAL, MEMOIR. Character A person portrayed in a literary work. A main Blank verse Poetry or lines of dramatic verse written character is central to the story and is typically fully devel- in unrhymed iambic pentameter. Each line has five feet, oped. A minor character displays few personality traits with each foot made up of an unstressed syllable fol- and is used to help develop the story. Characters who lowed by a stressed syllable. Because blank verse may show varied and sometimes contradictory traits, such as attempt to imitate spoken English, every line need not be Rosemary in Katherine Mansfield’s “A Cup of Tea,” are perfectly regular. Most of Shakespeare’s characters speak called round. Characters who reveal only one personality in blank verse—as Macbeth does, for example, when he trait, such as the narrator’s mother in V. S. Naipaul’s “B. addresses the floating dagger in Act 2, scene 1: Wordsworth,” are called flat. A stereotype, or stock char- ˘ ˘ ˘ ˘ ˘ And on thy blade and dudgeon gouts of blood, acter, is typically flat. A dynamic character, such as Paul in D. H. Lawrence’s “The Rocking-Horse Winner,” grows and See also FOOT, IAMBIC PENTAMETER, SCANSION. changes during the story. A static character remains basi- cally the same throughout a story. Things happen to the Byronic hero See HERO. character, but he or she does not change. See pages 210, 1123, 1193, 1272. C See also CHARACTERIZATION, STEREOTYPE. Cadence The rhythmic rise and fall of language when it is spoken or read aloud. Characterization The methods a writer uses to reveal the personality of a character. In direct characterization, See also FREE VERSE, METER. the writer makes explicit statements about a character, as Caesura A pause in a line of poetry, usually near the D. H. Lawrence does in “The Rocking-Horse Winner.” In middle of a line, with two stressed syllables before and indirect characterization, the writer reveals a character two after, creating a strong rhythm. A caesura is used to through his or her words, thoughts, and actions and produce variations in meter and to draw attention to cer- through what other characters think and say about that tain words. Some pauses are indicated by punctuation, character, as in the characterization of the young woman others by phrasing or meaning. In the lines below, from in Gordimer’s “The Train from Rhodesia.” Tennyson’s In Memoriam A. H. H., the caesuras are See pages 93, 140, 539, 769, 967, 1305. marked by double vertical lines. See also CHARACTER. Ring out the old, || ring in the new, Cliché A word or phrase that is so overused that it is Ring, happy bells, || across the snow; virtually meaningless. “Dead as a doornail,” “piece of See also RHYTHM. cake,” and “last but not least” are all clichés.

Carpe diem A Latin phrase meaning “seize the day”; in Climax See PLOT. other words, “make the most of each moment.” In carpe diem poems, the speaker emphasizes the shortness of Colloquialism Informal language used in everyday con- life—usually to persuade a young woman to yield to love versation but not in formal writing or speech. In Mansfield’s while she still has her youth and beauty. Andrew Marvell’s “A Cup of Tea,” Miss Smith is speaking colloquially when poem “To His Coy Mistress” is a famous example. she says, “I can’t go on no longer . . . I can’t bear no more.” See pages 456, 478. See also DIALECT, VERNACULAR.

Cavalier poetry The work of a group of English Comedy A type of drama that is humorous and often poets in the 1600s who were loyal to the monarchy. has a happy ending. A heroic comedy focuses on the Cavalier poetry is generally intended to entertain rather exploits of a larger-than-life hero. than to instruct. It is characterized by regular rhythmic See also DRAMA, FARCE, HUMOR, PARODY, SATIRE, WIT. patterns, carefully structured stanzas, and simple but

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R001-R019 EM-845482.indd 3 7/10/06 8:17:45 AM Comic relief A humorous scene, event, or speech in a For thy sweet love rememb’red such wealth brings serious drama. It provides relief from emotional intensity That then I scorn to change my state with kings. while at the same time highlighting the seriousness of the See also HEROIC COUPLET, RHYME, SONNET. story. The porter scene in Shakespeare’s Macbeth (Act 2, Scene 3) is a famous example. Crisis See PLOT.

Conceit An elaborate figure of speech that makes a comparison between two significantly different things. The con- D ceit draws an analogy between some object from nature or Dactyl A three-syllable metrical foot, in which the first everyday life and the subject or theme of a poem. Often a syllable is stressed and the following two are unstressed. conceit is lengthy and dominates a passage or an entire The following line from Tennyson’s “Tears, Idle Tears” has poem. A metaphysical conceit is an intellectual compari- a basic dactylic rhythm: son—rather than one based on nature—that can develop a ˘ ˘ ˘ ˘ ˘ ˘ wide range of ideas and capture a broad range of emo- Tears, idle/ tears, I know/ not what they/ mean, tions. In Sir Thomas Wyatt’s “Whoso List to Hunt,” the con- See also FOOT, METER, SCANSION.

LITERARY TERMSLITERARY HANDBOOK ceit compares romance with deer hunting. See page 438. Denotation The literal, or dictionary, meaning of a word. See also ANALOGY, EXTENDED METAPHOR, METAPHYSICAL See pages 271, 611, 948. POETRY, SIMILE. See also CONNOTATION.

Conflict The central struggle between two opposing Dénouement See PLOT. forces in a story or drama. An external conflict exists when a character struggles against some outside force, Description A detailed portrayal of a person, a place, an such as another person, nature, society, or fate. An object, or an event. Good descriptive writing appeals to the internal conflict is a struggle that takes place within the senses through imagery. Anita Desai’s “Games at Twilight” mind of a character who is torn between opposing feel- begins with an effective description of a hot afternoon. ings, desires, or goals. In Desai’s “Games at Twilight,” See pages 967, 1156. the conflict is largely internal. In Achebe’s “Dead Men’s See also FIGURATIVE LANGUAGE, IMAGERY. Path,” the conflict is mostly external. See pages 23, 79, 191, 530, 1075, 1285, 1305. Dialect A variation of a language spoken by a particular See also ANTAGONIST, PLOT, PROTAGONIST. region or class. Dialects may differ from the standard form of a language in vocabulary, pronunciation, or Connotation The suggested or implied meanings grammatical form. In Naipaul’s story “B. Wordsworth,” associated with a word beyond its dictionary definition, the narrator and his mother speak a dialect of English. or denotation. A word can have a positive, negative, or I ran up the steps and shouted, “Ma, it have a man neutral connotation. outside here. He say he want to watch the bees.” See pages 271, 611, 948. See pages 718, 1332. See also AMBIGUITY, DENOTATION, FIGURATIVE LANGUAGE. See also VERNACULAR.

Consonance The repetition of consonant sounds, typi- Dialogue Conversation between characters in a literary cally at the end of nonrhyming words and preceded by work. Dialogue can contribute to characterization, create different vowel sounds, as in this succession of echoing d mood, advance the plot, and develop theme. sounds in William Butler Yeats’s “The Second Coming”: See page 769. The blood-dimmed tide is loosed, . . . See pages 931, 1201. Diary An individual’s daily record of impressions, See also SOUND DEVICES. events, or thoughts, written for personal use rather than for publication. Samuel Pepys’s diary, written between Couplet Two consecutive, rhymed lines of poetry that 1660 and 1669, is a famous example. follow the same rhythmic pattern. The last two lines of See page 553. Shakespeare’s “Sonnet 29” are a couplet: See also JOURNAL.

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R001-R019 EM-845482.indd 4 7/10/06 8:17:53 AM Diction A writer’s choice of words; an important element End-stopped line A line of poetry that contains a com- HANDBOOK LITERARY TERMS in the writer’s “voice” or style. Skilled writers choose their plete thought, thus requiring a semicolon or period at the words carefully to convey a particular meaning or feeling. end, as in Blake’s “A Poison Tree”: See pages 786, 854, 1190, 1324. I was angry with my friend; See also AUTHOR’S PURPOSE, CONNOTATION, STYLE, TONE, VOICE. I told my wrath, my wrath did end. See also ENJAMBMENT. Dimeter A line of verse consisting of two feet. See also FOOT, METER, SCANSION. Enjambment The continuation of a sentence from one line of a poem to another, without a pause, as in Drama A story intended to be performed by actors before the following lines from Shakespeare’s “Sonnet 116”: an audience. The script of a dramatic work, or play, often Let me not to the marriage of true minds includes the author’s instructions to the actors and director, Admit impediments; love is not love known as stage directions. A drama may be divided into Which alters when it alteration ﬁ nds . . . acts, which may also be broken up into scenes, indicating changes in location or the passage of time. Enjambment enables poets to create a conversational tone, breaking lines at points where people would See also ACT, COMEDY, PROPS, SCENE, STAGE DIRECTIONS, normally pause in conversation yet still maintaining the TRAGEDY. unity of thought. Dramatic irony See IRONY. See page 781. See also RHYTHM. Dramatic monologue A form of dramatic poetry in which a speaker addresses a silent listener. The speaker Epic A long narrative poem that recounts the adventures may be a fictional or historical figure and is clearly distinct of a larger-than-life hero. This epic hero is usually a man from the poet. Robert Browning’s poem “My Last of high social status who embodies the ideals of his peo- Duchess” is a dramatic monologue. ple. He is often of great historical or legendary importance. Epic plots typically involve supernatural events, See pages 980, 1008. See also DRAMATIC POETRY, MONOLOGUE. long time periods, distant journeys, and life-and-death struggles between good and evil. Works such as Beowulf Dramatic poetry Poetry in which characters are are called folk epics because they have no certain revealed through dialogue and monologue, as well as authorship and arise, usually through storytelling, from through description. Hardy’s “Ah, Are You Digging on the collective experiences of a people. Literary epics, My Grave?” is an example of dramatic poetry. such as John Milton’s Paradise Lost, are written by known authors. See also DIALOGUE, DRAMATIC MONOLOGUE. See pages 20–21, 52. Dramatic structure The structure of a serious play. See also LEGEND, MYTH, ORAL TRADITION. Common elements are exposition, rising action, climax, falling action, and resolution. Epigram A short, witty verse or saying. Samuel Taylor Coleridge defined epigram with an epigram of his own: See also PLOT. What is an Epigram? A dwarﬁ sh whole, Dynamic character See CHARACTER. Its body brevity, and wit its soul. See also APHORISM. E Epigraph A quotation from another work or source that Elegy A poem mourning a death or another great loss. suggests the theme or main idea of the work at hand. It Tennyson’s In Memoriam A. H. H. is an elegy. is often up to the reader to determine how the quoted See pages 446, 715. work relates to the literature it introduces. An epigraph generally serves as an introductory passage at the begin- End rhyme The rhyming of words at the ends of lines, ning of a literary work. Kipling’s “Miss Youghal’s Sais” as in Housman’s “To an Athlete Dying Young.” begins with an epigraph.

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R001-R019 EM-845482.indd 5 7/10/06 8:18:02 AM Epilogue A concluding statement or section added to a Extended metaphor A metaphor that compares two work of literature. unlike things in various ways throughout a paragraph, a stanza, or an entire selection. Epiphany A moment of sudden understanding of the See page 603. true meaning of a situation, a person, or an object. In See also METAPHOR. Katherine Mansfield’s “A Cup of Tea,” Rosemary Fell’s real- ization that her husband finds Miss Smith pretty is an epiphany. F See page 1139. Fable A short, often humorous tale intended to teach a lesson about human behavior or to give advice about Epistle Any letter, such as Johnson’s “Letter to Lord how to behave. Many fables end by stating the moral, Chesterfield.” Often the term is applied to a more literary or lesson to be learned, while others leave it up to the work than the informal communication written by most reader to infer the moral. In a beast fable, animals talk people. Pope called the four poems that make up An and act like humans. Essay on Man “verse epistles.” See also LEGEND, MORAL, PARABLE, THEME. LITERARY TERMSLITERARY HANDBOOK

Epitaph A brief statement commemorating a dead per- Fairy tale A type of folktale that features supernatural son, often inscribed on a gravestone. Thomas Gray’s elements, such as spirits, talking animals, and magic. “Elegy Written in a Country Churchyard” ends with an See also FOLKTALE. epitaph, as does Malory’s Le Morte d’Arthur. See page 709. Falling action See PLOT. See also ELEGY. Fantasy A literary work that is set in an unreal world Epithet A word or brief phrase used to characterize a and that often concerns incredible characters and events. person, place, or thing. Royal epithets are common: There are elements of fantasy in Swift’s Gulliver’s Travels. Good Queen Bess, Richard the Lionheart, Edward the See also SCIENCE FICTION. Black Prince, Charles the Bold, and Philip the Good, for example. Farce A type of comedy with ridiculous situations, characters, or events. Essay A short piece of nonfiction writing on any topic. The purpose of the essay is to communicate an idea or See also COMEDY, HUMOR, PARODY, SATIRE. opinion. A formal essay is serious and impersonal, often Fiction A narrative in which situations and characters with the purpose of instructing or persuading. Typically, are invented by the writer. Some aspects of a fictional the author strikes a serious tone and develops a main work may be based on fact or experience. Fictional works idea, or thesis, in a logical, highly organized way. An include short stories, novels, and plays. informal or personal essay entertains while it informs, usually in light, conversational style. Bacon’s “Of Studies” See also DRAMA, NONFICTION, NOVEL, SHORT STORY. is a formal essay. Addison and Steele wrote informal Figurative language Language used for descriptive essays for The Spectator. effect in order to convey ideas or emotions. Figurative See pages 547, 591, 612–613. expressions are not literally true but express some truth See also NONFICTION, THESIS. beyond the literal level. Figurative language is especially common in poetry. Exaggeration See HYPERBOLE. See pages 260, 312, 843, 1107. Exemplum A brief story used as an example to illus- See also FIGURE OF SPEECH. trate a moral point. Chaucer’s “The Pardoner’s Tale” is an exemplum. Figure of speech A specific kind of figurative language such as metaphor, personification, or simile. See also ANECDOTE, FABLE. See also CONNOTATION, FIGURATIVE LANGUAGE, METAPHOR, Exposition See PLOT. OXYMORON, PERSONIFICATION, SIMILE, SYMBOL.

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R001-R019 EM-845482.indd 6 7/10/06 8:18:14 AM Flashback An interruption in the chronological order of Form The structure of a poem. Many modern writers HANDBOOK LITERARY TERMS a narrative to describe an event that happened earlier. A use loosely structured poetic forms instead of following flashback gives readers information that may help explain traditional or formal patterns. These poets vary the the main events of a story. Elizabeth Bowen’s “The lengths of lines and stanzas, relying on emphasis, rhythm, Demon Lover” includes a flashback. pattern, or the placement of words and phrases to con- See page 1175. vey meaning. See also FORESHADOWING. See pages 465, 866, 1206. See also FREE VERSE, RHYTHM, STANZA, STRUCTURE. Flash-forward An interruption in the chronological sequence of a narrative to leap forward in time. Formal essay See ESSAY. See also FLASHBACK. Frame story A story that surrounds another story or Flat character See CHARACTER. that serves to link several stories together. The frame is the outer story, which usually precedes and follows the Foil A character whose attitudes, beliefs, or behavior differ inner, more important story. Chaucer’s The Canterbury significantly from those of another character. Often a foil is Tales is a frame story. The pilgrimage is the outer story, a minor character who serves, through contrast, to empha- or frame, unifying the tales or inner stories told by the size the distinctive characteristics of the main character. pilgrims. See page 352. See also STRUCTURE. See also ANTAGONIST, CHARACTER, CHARACTERIZATION, PROTAGONIST. Free verse Poetry that has no fixed pattern of meter, rhyme, line length, or stanza arrangement. T. S. Eliot’s Folklore Traditional beliefs, customs, stories, songs, and “Preludes” is an example of free verse. Although poets dances of a culture. Folklore is passed down through oral who write free verse ignore traditional rules, they use tradition and is based on the concerns of ordinary peo- techniques such as repetition and alliteration to create ple. There are elements of folklore in Beowulf. musical patterns in their poems. See also BALLAD, EPIC, FOLKTALE, LEGEND, MYTH, ORAL See page 1314. TRADITION. See also FORM, METER, RHYME, RHYTHM, STANZA.

Folktale A traditional story passed down orally long before being written down. Folktales include animal stories, G–H trickster stories, fairy tales, myths, legends, and tall tales. Genre A category or type of literature. Examples of See also FOLKLORE. genres are poetry, drama, fiction, and nonfiction. See page 781. Foot The basic unit in the measurement of a line of metrical poetry. A foot usually contains one stressed syllable Gothic novel A novel that has a gloomy, foreboding () and one or more unstressed syllables (˘). The basic setting and contains strong elements of horror, mystery, metrical feet are the anapest (˘ ˘ ), dactyl ( ˘ ˘), iamb and the supernatural. English writer Horace Walpole is (˘ ), spondee ( ), and trochee ( ˘). credited with writing the first gothic novel, The Castle of See also METER, RHYTHM, SCANSION, STANZA. Otranto, in 1765. Gothic originally referred to a style of architecture in western Europe during the Middle Ages. Foreshadowing An author’s use of clues to prepare Since the setting of Walpole’s novel is a medieval castle, readers for events that will happen later in a story. D. H. the term was applied to this type of writing. Lawrence prepares the reader for future happenings by See page 834. stating at the beginning of “The Rocking-Horse Winner” See also NOVEL. that there was “always an anxiety in the house. There was never enough money.” Haiku An ancient Japanese form of poetry that has See pages 1123, 1338. three lines and seventeen syllables. The first and third See also FLASHBACK, PLOT, SUSPENSE. lines have five syllables each; the middle line has seven

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R001-R019 EM-845482.indd 7 7/10/06 8:18:22 AM syllables. Usually about nature, a traditional haiku uses People tells of the influence of the Christian church on striking imagery to evoke an insight or capture a mood. English civilization. See also IMAGERY. See page 83. See also HISTORY, NONFICTION. Heptameter A metrical line of seven feet. See also FOOT, METER, SCANSION. History A factual account of real events that occurred in the past. Typically, a history is arranged chronologically Hero The chief character in a literary work, typically one and seeks to provide an objective description of what whose admirable qualities or noble deeds arouse admira- happened. tion. Although the word hero is applied only to males in tra- See also HISTORICAL FICTION, NONFICTION. ditional usage—heroine being the term used for females— modern usage applies the term to either gender. A Byronic Hubris Extreme pride or arrogance. Hubris often results hero is the unconventional, brooding, romantic character in the downfall of a protagonist who violates a human, popularized by Lord Byron in some of his verse. natural, or divine law. In his sonnet “Ozymandias,” Percy See pages 20–21, 52, 848–849. Bysshe Shelley provides a concise portrait of hubris in the LITERARY TERMSLITERARY HANDBOOK See also EPIC, LEGEND, MYTH, PROTAGONIST, TRAGEDY. doomed king whose empire lies in ruins around him. See also TRAGEDY. Heroic couplet A pair of rhymed lines in iambic pentameter that work together to express an idea or make a Humor The quality of a literary work that makes the point. A heroic couplet is based on the poetic form used characters and their situations seem funny, amusing, or by ancient Greek and Roman poets in their heroic epics. silly. Humor often points out human failings and the irony The following lines from Pope’s An Essay on Man form a found in many situations. Humorous language includes heroic couplet: sarcasm, exaggeration, and verbal irony. And, spite of pride, in erring reason’s spite, See page 124. One truth is clear, Whatever is, is right. See also COMEDY, FARCE, PARODY, PUN, SATIRE, WIT. See page 587. See also IAMBIC PENTAMETER, METER, RHYTHM. Hymn A lyric poem or song addressed to a divine being or expressing religious sentiments. Heroic stanza A group of four poetic lines (a qua- See also LYRIC. train) in iambic pentameter having a rhyme scheme of abab, also known as the elegiac stanza. Gray’s “Elegy Hyperbole A figure of speech that uses exaggeration Written in a Country Churchyard” features heroic, or to express strong emotion, to make a point, or to evoke elegiac, stanzas. humor. The following passage from Andrew Marvell’s See also IAMBIC PENTAMETER, QUATRAIN, RHYME SCHEME. “To His Coy Mistress” contains hyperbole: An hundred years should go to praise Hexameter Line of verse consisting of six feet. Thine eyes, and on thy forehead gaze; . . . See also FOOT, METER, SCANSION. See pages 475, 1173. See also FIGURATIVE LANGUAGE, UNDERSTATEMENT. Historical fiction Fiction that sets characters against the backdrop of a period other than the author’s own. I Some works of historical fiction include actual historical people along with fictitious characters. Defoe’s A Journal Iamb A two-syllable metrical foot consisting of one of the Plague Year is historical fiction. unstressed syllable and one stressed syllable, as in the See page 623. word divide. See also FICTION, NOVEL. Iambic pentameter A poetic meter in which each Historical narrative A work of nonfiction that tells line is composed of five feet (pentameter); each foot— the story of important historical events or develop- known as an iamb—consists of one unstressed syllable ments. Bede’s The Ecclesiastical History of the English (˘) followed by one stressed syllable (). In order to

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R001-R019 EM-845482.indd 8 7/10/06 8:18:30 AM imitate the natural flow of spoken English, poets using (landscape), a reversal of the usual order. In the second HANDBOOK LITERARY TERMS iambic pentameter often vary its rhythm. The following line, the object (stillness) comes before the verb (holds). line from Spenser’s “Sonnet 75” is a perfect example of Now fades the glimmering landscape on the this metrical form: sight, ˘ ˘ ˘ ˘ And all the air a solemn stillness holds, . . . But came / the tide, / and made / my pains / ˘ See page 543. his prey. See also STYLE. See also BLANK VERSE, FOOT, HEROIC COUPLET, METER, RHYTHM, SCANSION. Irony A contrast or discrepancy between appearance and reality. Situational irony exists when the outcome of Idiom An expression whose meaning is different from a situation is the opposite of expectations, as in Hardy’s the literal meaning of the words that make it up. Phrases poem “Ah, Are You Digging on My Grave?” Verbal irony such as “catch his eye,” “turn the tables,” “over the hill,” occurs when the meaning of a statement is the reverse of and “keep tabs on” are idiomatic expressions understood what is meant, as in Swift’s A Modest Proposal. Dramatic by native speakers but often puzzling to nonnative irony occurs when readers or viewers know something speakers. Idioms can add realism to dialogue in a story that the characters do not. and contribute to characterization. See pages 116, 404, 584, 851, 1004, 1310. See page 1185. See also DIALECT. J–L Imagery The “word pictures” that writers create to Journal A daily record of events kept by a participant in evoke an emotional response. In creating effective those events or a witness to them. A journal is usually images, writers use sensory details, or descriptions that less intimate than a diary, emphasizing events rather than appeal to one or more of the five senses: sight, hearing, emotions. Dorothy Wordsworth’s journal, kept from 1800 touch, taste, and smell. Note Yeats’s use of imagery in to 1803, provides a glimpse into English country life. “The Lake Isle of Innisfree.” See page 796. See pages 593, 709, 876, 995, 1094, 1118, 1328, 1356. See also DIARY, NONFICTION. See also FIGURATIVE LANGUAGE. Juxtaposition The placing of two or more distinct Informal essay See ESSAY. things side by side in order to contrast or compare them. It is commonly used to evoke an emotional response in Interior monologue A technique that records a char- the reader. acter’s emotions, memories, and opinions. Interior mono- See page 843. logue contributes to the stream-of-consciousness effect. Joyce’s “Araby” contains interior monologue. Kenning A descriptive figure of speech that takes the See also STREAM OF CONSCIOUSNESS. place of a common noun, especially in Anglo-Saxon and Norse poetry. In Beowulf, for example, the sea is Internal conflict See CONFLICT. described as the “whale road.” Internal rhyme Rhyme that occurs within a single line See also FIGURATIVE LANGUAGE. of poetry. Poets use internal rhyme to convey meaning, Legend A traditional story handed down from the past, to evoke mood, or simply to create a musical effect. based on actual people and events, and tending to See also RHYME. become more exaggerated and fantastical over time. Often legends celebrate the heroic qualities of a national Inversion Reversal of the usual word order for emphasis or cultural leader. Legends about King Arthur and his or variety. Writers use inversion to maintain rhyme scheme knights of the Round Table have evolved from a real war- or meter, or to emphasize certain words. In the first line rior who led the British in battle in the eighth century a.d. that follows from Gray’s “Elegy Written in a Country Churchyard,” the verb (fades) comes before the subject See page 197. See also FOLKLORE, FOLKTALE, HERO, ORAL TRADITION.

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R001-R019 EM-845482.indd 9 7/10/06 8:18:39 AM Literary criticism A type of writing in which the writer See pages 428–429. analyzes and evaluates a literary work. See also CONCEIT, METAPHOR.

Lyric poetry Poetry that expresses a speaker’s personal Meter A regular pattern of stressed () and unstressed thoughts and feelings. A lyric poem is usually short and (˘) syllables that gives a line of poetry a more or less creates a single, unified impression. William Wordsworth’s predictable rhythm. The basic unit of meter is the foot, “The World Is Too Much with Us” is an example of a lyric consisting of one or two stressed syllables and/or one or poem. two unstressed syllables. The iamb, for example, consists of two syllables: one unstressed followed by one stressed. See pages 449, 793, 999. See also POETRY. The length of a metrical line can be expressed in terms of the number of feet it contains: dimeter, two feet M trimeter, three feet Maxim A short saying that contains a general truth or tetrameter, four feet gives practical advice, particularly about morality and pentameter, ﬁ ve feet LITERARY TERMSLITERARY HANDBOOK behavior. Also known as an adage or aphorism. hexameter, six feet See also APHORISM. heptameter, seven feet The following lines from Marlowe’s “The Passionate Melodrama A melodrama is usually a play, but it can Shepherd to His Love” are in iambic tetrameter: be any work that has a strong conflict and appeals pri- ˘ ˘ ˘ ˘ marily to the emotions. In a melodrama, the characters Come live / with me, / and be / my love, ˘ ˘ ˘ ˘ are either extremely good or extremely wicked. And we / will all / the plea / sures prove. See also DRAMA. See pages 431, 764, 995, 1115. See also FOOT, IAMBIC PENTAMETER, RHYTHM, SCANSION. Memoir A type of narrative nonfiction that presents the story of a period in the writer’s life. It is usually written from Metonymy A figure of speech in which a word or the first-person point of view and emphasizes the narrator’s phrase is substituted for another that is related. For exam- own experience of this period. It may also reveal the ple, the executive branch of the British government is impact of significant historical events on his or her life. often referred to as Downing Street, where the prime See also AUTOBIOGRAPHY, BIOGRAPHY. minister lives in London. See also FIGURATIVE LANGUAGE. Metaphor A figure of speech that compares or equates two seemingly unlike things to help readers perceive the Miracle play A medieval religious drama presenting a first thing more vividly. In contrast to a simile, a metaphor story from the Bible or the lives of the saints; also called implies the comparison instead of stating it directly; a mystery play. hence there is no use of connectives such as like or as. See pages 152–153. The lines below from Sir Philip Sidney’s “Sonnet 39” con- See also MORALITY PLAY. tain metaphors: Come sleep! O sleep, the certain knot of peace, Mock-epic An imitation epic, or long narrative poem, The baiting place of wit, the balm of woe, . . . that makes fun of the trivial values of a society by using See pages 294, 603, 843, 1110. elevated language to describe a mundane event. Pope’s See also EXTENDED METAPHOR, FIGURATIVE LANGUAGE, “The Rape of the Lock” is a mock-epic. SIMILE. See page 593. See also EPIC. Metaphysical poetry The work of a group of seventeenth-century English poets led by John Donne. Modernism A term applied to a variety of twentieth- Metaphysical poetry is written in a conversational style, century artistic movements that shared a desire to break emphasizes complex meanings, contains unusual imag- with the past. In addition to technical experimentation, ery, and extends the range of metaphors into areas of Modernist playwrights, writers, and artists in the first half science, religion, and learning.

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R001-R019 EM-845482.indd 10 7/10/06 8:18:54 AM of the twentieth century were interested in the irrational or an internal moral or emotional impulse. In Doris HANDBOOK LITERARY TERMS or inexplicable, as well as in the workings of the uncon- Lessing’s “A Mild Attack of Locusts,” farmers are moved to scious mind. The poetry of T. S. Eliot, with its new subject action by the desire to save their crops from locusts. matter, diction, and metrical patterns, came to define See pages 1046, 1136. Modernism. Other Modernist writers include Virginia Woolf and James Joyce. Myth A traditional story that deals with goddesses, See pages 1038–1039. gods, heroes, and supernatural forces. A myth may See also STREAM OF CONSCIOUSNESS. explain a belief, a custom, or a force of nature. Milton’s Paradise Lost has mythic elements. Monologue A long speech by a character in a literary See also EPIC, FOLKLORE, LEGEND, ORAL TRADITION. work, spoken either to others or as if alone. See also DRAMATIC MONOLOGUE, SOLILOQUY. N Mood The emotional quality of a literary work. A writ- Narrative Writing or speech that tells a story. Narratives er’s choice of language, subject matter, setting, and may be fiction or nonfiction, prose or poetry. tone, as well as sound devices such as rhyme and See also NARRATIVE POETRY, NARRATOR. rhythm, contribute to creating mood. Mood is a broader term than tone, which refers to the attitude of a writer Narrative poetry Verse that tells a story. Ballads, toward the subject matter or the audience. It also differs epics, and romances are all types of narrative poetry. from atmosphere, which is concerned mainly with the “The Rime of the Ancient Mariner” by Samuel Taylor physical qualities that contribute to a mood, such as Coleridge is a narrative poem. time, place, and weather. The mood of Defoe’s A See page 804. Journal of the Plague Year is somber. See also BALLAD, DRAMATIC MONOLOGUE, EPIC, NARRATIVE. See pages 74, 169, 796, 923, 1090, 1353. See also ATMOSPHERE, SETTING, TONE. Narrator The person who tells a story. The narrator may be a character in the story, as in James Joyce’s Moral A practical lesson about right and wrong conduct “Araby,” or outside the story, as in Doris Lessing’s “A Mild taught in a fable or parable. Attack of Locusts.” See also FABLE, PARABLE. See pages 1069, 1255. See also NARRATIVE, PERSONA, POINT OF VIEW, SPEAKER. Morality play A medieval religious play popular in the 1400s and 1500s. The plays centered on the moral strug- Naturalism A literary movement characterized by a gles of everyday people and were designed to teach les- belief that people are part of the natural world and sons about salvation and the struggle between virtue and have little control over their own lives. Writers such as vice. Characters were personifications of abstract qualities Hardy and Lawrence focused on the powerful eco- such as vice, virtue, mercy, ignorance, and poverty. nomic, social, and environmental forces that shape the Everyman is a morality play. lives of individuals. See pages 152–153. See pages 918–919. See also MIRACLE PLAY. See also REALISM.

Motif A significant word, phrase, image, description, Neoclassicism A term often applied to English litera- idea, or other element repeated throughout a literary ture of the Neoclassical period, from 1660 to the end of work and related to the theme. Luck is a motif in D. H. the eighteenth century. This period, which is also known Lawrence’s “The Rocking-Horse Winner.” as the Age of Reason, corresponds to Unit Three in the See pages 337, 442. text. Neoclassical writers valued order, reason, balance, See also THEME. and clarity over emotion. The work of Alexander Pope is an example of Neoclassicism. Motivation The stated or implied reason for a charac- See also RESTORATION AGE. ter’s actions. Motivation may be an external circumstance

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R001-R019 EM-845482.indd 11 7/10/06 8:19:02 AM Nonfiction Literature that deals with real people, Oral tradition The passing of literature by word of places, and events. Among the categories of nonfiction mouth from one generation to the next. Oral literature is are biographies, autobiographies, and essays. a way of recording the past, glorifying leaders, and teach- See also AUTOBIOGRAPHY, BIOGRAPHY, ESSAY, FICTION, ing morals and traditions to young people. HISTORY, MEMOIR. See also BALLAD, EPIC, FOLKLORE, FOLKTALE, LEGEND, MYTH.

Nonsense verse Humorous poetry that defies logic. It Ottava rima A stanza of eight lines written in iambic usually has a strong rhythm and contains made-up words pentameter with the rhyme scheme abababcc. Yeats’s known as nonce words. Lewis Carroll’s “Jabberwocky” is “Sailing to Byzantium” is written in ottava rima. nonsense verse. See page 1115. See page 957. See also IAMBIC PENTAMETER, RHYME SCHEME, STANZA.

Novel A book-length fictional prose narrative having a Oxymoron A figure of speech in which opposite ideas plot, characters, setting, and a theme. A short novel is are combined. Examples are “bright darkness,” “wise often called a novella. fool,” and “hateful love.” Milton’s description of hell in LITERARY TERMSLITERARY HANDBOOK See pages 964–965. Paradise Lost as “darkness visible” is an example of an See also FICTION, PLOT, SHORT STORY. oxymoron. See page 1201. Novel of manners A realistic work that deals with the See also FIGURATIVE LANGUAGE, PARADOX. conventions and values of a particular society or social class, such as those depicted in Jane Austen’s novels of nineteenth-century English country life. P–Q Parable A simple story pointing to a moral or religious O lesson. It differs from a fable in that the characters are people instead of animals. Octave The first eight lines of a Petrarchan, or Italian, See page 1057. sonnet. The octave usually presents a situation, an idea, See also FABLE, MORAL. or a question. See also SONNET. Paradox A situation or statement that seems to be impossible or contradictory but is nevertheless true, liter- Octet A group of eight lines in a poem. ally or figuratively. The fifth line of Elizabeth I’s poem “On Monsieur’s Departure” contains two paradoxes: Ode A serious lyric poem, dignified and sincere in tone I am and not, I freeze and yet am burned, and style. Some odes celebrate a person, an event, or even a power; others are more private meditations. A Horatian See page 470. ode, named for the Roman poet Horace, has a regular See also OXYMORON. stanza pattern and rhyme scheme. An irregular ode has Parallelism The use of a series of words, phrases, or no set rhyme scheme or stanza pattern. John Keats’s “Ode sentences that have similar grammatical form. Parallelism on a Grecian Urn” is considered a Horatian ode. shows the relationship between ideas and helps empha- See page 871. size thoughts. Johnson’s letter to Lord Chesterfield con- See also LYRIC POETRY. tains parallelism: Onomatopoeia The use of a word or phrase that imi- I have been pushing on my work through tates or suggests the sound of what it describes. The words difﬁ culties of which it is useless to complain and mew, crack, swish, hiss, caw, and buzz are onomatopoeic have brought it at last to the verge of publication words. “The murmurous haunt of flies on summer eves,” is without one act of assistance, one word of an example of an onomatopoeic line from Keats’s “Ode to encouragement, or one smile of favor. a Nightingale,” evoking the sound of flies. See pages 284, 422. See also REPETITION. See pages 876, 957. See also SOUND DEVICES.

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R001-R019 EM-845482.indd 12 7/10/06 8:19:11 AM Parody A humorous imitation of a literary work that Persuasion Writing, usually nonfiction, that attempts HANDBOOK LITERARY TERMS aims to point out the work’s shortcomings. A parody may to convince readers to think or act in a particular way. imitate the plot, characters, or style of another work, usu- Writers of persuasive works use appeals to logic or emo- ally through exaggeration. Shakespeare’s “Sonnet 130” is tion and other techniques to sway their readers. Mary a parody of Renaissance love poetry. Wollstonecraft’s A Vindication of the Rights of Woman is See page 575. an excellent example of persuasive writing. See also COMEDY, FARCE, HUMOR, SATIRE. See also ARGUMENT.

Pastoral Poetry that idealizes the simple lives of shep- Petrarchan sonnet See SONNET. herds in a rural setting. Pastoral poems often exaggerate the rural pleasures and the innocence of country people living Play See DRAMA. in harmony with nature. An example of pastoral poetry is Marlowe’s “The Passionate Shepherd to His Love.” Plot The sequence of events in a short story, novel, or drama. Most plots deal with a problem and develop See page 276. around a conflict, a struggle between opposing forces. Pathetic fallacy The attribution of human thoughts The plot begins with exposition, which introduces the and emotions to nature or to nonhuman objects or ani- story’s characters, setting, and situation. The rising action mals. In “The Tyger,” William Blake speaks of the stars as adds complications to the conflicts, or problems, leading if they were capable of human feeling: to the climax, or crisis, the point of highest emotional pitch. The climax gives way rapidly to its logical result in When the stars threw down their spears the falling action and finally to the resolution (some- And watered heaven with their tears times called the dénouement), in which the final out- The pathetic fallacy is a type of personification but refers come is revealed. specifically to feelings, not to all human qualities. See page 369. See also PERSONIFICATION. See also CONFLICT.

Pentameter A metrical line of five feet. Poetry A form of literary expression that differs from See also BLANK VERSE, FOOT, METER. prose in emphasizing the line, rather than the sentence, as the unit of composition. Many other traditional charac- Persona The person created by the author to tell a teristics of poetry apply to some poems but not to others. story. Whether the story is told by an omniscient narrator Some of these characteristics are emotional, imaginative or by one of the characters, the author of the work often language; use of metaphor, simile, and other figures of adopts a persona—a personality different from his or her speech; division into stanzas; and the use of rhyme and real one. The attitudes and beliefs of the persona may regular patterns of meter. not be the same as those of the author. Jonathan Swift is See also FIGURATIVE LANGUAGE, FREE VERSE, METER, PROSE, the author of Gulliver’s Travels; however, the first-person RHYME, STANZA. narrator, Lemuel Gulliver, is the voice through which Swift chose to tell his story. Point of view The standpoint from which a story is See also NARRATOR, POINT OF VIEW. told. In a story with first-person point of view, the narrator is a character in the story and uses the words I and Personification A figure of speech in which an animal, me, as in James Joyce’s “Araby.” In a story told from an object, a force of nature, or an idea is given human third-person point of view, the narrator is someone who characteristics. Yeats personifies love in these lines from stands outside the story and describes the characters and “When You Are Old”: action, as in D. H. Lawrence’s “The Rocking-Horse Murmur, a little sadly, how Love ﬂ ed Winner.” Third-person omniscient, or all-knowing point And paced upon the mountains overhead of view, means that the narrator knows everything about And hid his face amid a crowd of stars. the characters and events and may reveal details that the See pages 517, 1268. characters themselves could not reveal. If the narrator See also APOSTROPHE, FIGURATIVE LANGUAGE, PATHETIC FALLACY. describes events as only one character perceives them, as in Elizabeth Bowen’s “The Demon Lover,” the point of

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R001-R019 EM-845482.indd 13 7/10/06 8:19:19 AM view is called third-person limited. An objective point of Psalm A song of praise most commonly found in the view is that of a narrator who presents a story in a com- biblical book of Psalms. David, king of Israel around pletely impersonal way, describing only external aspects 1000 b.c., wrote many of these psalms. Occasionally a of characters and events and never directly referring to modern poet will title his or her poem a psalm. thoughts or emotions. See page 421. See pages 276, 777, 976, 1345. See also NARRATOR, SPEAKER. Pun A humorous use of words that are similar in sound (merry and marry) or of a word with several meanings. In Postmodernism A broad contemporary movement in Shakespeare’s Romeo and Juliet, when Mercutio is fatally art, music, film, literature, and other cultural areas that is wounded, he says, “Ask for me tomorrow, and you shall viewed as growing out of or replacing Modernism. Many find me a grave man,” meaning both “serious” and “dead.” of the characteristic features of postmodernist literature extend or exaggerate tendencies of Modernism. For Puritan writing The work of early seventeenth-century example, Modernist writers turned away from the appar- writers who supported the Puritan cause. John Milton and ent objectivity of Realism; postmodernists go further, John Bunyan were two major Puritan writers. LITERARY TERMSLITERARY HANDBOOK introducing a frankly artificial, self-conscious playfulness See pages 508–509. into their works. See also MODERNISM. Quatrain A stanza of four lines. See also BALLAD STANZA, COUPLET, HEROIC STANZA, SESTET, Prologue An introductory section of a play, a speech, STANZA. or another literary work. Chaucer’s The Canterbury Tales contains a long prologue. R See also EPILOGUE. Rationalism A philosophy that values reason over feel- Propaganda Written or spoken material designed to ing or imagination. It was most influential during the bring about a change or to damage a cause through use Neoclassical period. of emotionally charged words, name-calling, or other See also NEOCLASSICISM, ROMANTICISM. techniques. See page 1173. Realism A literary movement first prominent in the late nineteenth and early twentieth centuries. Realism seeks Props A theater term (a shortened form of properties) to portray life as it is really lived. Realistic fiction often for articles used in a stage play or movie or television set. focuses on middle- or working-class conditions and char- See also DRAMA. acters, often with reformist intent. Charles Dickens was a Realist writer. Prose Written language that is not versified. Novels, See pages 916–917. short stories, and essays are usually written in prose. See also NATURALISM. See also POETRY. Refrain A line or lines repeated regularly, usually in a Protagonist The central character in a literary work, poem or song. In Dylan Thomas’s “Do Not Go Gentle around whom the main conflict revolves. Generally, the into That Good Night,” the line “Rage, rage against the audience is meant to sympathize with the protagonist. dying of the light” serves as a refrain. See page 1075. See also REPETITION. See also ANTAGONIST, CONFLICT, HERO, PLOT. Regionalism An emphasis on themes, characters, cus- Proverb A saying that expresses some truth about life toms, and settings of a particular geographical region. or contains some bit of popular wisdom such as “faint Thomas Hardy wrote regional novels set in southwest heart never won fair lady,” “marry in haste, repent at England. leisure,” or “out of sight, out of mind.” See also DIALECT, VERNACULAR. See also APHORISM, EPIGRAM.

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R001-R019 EM-845482.indd 14 7/10/06 8:19:28 AM Repetition The recurrence of sounds, words, phrases, Rhythm The pattern of beats created by the arrange- HANDBOOK LITERARY TERMS lines, or stanzas in a speech or literary work. Repetition ment of stressed and unstressed syllables, especially in increases the sense of unity in a work and can draw poetry. Rhythm gives poetry a musical quality, can add attention to particular ideas. emphasis to certain words, and may help convey the See pages 871, 940. poem’s meaning. Rhythm can be regular, with a predict- See also PARALLELISM, REFRAIN. able pattern or meter, or irregular. Note the regular rhythm in the following lines from A. E. Housman’s “To Renaissance A word meaning “rebirth.” The Renaissance an Athlete Dying Young”: in Europe marked a transition from the medieval period to ˘ ˘ ˘ ˘ the modern world. The height of the English Renaissance The time you won your town the race ˘ ˘ ˘ ˘ occurred in the late sixteenth and early seventeenth centu- We chaired you through the market-place; ries, when William Shakespeare was active. See page 923. See also IAMBIC PENTAMETER, METER, SCANSION, SPRUNG Resolution See PLOT. RHYTHM. Restoration Age The short period immediately follow- Rising action See PLOT. ing the restoration of the Stuarts to the throne in 1660. The age is marked by the return of drama to the English stage. Romance Historically, a term used to describe long narrative works about the exploits and love affairs of chivalric Rhetoric The art of using language—often in public heroes such as King Arthur and Sir Lancelot. The term speaking—to present facts and ideas in order to persuade. romance can also be applied to any story that involves Rhetorical devices are techniques writers use to manipu- noble heroes, idealized love, or fantastic events that seem late language for effect or to evoke an emotional response remote from everyday life. Sir Thomas Malory’s Le Morte in the reader. These may include repetition, parallelism, d’Arthur is a romance. analogy, logic, and the skillful use of connotation and anecdote. Effective rhetoric often appeals to logic, emotion, See pages 16–17. morality, or authority. A rhetorical question is a question See also LEGEND. to which no answer is expected or the answer is obvious. Romanticism An artistic movement that began in See pages 871, 1167. Europe and valued imagination and feeling over intellect See also ANALOGY, ANECDOTE, ARGUMENT, CONNOTATION, and reason. The works of William Wordsworth, Coleridge, PARALLELISM, REPETITION. Byron, and Keats represent the height of Romantic poetry. This time period corresponds to Unit Four in Rhyme The repetition of the same stressed vowel this text. sounds and any succeeding sounds in two or more words. End rhyme occurs at the ends of lines of poetry. Round character See CHARACTER. Internal rhyme occurs within a single line. See also RHYME SCHEME, SLANT RHYME. Run-on line See ENJAMBMENT.

Rhyme scheme The pattern that end rhymes form in a stanza or a poem. Rhyme scheme is designated by the S assignment of a different letter of the alphabet to each Sarcasm The use of bitter or caustic language to point new rhyme. The rhyme scheme of the following lines out shortcomings or flaws. from Thomas Hardy’s “The Man He Killed” is abab: See also IRONY, SATIRE. “ Had he and I but met a By some old ancient inn, b Satire Writing that exposes to ridicule the vices or follies We should have sat us down to wet a of people or societies through devices such as hyperbole, Right many a nipperkin! b understatement, and irony. The purpose of satire may be See pages 266, 450, 723, 863, 1107. to reform or to entertain. Swift’s A Modest Proposal is a See also RHYME. famous satirical essay whose purpose was to reform England’s policy toward Ireland.

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R001-R019 EM-845482.indd 15 7/10/06 8:19:37 AM See pages 565, 991. Shakespearean sonnet See SONNET. See also COMEDY, HYPERBOLE, IRONY, PARODY, UNDERSTATEMENT, WIT. Short story A brief fictional narrative that generally includes the following major elements: setting, characters, Scansion The analysis of the meter of a line of verse. plot, point of view, and theme. To scan a line of poetry means to note the stressed and See pages 1066–1067. unstressed syllables and to divide the line into its feet, or See also FICTION, NOVEL, PLOT. rhythmic units. Stressed syllables are marked () and unstressed syllables (˘). Note the scansion of these lines Simile A figure of speech that uses like or as to com- from Byron’s “She Walks in Beauty”: pare seemingly unlike things. In the following example ˘ ˘ ˘ ˘ from Andrew Marvell’s “To His Coy Mistress,” the poet She walks / in beau / ty, like / the night compares his love’s complexion to dew: ˘ ˘ ˘ ˘ Of cloud / less climes / and star / ry skies; . . . Now, therefore, while the youthful hue Since each line has four feet and the rhythm is iambic, Sits on thy skin like morning dew, the lines can be described as iambic tetrameter. See pages 294, 298, 843. LITERARY TERMSLITERARY HANDBOOK See also FOOT, METER, RHYTHM. See also ANALOGY, FIGURATIVE LANGUAGE, METAPHOR.

Scene A subdivision of an act in a play. A scene is Slant rhyme An approximate rhyme occurring when shorter than an act. words include sounds that are similar but not identical See also ACT, DRAMA. (jackal and buckle). Slant rhyme typically involves some variation of consonance (the repetition of similar conso- Science fiction Fiction that deals with the impact of sci- nant sounds) or assonance (the repetition of similar vowel ence and technology—real or imagined—on society and sounds). In “Follower,” Seamus Heaney features slant on individuals. Sometimes occurring in the future, science rhyme in word pairs such as sock/pluck and plow/furrow. fiction commonly portrays space travel, exploration of See page 1259. other planets, and possible future societies. See also RHYME.

Sensory details See IMAGERY. Soliloquy In drama, a long speech by a character who is alone on stage. A soliloquy reveals the private thoughts and Septet A stanza of seven lines. emotions of that character. In Act 3, scene 1 of Shakespeare’s Macbeth, Macbeth delivers a soliloquy that begins Sestet A six-line stanza. To be thus is nothing, but to be safely thus— See also SONNET. Our fears in Banquo stick deep, . . . Setting The time and place in which the events of a lit- See page 305. erary work occur. Setting includes not only the physical See also ASIDE, DRAMATIC MONOLOGUE, MONOLOGUE. surroundings but also the ideas, customs, values, and Sonnet A lyric poem of fourteen lines, typically written in beliefs of a particular time and place. Setting often helps iambic pentameter and usually following strict patterns of create an atmosphere or a mood. Setting plays an impor- stanza divisions and rhymes. The Shakespearean, or tant part in Lessing’s “A Mild Attack of Locusts.” English, sonnet consists of three quatrains, or four-line See page 1296. stanzas, followed by a couplet, or pair of rhyming lines. See also ATMOSPHERE, MOOD. The rhyme scheme is typically abab, cdcd, efef, gg. The couplet often presents a conclusion to the issues or ques- Shakespearean songs Shakespeare used songs in his tions presented in the three quatrains. Like a plays to heighten the drama, making what is merry mer- Shakespearean sonnet, the Spenserian sonnet has three rier or what is sad sadder. His plays include love songs, quatrains and a couplet, but it follows the rhyme scheme nonsense songs, and dirges, songs that mourn a death. abab bcbc cdcd ee. This interlocking rhyme scheme See page 301. pushes the sonnet toward the final couplet, which makes a key point or comment. In the Petrarchan, or Italian,

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R001-R019 EM-845482.indd 16 7/10/06 8:19:46 AM sonnet, fourteen lines are divided into two stanzas, the Stage directions Instructions written by a playwright to HANDBOOK LITERARY TERMS eight-line octave and the six-line sestet. The sestet usually describe the appearance and actions of characters, as well responds to a question or situation posed by the octave. as the sets, costumes, and lighting. The rhyme scheme for the octave is typically abbaabba; See also DRAMA. for the sestet, the rhyme scheme is typically cdecde. See pages 252–253. Stanza A group of lines forming a unit in a poem or See also COUPLET, LYRIC POETRY, RHYME SCHEME, STANZA. song. A stanza in a poem is similar to a paragraph in prose. Typically, stanzas in a poem are separated by a Sonnet sequence A series of sonnets focused on a line of space. particular theme. Elizabeth Barrett Browning’s Sonnets See page 760. from the Portuguese is a sonnet sequence. See also BALLAD STANZA, COUPLET, HEROIC STANZA, QUATRAIN, See also SONNET. SONNET, SPENSERIAN STANZA.

Sound devices Techniques used, especially in poetry, Static character See CHARACTER. to appeal to the ear. Writers use sound devices to enhance the sense of rhythm, to emphasize particular Stereotype A character who is not developed as an indi- sounds, or to add a musical quality to their work. vidual but instead represents a collection of traits and man- See pages 276, 876, 1328. nerisms supposedly shared by all members of a group. See also ALLITERATION, ASSONANCE, CONSONANCE, See also CHARACTER. ONOMATOPOEIA, RHYME. Stream of consciousness The literary representation of Speaker The person who is speaking in a poem, similar a character’s free-flowing thoughts, feelings, and memories. to a narrator in a work of prose. Sometimes the speaker’s Stream-of-consciousness writing does not always employ voice is that of the poet, sometimes that of a fictional per- conventional sentence structure or other rules of grammar son or even a thing. The speaker’s words communicate a and usage. Virginia Woolf and James Joyce often used particular tone, or attitude, toward the subject of the stream of consciousness in their works. poem. One should never assume that the speaker and See page 1156. the writer are identical, however. For example, the speaker in “My Last Duchess” is not the poet, Robert Structure The particular order or pattern a writer uses Browning. to present ideas. Narratives commonly follow a chrono- See pages 280, 1243. logical order, while the structure of persuasive or expos- See also DRAMATIC MONOLOGUE, NARRATOR, TONE. itory writing may vary. Listing detailed information, using cause and effect, or describing a problem and Spenserian stanza A nine-line poetic stanza composed then offering a solution are some other ways a writer of eight lines of iambic pentameter and one of iambic hex- can present a topic. The structure of The Canterbury ameter, with the rhyme scheme ababbcbcc. Byron used Tales allowed Chaucer to represent a wide variety of this stanza in “Childe Harold’s Pilgrimage.” characters and social classes. See also IAMBIC PENTAMETER, METER. See pages 255, 565, 1062, 1110. See also FORM. Spondee A metrical foot of two stressed syllables. See also FOOT, METER. Style The expressive qualities that distinguish an author’s work, including word choice and the length and arrange- Sprung rhythm A kind of irregular rhythm in which ment of sentences, as well as the use of figurative language each foot has one stressed syllable, usually the first, and a and imagery. Style can reveal an author’s attitude and pur- varied number of unstressed syllables. Gerard Manley pose in writing. Hopkins, who invented the term and the technique, See pages 415, 615, 668, 940, 1118. believed this to be the rhythm of natural speech. See also AUTHOR’S PURPOSE, DICTION, FIGURATIVE LANGUAGE, See page 952. IMAGERY, TONE. See also METER, RHYTHM.

LITERARY TERMS HANDBOOK R17

R001-R019 EM-845482.indd 17 7/10/06 8:19:55 AM Subject The topic of a literary work. Theater of the absurd Drama, primarily of the 1950s and 1960s, that presents a series of scenes in which the Suspense A feeling of curiosity, uncertainty, or even characters—often confused and anxious—exist in a mean- dread about what is going to happen next in a story. ingless world. Harold Pinter is a leading English dramatist Writers increase the level of suspense by creating a threat of absurdist and other plays. to the central character and raising questions in a reader’s See pages 1272, 1276–1277. mind about the outcome of a conflict. Suspense is espe- See also DRAMA. cially important in the plot of an adventure or a mystery story. Anita Desai builds suspense in “Games at Twilight” Theme The message of a story, poem, novel, or play. as the young boy waits to be discovered in the shed. Some works have a stated theme, which the author See also PROTAGONIST. expresses directly. More commonly, works have an implied theme, which is revealed gradually through events, dia- Symbol Any object, person, place, or experience that logues, or description. A literary work may have more than exists on a literal level but also represents something else, one theme. Some themes are universal, meaning that they usually something abstract. The lamb is a symbol of inno- are widely held ideas about life. Themes and subjects are LITERARY TERMSLITERARY HANDBOOK cence in Blake’s “The Lamb.” different. The subject of a work might be love; the theme See pages 755, 1078, 1146, 1302. would be what the writer says about love—for example, See also ALLEGORY, FIGURATIVE LANGUAGE. love is cruel; love is wonderful; love is fleeting. See pages 74, 301, 305, 436, 438, 575, 1285. Symbolist poetry A kind of poetry that emphasizes sug- See also AUTHOR’S PURPOSE, MORAL. gestion and inward experience instead of explicit description. Originating in France in the late 1800s, the symbolist Thesis The main idea of a work of nonfiction. The thesis poets influenced twentieth-century writers such as William may be stated directly or implied. The thesis of Francis Butler Yeats, T. S. Eliot, and Virginia Woolf. Bacon’s “Of Studies” is that books have multiple uses and See also MODERNISM. readers have multiple needs and capabilities. See pages 726, 1086. Synecdoche A figure of speech in which a part is used See also NONFICTION. for the whole or a whole is used for a part. In this line from the book of Revelation in the Bible, “All nations, and kin- Third-person point of view See POINT OF VIEW. dreds, and people, and tongues,” tongues (a part) is used for the whole (languages). Title The name given to a literary work. The title can See also METONYMY. help explain the setting, provide insight into the theme, or describe the action that will take place in the work. T See pages 1094, 1293. Tercet A stanza of three rhyming lines. Tone An author’s attitude toward his or her subject mat- See also STANZA. ter or the audience. Tone is conveyed through elements such as word choice, punctuation, sentence structure, and Terza rima A verse form consisting of a sequence of figures of speech. A writer’s tone might convey a variety interlocking three-line stanzas, or tercets. The first and of attitudes such as sympathy, amusement, or superiority. third lines of the first stanza rhyme, and the second line The tone of Thomas Hardy’s “Ah, Are You Digging on My provides the rhyme for the first and third lines of the next Grave?” is one of bittersweet humor. stanza, forming the rhyme scheme aba, bcb, cdc, and so See pages 116, 255, 263, 301, 561, 656, 931, 1150. on. The beginning of Shelley’s “Ode to the West Wind” See also AUTHOR’S PURPOSE, NARRATOR, SPEAKER, STYLE, (page 854) illustrates terza rima. VOICE. See page 863. Tragedy A play in which a main character suffers a down- Tetrameter A metrical line of four feet. fall. That character, the tragic hero, is typically a person of dignified or heroic stature. The downfall may result from See also FOOT, METER.

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R001-R019 EM-845482.indd 18 7/10/06 8:20:04 AM outside forces or from a weakness within the character, Verse paragraph A group of lines in a poem that form HANDBOOK LITERARY TERMS which is known as a tragic flaw. In Shakespeare’s Macbeth, a unit. Unlike a stanza, a verse paragraph does not have a Macbeth’s tragic flaw is excessive ambition. fixed number of lines. While poems written before the See page 388. twentieth century usually contain stanzas, many contem- See also DRAMA, HERO, HUBRIS. porary poems are made up of verse paragraphs. Verse paragraphs help to organize a poem into thoughts, as Tragic hero See TRAGEDY. paragraphs help to organize prose. See page 1098. Trimeter A metrical line of three feet. See also STANZA. See also FOOT, METER. Villanelle A nineteen-line poem divided into five ter- Trochee A metrical foot made up of one stressed cets, or stanzas of three lines, each with the rhyme and one unstressed syllable. The line below, from scheme aba, and a final quatrain with the rhyme scheme Shakespeare’s Macbeth, has four trochees and can be abaa. The first line is repeated as a refrain at the end of described as trochaic tetrameter. the second and fourth stanzas. The last line of the first ˘ ˘ ˘ ˘ stanza is repeated at the end of the third and fifth stan- Double, / double, / toil and / trouble; zas. Both lines reappear as the final two lines of the See also FOOT, METER. poem. This six-stanza form was originally used in French pastoral poetry. Thomas’s “Do Not Go Gentle into That U–W Good Night” is a villanelle. Understatement Language that makes something See page 1206. See also QUATRAIN, REFRAIN, STANZA. seem less important than it really is. Understatement may be used to add humor or to focus the reader’s attention Voice The distinctive use of language that conveys the on something the author wants to emphasize. author’s or narrator’s personality to the reader. Voice is See also HYPERBOLE. determined by elements of style such as word choice and tone. Vernacular Ordinary speech of a particular country or See pages 649, 1279. region. Vernacular is more casual than cultivated, formal See also AUTHOR’S PURPOSE, DICTION, NARRATOR, STYLE, speech. Slang, dialect, and idiom are commonly included TONE. as part of the vernacular. Writers often employ vernacular to enhance the realism of their narrative or dialogue. The Wit An exhibition of cleverness and humor. Jonathan narrator in Penelope Lively’s story “At the Pitt-Rivers” uses Swift, Alexander Pope, and Lewis Carroll are authors vernacular. famous for their wit. See page 1247. See page 743. See also DIALECT, IDIOM, REGIONALISM. See also COMEDY, HUMOR, SATIRE.

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R001-R019 EM-845482.indd 19 7/10/06 8:20:13 AM READING HANDBOOK

The Reading Process Being an active reader is a crucial part of being a lifelong learner. It is also an ongoing task. Good reading skills are recursive; that is, they build on each other, providing the tools you’ll need to understand text, to connect selections to your own life, to interpret ideas and themes, and to read critically.

Vocabulary Development To develop a rich vocabulary, consider these four impor- Also consider word origins—Latin, Greek, and Anglo- tant steps: Saxon roots—that are the basis for much of English • Read a wide variety of texts. vocabulary. Knowing these roots can help you deter- • Enjoy and engage in wordplay and word investigation. mine derivations and spellings, as well as meanings in English. • Listen carefully to how others use words. • Participate regularly in good classroom discussions. Using reference materials When using context and analyzing word parts do not Using context to discover meaning help to unlock the meaning of a word, go to a reference When you look at the words and sentences surrounding source such as a dictionary, a glossary, a thesaurus, or a new word, you are using context. Look before, at, and even the Internet. Use these tips: after a new word or phrase. Connect what you know • Locate a word by using the guide words at the top with what an author has written. Then guess at a possible of the pages. meaning. Try again if your guess does not make sense. Consider these strategies for using context: • Look at the parts of the reference entry, such as part of speech, definition, or synonym. • Look for a synonym or an antonym nearby to provide a clue to the word’s meaning. • Choose between multiple meanings by thinking about what makes sense. • Notice if the text relates the word’s meaning to another word. • Apply the meaning to what you’re reading. • Check for a description of an action associated with Distinguishing between meanings the word. Determining subtle differences between word meanings • Try to find a general topic or idea related to the word. also aids comprehension. Denotation refers to the dictionary meaning or meanings of a word. Connotation Using word parts and word origins refers to an emotion or underlying value that accompa- Consider these basic elements when taking a word apart nies a word’s dictionary meaning. The word fragrance to determine meaning: has a different connotation from the word odor, even • Base words Locate the most basic part of a word though the denotation of both words is “smell.” to predict a core meaning. • Prefixes Look at syllables attached before a base that add to or change a meaning. • Suffixes Look at syllables added to the end of a base word that create new meanings.

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Comprehension Strategies EADI Because understanding is the most critical reading task, modify or change your reading strategies when you don’t

lifelong learners use a variety of reading strategies before, understand what you’ve read: NG HAN during, and after reading to ensure their comprehension. • Reread the passage. • Consult other sources, including text resources, Establishing and adjusting purposes teachers, and other students.

for reading DBOOK • Write comments or questions on another piece of To establish a purpose for reading, preview or skim a paper for later review or discussion. selection by glancing quickly over the entire piece, reading headings and subheadings, and noticing the organiza- Constructing graphic organizers tional pattern of the text. Graphic organizers, such as charts, maps, and diagrams, If you are reading to learn, solve a problem, or perform a help you construct ideas in a visual way so you can task involving complex directions, consider these tips: remember them later. Look at the following model. Like a • Read slowly and carefully. Venn diagram, which compares and contrasts two ideas • Reread difficult passages. or characters, a semantic features analysis focuses on • Take careful notes or construct a graphic. the discriminating features of ideas or words. The items or ideas you want to compare are listed down the side, Adjust your strategies as your purpose changes. To locate and the discriminating features are listed across the top. In specific information in a longer selection, or to enjoy an each box use a + if the feature or characteristic applies to entertaining plot, you might allow yourself a faster pace. the item or a – if the feature or characteristic does not Know when to speed up or slow down to maintain your apply. understanding.

Drawing on personal background People in Passes Vetoes When you recall information and personal experiences Government Elected Appointed Laws Laws that are uniquely your own, you draw on your personal President + – – + background. By thus activating prior know ledge, and State +––+ combining it with the words on a page, you create mean- Governor ing in a selection. To expand and extend your prior Supreme –+–– knowledge, share it interactively in classroom discussions. Court Justice Monitoring and modifying reading strategies Secretary of –+–– Check or monitor your understanding as you read, Defense using the following strategies: • Summarize • Clarify A flowchart helps you keep track of the sequence of events. Arrange ideas or events in a logical, sequential • Question order. Then draw arrows between your ideas to indicate • Predict what will come next how one idea or event flows into another. Look at the fol- You can use these four important steps once or twice in lowing flowchart to see how you might show the chrono- an easy, entertaining passage or after every paragraph in logical sequence of a story. Use a flowchart to make a a conceptually dense nonfiction selection. As you read, change frame, recording causes and effects in sequence think about asking interesting questions, rather than pas- to illustrate how something changed. sively waiting to answer questions your teacher may ask later. All readers find that understanding sometimes breaks down when material is difficult. Consider these steps to

READING HANDBOOK R21

RR020-R025020-R025 EMRHB-845482.inddEMRHB-845482.indd 2121 77/10/06/10/06 8:31:378:31:37 AMAM A web can be used for a variety of purposes as you read you interpret direction, symbols, and size. Charts and a selection. graphs compare information in categories running hori- • To map out the main idea and details of a selection, zontally and vertically.

DBOOK put the main idea in the middle circle and, as you read, add supporting details around the main thought. • To analyze a character in a story, put the charac- Tips for Reading Graphic Aids ter’s name in the middle and add that character’s • Examine the title, labels, and other explanatory

NG HAN actions, thoughts, reputation, plot involvement, and features. personal development in the surrounding circles. • Apply the labels to the graphic aid. • To define a concept, put a word or an idea in the

EADI • Interpret the information.

R middle circle and then add a more general category, descriptions, examples, and non-examples in the surrounding circles. Look carefully at the models below.

Industrial Expansion Scale

0 150 miles N 0 150 kilometers L Albers Equal-Area projection . E H W u r n o S a n g Green Bay i CANADA h

c Wis. i Compass M Mich. . L Grand Buffalo rose Milwaukee Rapids Madison Detroit ie Lansing Er L. Titusville Galena Chicago Toledo Cleveland

Analyzing text structures South Bend Youngstown Legend

. R Pittsburgh To follow the logic and message of a selection and to is Ohio o n li Ill. Il Ind. Columbus remember it, analyze the text structure, or organization Springfield Indianapolis of ideas, within a writer’s work. In narrative as well as in Cincinnati W. Va.

informational text, writers may embed one structure St. Louis Timber Sawmills Shipping within another, but it is usually possible to identify one Prairie Iron/steel Canal Mo. main pattern of organization. Recognizing the pattern of Railroad organization can help you discover the writer’s purpose and will focus your attention on the important ideas in the selection. Look for signal words to point you to the structure. Daily Consumption of Vegetable Protein • Chronological order often uses words such as first, 80 then, after, later, and finally. 70 • Cause-and-effect order can include words or 60 phrases such as therefore, because, subsequently, or 50 as a result of. 40 30

• Comparison-contrast order may use words or Grams per person 20 phrases such as similarly, in contrast, likewise, or on 10 the other hand. 0 North Latin East Africa Middle Interpreting graphic aids America America Asia East Graphic aids provide an opportunity to see and analyze The height of the Each bar represents information at a glance. Charts, tables, maps, and dia- bar represents the a different region. grams allow you to analyze and compare information. amount of vegetable Maps include a compass rose, legend, and scale to help protein consumed.

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Sequencing Reading silently for sustained periods E

The order in which thoughts are arranged is called a When you read for long periods of time, your task is to ADI sequence. A good sequence is one that is logical, given avoid distractions. Check your comprehension regularly the ideas in a selection. Chronological order, spatial by summarizing what you’ve read so far. Using study NG HAN order, and order of importance are common forms of guides or graphic organizers can help get you through sequencing. Think about the order of a writer’s thoughts difficult passages. Take regular breaks when you need as you read and pay particular attention to sequence them and vary your reading rate with the demands of the

when following complex written directions. task. DBOOK

Summarizing Synthesizing information A summary is a short restatement of the main ideas and You will often need to read across texts; that is, in differ- important details of a selection. Summarizing what you ent sources, combining or synthesizing what you’ve have read is an excellent tool for understanding and learned from varied sources to suit your purposes. Follow remembering a passage. these suggestions: • Understand the information you’ve read in each Tips for Summarizing source. • Identify the main ideas or most important thoughts • Interpret the information. within a selection. • Identify similarities and differences in ideas or logic. • Determine the essential supporting details. • Combine like thoughts in a logical sequence. • Relate all the main ideas and the essential details in a logical sequence. Literary Response • Paraphrase — that is, use your own words. • Answer who, what, why, where, and when ques- Whenever you share your thoughts and feelings about tions when you summarize. something you’ve read, you are responding to text. While the way you respond may vary with the type of text you read and with your individual learning style, as a strategic reader you will always need to adequately support your The best summaries can easily be understood by some- responses with proof from the text. one who has not read the selection. If you’re not sure whether an idea is a main idea or a detail, try taking it Responding to informational and out of your summary. Does your summary still sound aesthetic elements complete? When you respond both intellectually and emotionally, Drawing inferences and supporting them you connect yourself with a writer and with other people. An inference involves using your reason and experience To respond in an intellectual way, ask yourself if the ideas to come up with an idea based on what a writer implies you have read are logical and well supported. To respond or suggests but does not directly state. The following stra- emotionally, ask yourself how you feel about those ideas tegic reading behaviors are examples of inference: and events. Choose a way to respond that fits your learn- • Making a prediction is taking an educated guess ing style. Class discussions, journal entries, oral interpreta- about what a text will be about based on initial clues tions, enactments, and graphic displays are some of the a writer provides. many ways to share your thoughts and emotions about a writer’s work. • Drawing a conclusion is making a general statement you can explain with reason or with supporting details from a text. • Making a generalization is generating a statement that can apply to more than one item or group. What is most important when inferring is to be sure that you have accurately based your thoughts on supporting details from the text as well as on your own knowledge.

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RR020-R025020-R025 EMRHB-845482.inddEMRHB-845482.indd 2323 77/10/06/10/06 8:31:588:31:58 AMAM Comparing responses with Evaluating the credibility of sources authoritative views Evaluating the credibility of a source involves making a Critics’ reviews may encourage you to read a book, see a judgment about whether a writer is knowledgeable and movie, or attend an event. They may also warn you that truthful. Consider the following steps: whatever is reviewed is not acceptable entertainment or • Decide on the writer’s purpose or motive. What is not valued by the reviewer. Deciding whether to value will the writer gain if you accept his or her ideas or if a review depends on the credibility of the reviewer and you act on his or her suggestions? also on your own personal views and feelings. Ask your- • Investigate the writer’s background. How has the self the following questions: writer become an authority in his or her field? Do • What is the reviewer’s background? others value what he or she says?

READING HANDBOOK • What qualifies the reviewer to write this evaluation? • Evaluate the writer’s statements. Is the writer’s • Is the review balanced? Does it include both positive information factual? Can it be proved? Are opinions and negative responses? clearly stated as such? Are they adequately supported • Are arguments presented logically? with details so that they are valid? Are any statements • Are opinions supported with facts? nonfactual? Check to be sure. • What bias does this reviewer show? Analyzing logical arguments and modes • Do I agree? Why or why not? of reasoning When you analyze works you’ve read, ask yourself Analysis and Evaluation whether the reasoning behind a writer’s works is logical. Two kinds of logical reasoning are Good readers want to do more than recall information or Inductive Reasoning By observing a limited number of interpret thoughts and ideas. When you read, read criti- particular cases, a reader arrives at a general or universal cally, forming opinions about characters and ideas, and statement. This logic moves from the specific to the general. making judgments using your own prior knowledge and information from the text. Case 1 Analyzing characteristics of texts To be a critical reader and thinker, start by analyzing the Case 2 General Statement characteristics of the text. Think about what specific characteristics make a particular selection clear, concise, and Case 3 complete. Ask yourself these questions: • What pattern of organization has this writer used Deductive Reasoning This logic moves from the general to present his or her thoughts? Cause/effect? to the specific. The reader takes a general statement and, Comparison/contrast? Problem/solution? Does this through reasoning, applies it to specific situations. organization make the main ideas clear or vague? Why? Situation 1 • What word order, or syntax, gives force and emphasis to this writer’s ideas? Does the grammatical order General Statement Situation 2 of the words make ideas sound complete, or is the sentence structure confusing? Situation 3 • What word choices reveal this writer’s tone, or attitude about the topic? Is the language precise or too general? Is it economical and yet descriptive?

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RR020-R025020-R025 EMRHB-845482.inddEMRHB-845482.indd 2424 22/9/07/9/07 8:27:378:27:37 AMAM Faulty reasoning, on the other hand, is vague and illogical. HANDBOOK READING Look for either/or reasoning or oversimplified statements when analyzing faulty reasoning. Failure to understand a writer’s work may be the result of poorly presented, unsup- ported arguments, sequenced in a haphazard way. A writer shows bias when he or she demonstrates a strong personal, and sometimes unreasonable, opinion. Look for bias when evaluating editorials, documentaries, and advertisements. Writers use persuasive techniques when they try to get readers to believe a certain thing or act in a particular way. A writer may have a strong personal bias and still compose a persuasive essay that is logical and well supported. On the other hand, deceptive arguments can be less than accurate in order to be persuasive. Read carefully to judge whether a writer’s bias influences his or her writing in negative or positive ways.

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R020-R025 EMRHB-845482.indd 25 2/9/07 8:28:10 AM FOLDABLES™

Reading and Thinking with Foldables™ S by Dinah Zike, M.Ed., Creator of Foldables™

Using Foldables™ Makes Learning Easy and Enjoyable Anyone who has paper, scissors, and a stapler or some glue can use Foldables in the classroom. Just follow the illustrated step-by-step directions. Check out the following sample:

Reading Objective: to understand how one character’s actions S affect other characters in a short story Use this Foldable to keep track of what the main character does and how his or Practice reading and following step- her actions affect the other characters. by-step directions.

1. Place a sheet of paper in front of you so that the short side Main Effects character’s on is at the top. Fold the paper in half from top to bottom. actions others Illustrations make directions easier 2. Fold in half again, from side to side, to divide the paper into to follow. two columns. Unfold the paper so that the two columns show. 3. Draw a line along the column crease. Then, through the top layer of paper, cut along the line you drew, forming two tabs. Become an active reader, tracking and 4. Label the tabs Main character’s actions and Effects on others. reorganizing information so that you can better 5. As you read, record the main character’s actions under the ﬁ rst tab. Record comprehend the how each of those actions affects other characters under the second tab. selection.

Short Story 1 Reading Objective: to analyze a short story on the basis of its literary S elements As you read, use the following Foldable to keep track of fi ve literary elements in the short story. 1. Stack three sheets of paper with their top edges about a half-inch apart. Be sure to keep the side edges straight. 2 2. Fold up the bottom edges of the paper to form six tabs, fi ve of which will be the same size. 3. Crease the paper to hold the tabs in place and staple the sheets together along the crease. 4. Turn the sheets so that the stapled side is at the top. Write the title of the story on the top 3 4 5 tab. Label the fi ve remaining tabs Setting, Characters, Plot, Point of View, and Theme. , , Story Title 5. Use your Foldable as you read the short story. Under each labeled tab, jot down notes Setting Characters about the story in terms of that element. Plot Point of View Theme

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RR026-R029026-R029 EMFold-845482.inddEMFold-845482.indd 2626 77/10/06/10/06 8:33:338:33:33 AMAM You may adapt this simple Foldable in several ways. FOLDABLES™ ■ Use it with dramas, longer works of ﬁ ction, and some narrative poems— wherever ﬁ ve literary elements are present in the story. ■ Change the labels to focus on something different. For example, if a story or a play has several settings, characters, acts, or scenes, you could devote a tab to each one.

Drama

Reading Objective: to understand confl ict and plot in a drama S As you read the drama, use the following Foldable to keep track of confl icts that arise and ways that those confl icts are resolved. 1 1. Place a sheet of paper in front of you so that the short side is at the top. S Fold the paper in half from side to side. a 2. Fold the paper again, one inch from the top as shown here. 3. Unfold the paper and draw lines along all of the folds. This will be your chart. 4. At the top, label the left column Confl icts and the right column Resolutions. 5. As you read, record in the left column the various confl icts that arise in the 2 drama. In the right column, explain how each confl ict is resolved by the end of the drama.

You may adapt this simple Foldable in several ways. ■ Use it with short stories, longer works of ﬁ ction, and many poems—wherever R flicts esolu conﬂ icts and their resolutions are important. 3 , 4 , 5 Con tions ■ Change the labels to focus on something different. For example, you could record the actions of two characters, or you could record the thoughts and feelings of a character before and after the story’s climax.

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RR026-R029026-R029 EMFold-845482.inddEMFold-845482.indd 2727 22/9/07/9/07 8:34:358:34:35 AMAM Lyric Poem

Reading Objective: to interpret the poet’s message by understanding S the speaker’s thoughts and feelings

FOLDABLES™ As you read the poem, use the following Foldable to help you distinguish between what the speaker says and what the poet means. 1 1. Place a sheet of paper in front of you so that the short side is at the top. Fold the paper in half from top to bottom. 2. Fold the paper in half again from left to right. 3. Unfold and cut through the top layer of paper along the fold line. This will make 2 two tabs. 4. Label the left tab Speaker’s Words. Label the right tab Poet’s Meaning. 5. Use your Foldable to jot down notes on as you read the poem. Under the left tab, write down key things the speaker says. Under the right tab, write down what you 3 think the poet means by having the speaker say those things.

You may adapt this simple Foldable in several ways. 4 Speaker's Poet's ■ Use it to help you visualize the images in a poem. Just replace Speaker’s Words Words Meaning with Imagery and replace Poet’s Meaning with What I See. ■ Replace the label Speaker’s Words with Speaker’s Tone and under the tab write adjectives that describe the tone of the speaker’s words. ■ If the poem you are reading has two stanzas, you might devote each tab to notes about one stanza.

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RR026-R029026-R029 EMFold-845482.inddEMFold-845482.indd 2828 77/10/06/10/06 8:33:578:33:57 AMAM Informational Text FOLDABLES™

Reading Objective: to understand and remember ideas in informational text S As you read a nonﬁ ction selection, use this Foldable to help you identify what you already know about the topic, what you might want to know about it, and what you

learn about it from the selection. 1 1. Hold a sheet of paper in front of you so that the short side is at the top. Fold the bottom of the paper up and the top down to divide the paper into thirds. 2. Unfold the paper and turn it so that the long side is at the top. Draw lines along the folds and label the three columns Know, Want to Know, and Learned.

Know Want to Learned 3. Before you read the selection, write what you already know about the topic under 2 , 3 Know the left heading and what you want to know about it under the middle heading. As you read, jot down what you learn about the topic under the last heading.

You may adapt this simple Foldable in several ways. ■ Use it with magazine and newspaper articles, textbook chapters, reference articles, and informational Web sites—anything you might read to look for information. ■ Use this three-part Foldable to record information from three sources. Label each column with the name of one source and write notes from that source under its heading. ■ For a two-column Foldable, just fold the sheet of paper in half. For four columns, fold it in half and then in half again.

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RR026-R029026-R029 EMFold-845482.inddEMFold-845482.indd 2929 22/9/07/9/07 8:34:488:34:48 AMAM WRITING HANDBOOK

The Writing Process Writing is a process with five stages: prewriting, drafting, revising, editing/ proofreading, and publishing/presenting. These stages often overlap, and their importance, weight, and even their order vary according to your needs and goals. Because writing is recursive, you almost always have to double back somewhere in this process, perhaps to gather more information or to reevaluate your ideas.

4HE7RITING0ROCESS

%DITING 0UBLISHING 0REWRITING $RAFTING 2EVISING 0ROOFREADING 0RESENTING

Prewriting judgment and follow each idea as far as it goes. You can evaluate the ideas later. The prewriting stage includes coming up with ideas, mak- • Search for information in print and nonprint sources. ing connections, gathering information, defining and refin- • If you are writing a personal essay, all of the informa- ing the topic, and making a plan for a piece of writing. tion may come from your own experiences and feelings. If you are writing a report or a persuasive essay, Tips for prewriting you will probably need to locate pertinent factual • Begin with an interesting idea (what you will write information and take notes on it. Besides library about). materials, such as books, magazines, and newspa- • Decide the purpose of the writing (why you are pers, you will want to use the Internet and other on- writing). line resources. You may also want to interview • Identify the audience (for whom you are writing). people with experience or specialized knowledge • Explore your idea through a technique such as free- related to your topic. writing, clustering, making diagrams, or brainstorming. • As you gather ideas and information, jot them down Freewriting is writing nonstop for a set time, on note cards to use as you draft. usually only five or ten minutes. The idea is to keep • Evaluate all ideas and information to determine or pace with your thoughts, getting them on paper fine-tune the topic. before they vanish. Freewriting can start anywhere • Organize information and ideas into a plan that and go anywhere. serves as the basis for writing. Clustering begins with writing a word or phrase • Develop a rough outline reflecting the method of in the middle of a sheet of paper. Circle the word or organization you have chosen. Include your main phrase; then think of related words and ideas. Write points and supporting details. them in bubbles connected to the central bubble. As • Find and include missing information or ideas that you cluster, connect related ideas. The finished cluster might add interest or help accomplish the purpose of will be a diagram of how your ideas can be organized. the writing. Brainstorming is creating a free flow of ideas with a group of people—it’s like freewriting with others. Start with a topic or question; encourage everyone to join in freely. Accept all ideas without

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RR030-R041030-R041 EMWHB-845482.inddEMWHB-845482.indd 3030 77/10/06/10/06 8:46:088:46:08 AMAM Drafting Tips for the peer reviewer HANDBOOK WRITING When you are asked to act as a reviewer for a classmate’s In this stage you translate into writing the ideas and infor- writing, the following tips will help you do the most mation you gathered during prewriting. Drafting is an effective job: opportunity to explore and develop your ideas. • Read the piece all the way through—without com- menting—to judge its overall effect. Tips for drafting • Tell the writer how you responded to the piece. For • Follow the plan made during prewriting but be flexi- example, did you find it informative? interesting? ble. New and better ideas may come to you as you amusing? develop your ideas; be open to them. • Ask the writer about parts you don’t understand. • Transform notes and ideas into related sentences • Think of questions to ask that will help the writer and paragraphs, but don’t worry about grammar or improve the piece. mechanics. At this point, it is usually better to concentrate on getting your ideas on paper. You might • Be sure that your suggestions are constructive. want to circle or annotate ideas or sections that need • Help the writer make improvements. more work. • Answer the writer’s questions honestly. Think about • Determine the tone or attitude of the writing. how you would like someone to respond to you. • Try to formulate an introduction that will catch the interest of your intended audience. Tips for revising • Be sure you have said everything you wanted to say. If not, add. Revising • If you find a section that does not relate to your In this stage, review and evaluate your draft to make sure topic, cut it. it accomplishes its purpose and speaks to its intended • If your ideas are not in a logical order, rearrange audience. When revising, interacting with a peer reviewer sentences and paragraphs. can be especially helpful. • Rewrite any unclear sentences. • Evaluate your introduction to be sure it creates inter- Using peer review est, leads the reader smoothly into your topic, and Ask one or more of your classmates to read your draft. states your main idea. Also evaluate your conclusion Here are some specific ways in which you can direct their to be sure it either summarizes your writing or effec- responses: tively brings it to an end. • Have readers tell you in their own words what they • Evaluate your word choices. Choose vivid verbs and have read. If you do not hear your ideas restated, precise nouns. Use a thesaurus to help you. you will want to revise for clarity. • Consider the comments of your peer reviewer. • Ask readers to tell you what parts of your writing Evaluate them carefully and apply those that will help they liked best and why. you create a more effective piece of writing. • Discuss the ideas in your writing with your readers. Add any new insights you gain to your revision. • Ask readers for suggestions about things such as organization and word choice. You may want to take notes on your readers’ suggestions so you will have a handy reference as you revise.

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R030-R041 EMWHB-845482.indd 31 7/10/06 8:46:19 AM Editing/Proofreading ❑✔ Do pronouns refer clearly to their antecedents and agree with them in person, number, and In the editing/proofreading stage, you polish your revised gender? draft and proofread it for errors in grammar and spelling. ❑✔ Have I used adverb and adjective forms and Use this proofreading checklist to help you check for modifying phrases correctly? errors and use the proofreading symbols in the chart ❑✔ Have I spelled every word correctly and checked below to mark places that need corrections. the unfamiliar ones in a dictionary? ❑✔ Have I avoided run-on sentences and sentence fragments and punctuated sentences correctly? Publishing/Presenting ❑✔ Have I used every word correctly, including plu- WRITING HANDBOOK There are a number of ways you can share your work. rals, possessives, and frequently confused words? You could publish it in a magazine, a class anthology, or ❑✔ Do verbs and subjects agree? Are verb tenses another publication, or read your writing aloud to a correct? group. You could also join a writers’ group and read one another’s works.

Proofreading Symbols Lt Brown Insert a period. to No one came the party. Insert a letter or a word.

I enjoyed paris. Capitalize a letter.

The Class ran a bake sale. Make a capital letter lowercase.

The campers are home sick. Close up a space.

They visited N.Y. Spell out.

Sue please come I need your help. Insert a comma or a semicolon. He enjoyed feild day. Transpose the position of letters or words.

alltogether Insert a space.

We went to to Boston. Delete letters or words.

She asked, Whos coming? Insert quotation marks or an apostrophe.

mid January Insert a hyphen.

“Where?” asked Karl. “Over there,” said Ray. Begin a new paragraph.

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RR030-R041030-R041 EMWHB-845482.inddEMWHB-845482.indd 3232 77/10/06/10/06 8:46:268:46:26 AMAM Using the Traits of Strong Writing HANDBOOK WRITING What are some basic terms you can use to discuss your writing with your teacher or classmates? What should you focus on as you revise and edit your compositions? Check out the following seven terms, or traits, that describe the qualities of strong writing. Learn the meaning of each trait and find out how using the traits can improve your writing.

✔ Ideas The message or the theme and the details ❑ Does the title suggest the theme of the that develop it composition? ❑✔ Does the composition focus on a single narrow Writing is clear when readers can grasp the meaning of topic? your ideas right away. Check to see whether you’re get- ❑✔ Is the thesis—the main point or central idea— ting your message across. clearly stated? ❑✔ Do well-chosen details elaborate your main point?

✔ Organization The arrangement of main ideas ❑ Are the beginning, middle, and end clearly and supporting details linked? ❑✔ Is the internal order of ideas easy to follow? An effective plan of organization points your readers ❑✔ Does the introduction capture your readers’ in the right direction and guides them easily through attention? your composition from start to finish. Find a structure, ❑✔ Do sentences and paragraphs flow from one to or order, that best suits your topic and writing purpose. the next in a way that makes sense? Check to see whether you’ve ordered your key ideas and ❑✔ details in a way that keeps your readers on track. Does the conclusion wrap up the composition?

✔ Voice A writer’s unique way of using tone ❑ Does your writing sound interesting? and style ❑✔ Does your writing reveal your attitude toward your topic? Your writing voice comes through when your readers ❑✔ Does your writing sound like you—or does it sense that a real person is communicating with them. sound like you’re imitating someone else? Readers will respond to the tone (or attitude) that you express toward a topic and to the style (the way that you use language and shape your sentences). Read your work aloud to see whether your writing voice comes through.

✔ Word Choice The vocabulary a writer uses to ❑ Do you use lively verbs to show action? convey meaning ❑✔ Do you use vivid words to create word pictures in your readers’ minds? Words work hard. They carry the weight of your meaning, ❑✔ Do you use precise words to explain your ideas so make sure you choose them carefully. Check to see simply and clearly? whether the words you choose are doing their jobs well.

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R030-R041 EMWHB-845482.indd 33 2/9/07 8:40:04 AM ✔ Sentence Fluency The smooth rhythm and ❑ Do your sentences vary in length and structure? flow of sentences that vary in length and style ❑✔ Do transition words and phrases show connections between ideas and sentences? The best writing is made up of sentences that flow ❑✔ Does parallelism help balance and unify related smoothly from one sentence to the next. Writing that ideas? is graceful also sounds musical—rhythmical rather than choppy. Check for sentence fluency by reading your writing aloud.

WRITING HANDBOOK ✔ Conventions Correct spelling, grammar, usage, ❑ Are all words spelled correctly? and mechanics ❑✔ Are all proper nouns—as well as the first word of every sentence—capitalized? A composition free of errors makes a good impression ❑✔ Is your composition free of sentence fragments? on your readers. Mistakes can be distracting, and they ❑✔ Is your composition free of run-on sentences? can blur your message. Try working with a partner to spot ❑✔ errors and correct them. Use this checklist to help you. Are punctuation marks—such as apostrophes, commas, and end marks—inserted in the right places?

Presentation The way words and design you’re using a word processor, double-space the lines of elements look on a page text and choose a readable font. Other design elements— such as boldfaced headings, bulleted lists, pictures, and Appearance matters, so make your compositions inviting charts—can help you present information effectively as to read. Handwritten papers should be neat and legible. If well as make your papers look good.

Preparing a manuscript Follow the guidelines of the Modern Language Association when you prepare the final copy of your research paper. • Heading On separate lines in the upper left-hand corner of the first page, include your name, your teacher’s name, the course name, and the date. • Title Center the title on the line below the heading. • Numbering Number the pages one-half inch from the top of the page in the right-hand corner. Write your last name before each page number after the first page. • Spacing Use double spacing throughout. • Margins Leave one-inch margins on all sides of every page.

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R030-R041 EMWHB-845482.indd 34 2/9/07 8:40:18 AM Writing Modes HANDBOOK WRITING Writing may be classified as expository, descriptive, narrative, or persuasive. Each of these classifications, or modes, has its own purpose.

Expository Writing ❑✔ Does the opening contain attention-grabbing details or intriguing questions to hook the reader? Expository writing gives instructions, defines or explains ❑✔ Have I provided sufficient information to my audi- new terms or ideas, explains relationships, compares one ence in a clear and interesting way? thing or opinion with another, or explains how to do ❑✔ Have I checked the accuracy of the information I something. Expository essays usually include a thesis have provided? statement in the introduction. ❑✔ Are my comparisons and contrasts clear and logical?

Descriptive Writing ❑✔ Did I create interest in my introduction? ❑✔ Are my perspective and my subject clearly stated Description re-creates an experience primarily through in my topic sentence? the use of sensory details. A writer should strive to create ❑✔ Did I organize details carefully and consistently? a single impression that all the details support. To do so ❑✔ Did I order information effectively? requires careful planning as well as choices about order ❑✔ of information, topic sentences, and figurative language. Have I chosen precise, vivid words? ❑✔ Do transitions clearly and logically connect the ideas? ❑✔ Have I created a strong, unified impression?

Narrative Writing ❑✔ Did I introduce characters and a setting? ❑✔ Did I develop a plot that begins with an interest- Narrative writing, whether factual or fictional, tells a story ing problem or conflict? and has these elements: characters, plot, point of view, ❑✔ Did I build suspense, lead the reader to a climax, theme, and setting. The plot usually involves a conflict and end with a resolution? between a character and an opposing character or force. ❑✔ Did I use dialogue to move the story along?

Persuasive Writing ❑✔ Did I keep my audience’s knowledge and attitudes in mind from start to finish? Persuasive writing expresses a writer’s opinion. The goal ❑✔ Did I state my position in a clear thesis statement? of persuasion is to make an audience change its opinion ❑✔ Have I included ample supporting evidence? and, perhaps, take action. Effective persuasive writing ❑✔ Have I addressed opposing viewpoints? uses strong, relative evidence to support its claims. This ❑✔ kind of writing often requires careful research, organiza- Have I avoided errors in logic? tion, and attention to language.

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R030-R041 EMWHB-845482.indd 35 2/9/07 8:40:29 AM Research Paper Writing More than any other type of paper, research papers are the product of a search—a search for data, for facts, for informed opinions, for insights, and for new information.

Selecting a topic Developing a working bibliography • If a specific topic is not assigned, choose a topic. If a work seems useful, write a bibliography card for it. Begin with the assigned subject or a subject that On an index card, write down the author, title, city of

WRITING HANDBOOK interests you. Read general sources of information publication, publisher, date of publication, and any other about that subject and narrow your focus to some information you will need to identify the source. Number aspect of it that interests you. Good places to start your cards in the upper right-hand corner so you can are encyclopedia articles and the tables of contents keep them in order. of books on the subject. A computerized library cata- Following are model bibliography, or source, cards. log will also display many subheads related to general topics. Find out if sufficient information about Book your topic is available. 2 1 Settle, Mary Lee 6 • As you read about the topic, develop your paper’s 3 central idea, which is the purpose of your research. All the Brave Promises. Even though this idea might change as you do more 4 Columbia: University of South Carolina research, it can begin to guide your efforts. For exam- Press, 1995. 5 ple, if you were assigned the subject of the Civil War, you might find that you’re interested in women’s roles during that war. As you read, you might narrow 6 7 your topic down to women who went to war, women Evanston Public Library D810.W754 who served as nurses for the Union, or women who took over farms and plantations in the South. 1 Author 5 Date of publication 2 Source number 6 Location of source Conducting a broad search for information 3 Title 7 Library call number • Generate a series of researchable questions about your chosen topic. Then research to find answers to 4 City of publication/ your questions. Publisher • Among the many sources you might use are the card catalog, the computer catalog, the Reader’s Guide to Periodical Periodical Literature (or an electronic equivalent), 2 newspaper indexes, and specialized references such 1 Chelminski, R. 2 as biographical encyclopedias. 3 “The Maginot Line” • If possible, use primary sources as well as secondary 4 Smithsonian, June 1997: 90–99 sources. A primary source is a firsthand account of an event—for example, the diary of a woman who served in the army in the Civil War is a primary source. Secondary sources are sources written by 1 Author people who did not experience or influence the 2 Source number event. Locate specific information efficiently by using the table of contents, indexes, chapter headings, and 3 Title graphic aids. 4 Title of magazine/date/page number(s)

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RR030-R041030-R041 EMWHB-845482.inddEMWHB-845482.indd 3636 77/10/06/10/06 8:46:498:46:49 AMAM Online source identifies the source (use the number of the HANDBOOK WRITING 2 bibliography card that corresponds to each source). 1 “Job Hunting Resources” 6 • In the lower right-hand corner of the card, write the 3 The Career Building Network page number on which you found the information. If 4 CareerBuilder one card contains several notes, write the page num- 5 14 Feb. 2002 ber in parentheses after the relevant material. 6 http://www.careerbuilder.com • Three helpful ways to take notes are paraphrasing, summarizing, and quoting directly. 1. Paraphrase important details that you want to remember; that is, use your own words to restate 1 Title 4 Sponsoring organization speciﬁ c information. 2 Source number 5 Date of access 2. Summarize main ideas that an author presents. 3 Title of database 6 URL When you summarize several pages, be sure to Evaluating your sources note the page on which the material begins and Your sources should be authoritative, reliable, timely, and the page on which it ends—for example, 213–221. suitable (arts). 3. Quote the exact words of an author only when • The source should be authoritative. The author the actual wording is important. Be careful about should be well-known in the field. An author who has placing the author’s words in quotation marks. written several books or articles about a subject or • Identify the subject of each note card with a short who is frequently quoted may be considered an phrase written in the upper left. authority. You might also consult Book Review Index and Book Review Digest to find out how other experts in the field have evaluated a book or an article. Avoid plagiarism—presenting an author’s words or ideas as if they were your own. Remember that • The source should be reliable. If possible, avoid you must credit the source not only for material material from popular magazines in favor of that directly quoted but also for any facts or ideas from more scholarly journals. Be especially careful to obtained from the source. evaluate material from online sources. For example, the Web site of a well-known university is more reliable than that of an individual. (You might also con- See the sample note card below, which includes informa- sult a librarian or your instructor for guidance in tion about careers and goals from three pages. selecting reliable online sources.) • The source should be timely. Use the most recent Careers and goals 12 material available, particularly for subjects of current Many people “crave work that will importance. Check the publication date of books as spark... excitement and energy.” well as the month and year of periodicals. (5) Sher recognizes that a career does • The source should be suitable, or appropriate. not necessarily satisfy a person’s aim Consider only material that is relevant to the purpose in life. (24) She also offers advice on of your paper. Do not waste time on books or arti- how to overcome obstacles that people cles that have little bearing on your topic. If you are experience in defining their goals. (101) writing on a controversial topic, you should include material that represents more than one point of view. • Organize your note cards to develop a working Compiling and organizing note cards outline. Begin by sorting them into piles of related Careful notes will help you to organize the material for cards. Try putting the piles together in different ways your paper. that suggest an organizational pattern. (If, at this • As you reread and study sources, write useful infor- point, you discover that you do not have enough mation on index cards. Be sure that each note card

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RR030-R041030-R041 EMWHB-845482.inddEMWHB-845482.indd 3737 77/10/06/10/06 8:47:058:47:05 AMAM information, go back and do further research.) Many In-text citations The most common method of credit- methods of organization are possible. You might also ing sources is with parenthetical documentation within the combine methods of organization. text. Generally a reference to the source and page number is included in parentheses at the end of each quotation, Developing a thesis statement paraphrase, or summary of information borrowed from a A thesis statement tells what your topic is and what you source. An in-text citation points readers to a correspond- intend to say about it—for example, “World War II ing entry in your works-cited list—a list of all your sources, changed the lives of African Americans and contributed to complete with publication information, that will appear the rise of the civil rights movement.” as the ﬁ nal page of your paper. The Modern Language • Start by examining your central idea. Association (MLA) recommends the following guidelines • Refine it to reflect the information that you gathered for crediting sources in text. You may wish to refer to the WRITING HANDBOOK in your research. MLA Handbook for Writers of Research Papers by Joseph • Next, consider your approach to the topic. What is Gibaldi for more information and examples. the purpose of your research? Are you proving or • Put in parentheses the author’s last name and the disproving something? illustrating a cause-and-effect page number where you found the information. relationship? offering a solution to a problem? An art historian has noted, “In Wood’s idyllic farms- examining one aspect of the topic thoroughly? capes, man lives in complete harmony with predicting an outcome? Nature; he is the earth’s caretaker” (Corn 90). • Revise your central idea to reflect your approach. • If the author’s name is mentioned in the sentence, • Be prepared to revise your thesis statement if necessary. put only the page number in parentheses. Art historian Wanda Corn has noted, “In Wood’s Drafting your paper idyllic farmscapes, man lives in complete harmony Consult your working outline and your notes as you start with Nature; he is the earth’s caretaker” (90). to draft your paper. • If no author is listed, put the title or a shortened • Concentrate on getting your ideas down in a com- version of the title in parentheses. Include a page plete and logical order. number if you have one. • Write an introduction and a conclusion. An effective Some critics believe that Grant Wood’s famous introduction creates interest, perhaps by beginning painting American Gothic pokes fun at small-town with a question or a controversial quotation; it should life and traditional American values (“Gothic”). also contain your thesis statement. An effective conclusion will summarize main points, restate your thesis, Compiling a list of works cited explain how the research points to important new At the end of your text, provide an alphabetized list of questions to explore, and bring closure to the paper. published works or other sources cited. Documenting sources • Include complete publishing information for each Since a research paper, by its nature, is built on the work source. of others, you must carefully document all the sources • For magazine and newspaper articles, include the you have used. page numbers. If an article is continued on a differ- • Name the sources of words, ideas, and facts that you ent page, use + after the first page number. borrow. • For online sources, include the date accessed. • In addition to citing books and periodicals from • Cite only those sources from which you actually use which you take information, cite song lyrics, letters, information. and excerpts from literature. • Arrange entries in alphabetical order according to the • Also credit original ideas that are expressed graphically author’s last name. Write the last name first. If no in tables, charts, and diagrams, as well as the sources of author is given, alphabetize by title. any visual aids you may include, such as photographs. • For long entries, indent five spaces every line after • You need not cite the source of any information that the first. is common knowledge, such as “John F. Kennedy was assassinated in 1963 in Dallas, Texas.”

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, e c i 2003. v y Oct. 2003. r 1 e rk: o 95. 34–44. 9. ices: Visions rld.” 9 w Y o Sept. 2003: 5 o 26 Sept. 2003: A27 Ne . phic ersonal”; if it takes place ticle.] a y Channel. 2 .nps.gov/parks.html>. Hispanic American men’s V . o ave the W . 8 By Charles Dickens. W 0 9 ee.” 9 r WRITING HANDBOOK 9 9 4. Oct. 2003 shington Post 0/phages.html>. . 1 7 DVD. A & E Home Video, 2003. a anni. . 8 6 Oct. 2003: 85–9 The Best American Poetr rk: HarperCollins, 1 1 9 W o 1 9 DiY rker National Geogr t pectations. w Y o x 1 Oct. 2003. National Park S eb. 200 w Y with the title of the ar . 2003 Museum. . . v–xii. a ld Under the Mango T 8 al Theatre Project: A Case Study al Theatre Project: A w Y o 0 (October 2003). 1 9 1 . 9 1 ue Stor Aircr avenous Soviet Viruses Will S elephone.”] r Ne 1 2003. ales T aving Africa’s Eden.” ) version, replace “DVD” with “Videocassette.”] , w R S P alifornia’s Great Debate.” . Introduction. .wired.com/wired/archive/ H National Park Ser The T U y The Feder

. viation for “University Press.”]. viation for “University Ed. Nicolas Kanellos. Ne tiz. “T viation for “and others”).] on: Smithsonian Institution Press, 1 . “C t rk: Signet, 1 rk: Scribners, 2003. , Esther H. Schor, and Rober y B. anya. E-mail inter I w takes place in person, replace “E-mail” with “P o o a, Yusef, and David Lehman, eds. ture. yclopaedia Britannica. a Perspectives. a vie w Y w Y Champions of the Wild. mbridge a Enc our Parks.” Ne U.S. Dept. of the Interior Wired Magazine Ne Washing tin, Richard. “Ho intraub, Stanle P” is an abbre mpeche, T yle e anzen, Jonathan. “The Listener or a videotape (V a r mple style sheets that style sheets mple Dionne, E. J., Jr Quammen, David. “S “Jazz.” F

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d ape or DVD ie d n v i clopedia article . 2 y 8 wspaper article 4 ork from an antholog eekly magazine article 5 4 Ne Monthly magazine article W Enc Radio or T Videot Inter Internet Online magazine article Introduction in a published book Book with editor(s) Source St Source Book with one author Book with t authors Book with an organization or a group as author or editor W 8 - MLA often used in English and social studies style is most classes. Center the title MLA Style the research paper the research How to cite sources to cite How ne On the page of of sources—the final prepare your list can help you B H W M E

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0 RR030-R041 EMWHB-845482.indd 39 CMS Style CMS style was created by the University of Chicago Press to meet its publishing needs. This style, which is detailed in The Chicago Manual of Style (CMS), is used in a number of subject areas. Center the title Bibliography at the top of your list.

Source Style Book with one author Witham, Barry B. The Federal Theatre Project: A Case Study. New York: WRITING HANDBOOK Cambridge University Press, 2003. Book with multiple authors Hoy, Pat C., II, Esther H. Schor, and Robert DiYanni. Women’s Voices: Visions and Perspectives. New York: McGraw-Hill, 1990. [If a book has more than ten authors, name only the first seven and then write ”et al.” (Latin abbreviation for “and others”).] Book with editor(s) Komunyakaa, Yusef, and David Lehman, eds. The Best American Poetry 2003. New York: Scribners, 2003. Book with an organization or Smithsonian Institution. Aircraft of the National Air and Space Museum. a group as author or editor Washington, DC: Smithsonian Institution Press, 1998. Work from an anthology Cofer, Judith Ortiz. “Tales Told Under the Mango Tree.” Hispanic American Literature, edited by Nicolas Kanellos, 34–44. New York: HarperCollins, 1995. Introduction in a published Dickens, Charles. Great Expectations. New introduction by Stanley Weintraub. book New York: Signet, 1998. Encyclopedia article [Credit for encyclopedia articles goes in your text, not in your bibliography.] Weekly magazine article Franzen, Jonathan. “The Listener.” New Yorker, October 6, 2003, 85–99. Monthly magazine article Quammen, David. “Saving Africa’s Eden.” National Geographic, September 2003, 50–77. Newspaper article Dionne, E. J., Jr. “California’s Great Debate.” Washington Post, September 26, 2003, A27. [Credit for unsigned newspaper articles goes in your text, not in your bibliography.] Internet U.S. Dept. of the Interior. “Visit Your Parks.” National Park Service. http://www.nps.gov/parks.html. Online magazine article Martin, Richard. “How Ravenous Soviet Viruses Will Save the World.” Wired Magazine 11.10 (October 2003). http://www.wired.com/wired/archive/11.10/phages.html. Radio or TV program [Credit for radio and TV programs goes in your text, not in your bibliography.] Videotape or DVD Hafner, Craig, dir. The True Story of Seabiscuit. A & E Home Video, 2003. DVD. [For a videotape (VHS) version, replace “DVD” with “Videocassette.”] Interview [Credit for interviews goes in your text, not in your bibliography.]

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R41 National New York: New York: 85–99. National [DVD]. A & E [Television series [Television Women’s voices: Visions Women’s The best American poetryThe best American 2003. WRITING HANDBOOK The New Yorker, (Vol. 6, pp. 519–520). Chicago: 6, pp. 519–520). (Vol. (pp. 34–44). New York: HarperCollins. (pp. 34–44). New York: Aircraft of the National Air and Space of the National Air and Space Aircraft The true story of Seabiscuit p. A27. Champions of the wild New York: McGraw-Hill. New York: 11.10. Retrieved October 17, 2003, from Retrieved October 17, 11.10. The federal theatre project: A case study. theatre project: A case The federal Visit your parks. Retrieved October 17, 2003, from Visit your parks. Retrieved October 17, 204, 50–77. Encyclopaedia Britannica. Washington, DC: Smithsonian Institution Press. Wired Magazine, Hispanic American Literature The Washington Post, The Washington Hafner, C. (Director). (2003). episode]. Animal Planet. Silver Spring, MD: Discovery Channel. http://www.wired.com/wired/archive/11.10/phages.html Orcas. (2003, October 21). Video. Home [For a videotape (VHS)[For version, replace ”DVD” with “Videocassette.”] [Credit for interviews goes in your text, not in your references.] [If no author is named, begin the entrytitle of the article.] with the [Credit for introductions goes in your text, not in your references.] [If a book has more than six authors, list the first six authors and then write than six authors, list the first six authors and [If a book has more ”et al.” (Latin abbreviation for “and others”).]

Franzen, J. (2003, October 6). The listener. listener. J. (2003, October 6). The Franzen, Quammen, D. (2003, September). Saving Africa’s Eden. Geographic, Service. U.S. Dept. of Interior, National Park Service. (2003, October 1). Park http://www.nps.gov/parks.html Martin, R. (2003, October). How ravenous Soviet viruses will save the world. New York: Scribners. York: D. (Eds.). (2003). & Lehman, Komunyakaa, Y., New Smithsonian Institution. (1998). Museum. told under the mango tree. In N. Kanellos (Ed.), Tales Cofer, J. O. (1995). Britannica. In Jazz. (1998). Encyclopaedia Witham, B. B. (2003). Witham, B. B. (2003). Dionne, E. J., Jr. (2003, September 26). California’s (2003, September great debate. Dionne, E. J., Jr. perspectives. R. (1990). C., II, Schor, E. H., & DiYanni, Hoy, P. Cambridge University Press. and 1 at the top of your list. at the top 4

d d n i . 2 8 4 5 4 Videotape or DVD Radio or TV program Interview Online magazine article Internet Encyclopedia article magazine article Weekly Monthly magazine article Book with an organization or a group as author or editor from an anthology Work Introduction in a published book Book with editor(s) Source StyleSource Book with one author Newspaper article Book with multiple authors Book with multiple 8 - The American Psychological Association (APA) style is Psychological AssociationThe American (APA) Center the title used in the sciences. commonly References APA Style APA B H W M E

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0 RR030-R041 EMWHB-845482.indd 41 BUSINESS WRITING

Business writing is a specialized form of expository writing. Business writing might include documents such as letters, memorandums, reports, briefs, pro- posals, and articles for business publications. Business writing must be clear, concise, accurate, and correct in style and usage.

Letter of Application One form of business writing that follows a vide a general overview of your qualifications conventional format is a letter of application. A and the reasons you are submitting an applica- letter of application can be used when applying tion. A letter of application should be concise. for a job, an internship, or a scholarship. In You should clearly state which position you are most cases, the letter is intended to accompany applying for and then explain why you are a résumé or an application. Because detailed interested and what makes you qualified. The information is usually included in the accompa- accompanying material should speak for itself. nying form, a letter of application should pro-

32 South Street 1 The optional subject line Austin, Texas 78746 indicates the topic of the May 6, 20__ letter. Melissa Reyes 2 The writer states her City Life magazine purpose directly and 2301 Davis Avenue immediately. Austin, Texas 78764 3 The writer comments briefly on her 1 Re: Internship qualifications. 4 The writer makes Dear Ms. Reyes: reference to the I am a junior at City High School and editor of the City High Herald. I accompanying material. 2 am writing to apply for your summer internship at City Life magazine. As a journalism student and a longtime fan of your magazine, I feel that an internship with your magazine would provide me with valuable experience in the field of journalism. I believe that my role with the City High Herald Activity: Choose a local 3 has given me the skills necessary to be a useful contributor to your magazine this summer. In addition, my enclosed application shows that I business where you might like to work. Write a letter of 4 am also a diligent worker. I thank you for considering my application for your summer internship, application for an internship and I hope to be working with you in the coming months. at that business. Assume that you will be submitting this Sincerely, letter along with a résumé or an internship application that Anne Moris details your experience and Anne Moris qualiﬁ cations.

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RR042-R045042-R045 EMBW-845482.inddEMBW-845482.indd 4242 22/9/07/9/07 8:43:548:43:54 AMAM Résumé WRITING BUSINESS The purpose of a résumé is to provide the employer with your work experience; other related experience; and rele- a comprehensive record of your background information, vant activities, associations, organizations, or projects that related experience, and qualifications. Although a résumé you have participated in. You may also want to include is intended to provide a great deal of information, the honors that you have received and list individuals whom format is designed to provide this information in the the employer can contact for a reference. When listing most efficient way possible. work experience, be sure to give the name of the All résumés should include the following information: a employer, your job title, and a few brief bulleted points heading that provides your name and contact information; describing your responsibilities. a job goal or a career objective; your education information;

1 Jane Wiley 909 West Main Street, Apt. #1 1 Header includes all impor- Urbana, Illinois 61802 tant contact information. (217) 555-0489 • [email protected] 2 All important education background is included. Goal 3 Related dates are included Seeking position in television news production for all listed activities. 4 Job title is included along 2 Education with the place of Junior standing in the College of Communications at the University of employment. Illinois, Urbana-Champaign 5 Job responsibilities are 2000 Graduate of City High School briefly listed. Honors Member of National Honor Society

Activities 3 Member, Asian American Association: 2001–Present Environmental Committee Chairperson, Asian American Association: August 2002–May 2003

Work Experience 4 Radio Reporter, WPGU, 107.1 FM, Champaign, Illinois: May 2002–Present 5 • Rewrote and read stories for afternoon newscasts • Served as field reporter for general assignments Cashier, Del’s Restaurant, Champaign, Illinois: May 2002–August 2002 • Responsible for taking phone orders • Cashier for pickup orders Assistant Secretary, Office of Dr. George Wright, Woodstock, Illinois: Activity: Create an outline May 2001–August 2001 that lists the information that • Answered phones you would want to include in a • Made appointments résumé. Use a word processor if possible.

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RR042-R045042-R045 EMBW-845482.inddEMBW-845482.indd 4343 22/9/07/9/07 8:44:038:44:03 AMAM Job Application When applying for a job, you usually need to fill out a job If a question does not apply to you, indicate that by writing application. When you fill out the application, read the n/a, short for “not applicable.” Keep in mind that you will instructions carefully. Examine the entire form before have the opportunity to provide additional information in beginning to fill it out. Write neatly and fill out the form your résumé, in your letter of application, or during the completely, providing all information directly and honestly. interview process.

1 Please type or print neatly in blue or black ink. BUSINESS WRITING 1 The application provides 2 Name: ______Today’s date: ______specific instructions. Address: ______2 All of the information Phone #: ______Birth date: _____ Sex: ____ Soc. Sec. #: ______requested should be ********************************************************* provided in its entirety. Job History (List each job held, starting with the most recent job.) 3 The information should 3 1. Employer: ______Phone #: ______be provided neatly and Dates of employment: ______succinctly. Position held: ______4 Experience should be Duties: ______stated accurately and 4 2. Employer: ______Phone #: ______without embellishment. Dates of employment: ______Position held: ______Duties: ______********************************************************* Education (List the most recent level of education completed.) ______********************************************************* Personal References: 1. Name: ______Phone #: ______Relationship: ______2. Name: ______Phone #: ______Relationship: ______

Activity: Pick up a job application from a local business or use the sample application above. Complete the application thoroughly. Fill out the application as if you were actually applying for the job. Be sure to pay close attention to the guidelines mentioned above.

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RR042-R045042-R045 EMBW-845482.inddEMBW-845482.indd 4444 22/9/07/9/07 8:44:128:44:12 AMAM Memos WRITING BUSINESS A memorandum (memo) conveys precise information to with a leading block. It is followed by the text of the mes- another person or a group of people. A memo begins sage. A memo does not have a formal closing.

TO: All Employees FROM: Jordan Tyne, Human Resources Manager 1 The topic of the memo 1 SUBJECT: New Human Resources Assistant Director is stated clearly in the DATE: November 3, 20__ subject line. 2 The announcement is 2 Please join me in congratulating Leslie Daly on her appointment as assistant made in the first sentence. director in the Human Resources Department. Leslie comes to our company 3 All of the important infor- with five years of experience in the field. Leslie begins work on Monday, mation is included briefly 3 November 10. All future general human resource inquiries should be in the memo. directed to Leslie. Please welcome Leslie when she arrives next week.

Business E-mail E-mail is quickly becoming the most common form of ence, proper grammar, and the inclusion of relevant business communication. While e-mail may be the least information—apply to e-mail. formal and most conversational method of business writing, An accurate subject line should state your purpose briefly it shouldn’t be written carelessly or too casually. The con- and directly. Use concise language and avoid rambling ventions of business writing—clarity, attention to your audi- sentences.

To: [email protected] From: [email protected] 1 Subject line clearly states CC: [email protected] the topic. Date: January 7, 8:13 A.M. 2 The purpose is stated 1 Subject: New Product Conference Call immediately and in a conversational tone. Liam, 3 Important details are included in a brief, direct 2 I just wanted to make sure that arrangements have been made for next week’s fashion. conference call to discuss our new product. The East Coast sales team has already scheduled three sales meetings at the end of the month with potential buyers, so it’s important that our sales team is prepared to talk about the product. Please schedule the call when the manufacturing director is available, 3 Activity: Write an e-mail to your since he will have important information for the sales team. coworkers. Inform them of a change in company procedure Lisa that will affect them. State the speciﬁ c information that they need to know. Indicate to your coworkers whether action needs to be taken on their part.

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RR042-R045042-R045 EMBW-845482.inddEMBW-845482.indd 4545 77/10/06/10/06 8:48:058:48:05 AMAM LANGUAGE HANDBOOK

Grammar Glossary This glossary will help you quickly locate information on parts of speech and sentence structure.

A Adverb A word that modifies a verb, persons, places, or things. an adjective, or another adverb by (I eat an apple a day.) Absolute phrase. See Phrase. making its meaning more specific. The definite article (the) indicates Abstract noun. See Noun chart. When modifying a verb, an adverb that the noun is a specific person, may appear in various positions in a Action verb. See Verb. place, or thing. (The alarm woke sentence. (Cats generally eat less me up.) Active voice. See Voice. than dogs. Generally, cats eat less than dogs.) When modifying an Auxiliary verb. See Verb. Adjective A word that modifies a adjective or another adverb, an noun or pronoun by limiting its adverb appears directly before the meaning. Adjectives appear in vari- modified word. (I was quite pleased B ous positions in a sentence. (The that they got along so well.) The Base form. See Verb tense. gray cat purred. The cat is gray.) word not and the contraction -n’t are adverbs. (Mike wasn’t ready for the Many adjectives have different forms C to indicate degree of comparison. test today.) Certain adverbs of time, Clause A group of words that has a (short, shorter, shortest) place, and degree also have a negative meaning. (He’s never ready.) subject and a predicate and that is The positive degree is the simple used as part of a sentence. Clauses form of the adjective. (easy, Some adverbs have different forms fall into two categories: main clauses, interesting, good) to indicate degree of comparison. which are also called independent The comparative degree (soon, sooner, soonest) clauses, and subordinate clauses, compares two persons, places, The comparative degree com- which are also called dependent things, or ideas. (easier, more pares two actions. (better, more clauses. interesting, better) quickly) A main clause can stand alone as The superlative degree compares The superlative degree compares a sentence. There must be at least more than two persons, places, three or more actions. (fastest, one main clause in every sen- things, or ideas. (easiest, most most patiently, least rapidly) tence. (The rooster crowed, and interesting, best) the dog barked.) Adverb clause. See Clause chart. A predicate adjective follows a A subordinate clause cannot linking verb and further identifies Antecedent. See Pronoun. stand alone as a sentence. A subordinate clause needs a main or describes the subject. (The Appositive A noun or a pronoun clause to complete its meaning. child is happy.) that further identifies another noun Many subordinate clauses begin A proper adjective is formed or pronoun. (My friend Julie lives with subordinating conjunctions from a proper noun and begins next door.) with a capital letter. Many proper or relative pronouns. (When Geri adjectives are created by adding Appositive phrase. See Phrase. sang her solo, the audience became quiet.) The chart on the these suffixes: -an, -ian, -n, -ese, Article The adjective a, an, or the. and -ish. (Chinese, African) next page shows the main types Indefinite articles (a and an) of subordinate clauses. Adjective clause. See Clause chart. refer to one of a general group of

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R046-R060 EMLHB-845482.indd 46 2/9/07 8:56:55 AM LANGUAGE HANDBOOK TYPES OF SUBORDINATE CLAUSES Clause Function Example Begins with . . . Adjective clause Modifies a noun or Songs that have a A relative pronoun such as which, pronoun strong beat make me who, whom, whose, or that want to dance. Adverb clause Modifies a verb, an adjective, Whenever Al calls me, A subordinating conjuction such as or an adverb he asks to borrow after, although, because, if, since, my bike. when, or where Noun clause Serves as a subject, an object, What Philip did Words such as how, that, what, or a predicate nominative surprised us. whatever, when, where, which, who, whom, whoever, whose, or why

Collective noun. See Noun chart. are predicate nominatives and of equal importance. (Choose predicate adjectives. either the muffin or the bagel.) Common noun. See Noun chart. A predicate nominative is a noun A subordinating conjunction Comparative degree. See Adjective; or pronoun that follows a linking (after, although, as if, because, Adverb. verb and tells more about the before, if, since, so that, than, subject. (The author of “The though, until, when, while) joins a Complement A word or phrase that Raven” is Poe.) dependent idea or clause to a completes the meaning of a verb. main clause. (Beth acted as if she The four basic kinds of complements A predicate adjective is an adjec- felt ill.) are direct objects, indirect objects, tive that follows a linking verb and object complements, and subject gives more information about the Conjunctive adverb An adverb used complements. subject. (Ian became angry at the to clarify the relationship between bully.) A direct object answers the clauses of equal weight in a sentence. question What? or Whom? after Complex sentence. See Sentence. Conjunctive adverbs are used to an action verb. (Kari found a replace and (also, besides, further- dollar. Larry saw Denise.) Compound preposition. more, moreover); to replace but (how- See Preposition. ever, nevertheless, still); to state a result An indirect object answers the (consequently, therefore, so, thus); or question To whom? For whom? To Compound sentence. to state equality (equally, likewise, simi- what? or For what? after an action See Sentence. larly). (Ana was determined to get an verb. (Do me a favor. She gave Compound-complex sentence. A; therefore, she studied often.) the child a toy.) See Sentence. An object complement answers Coordinating conjunction. See the question What? after a direct Conjunction A word that joins single Conjunction. object. An object complement is a words or groups of words. Correlative conjunction. See noun, a pronoun, or an adjective A coordinating conjunction Conjunction. that completes the meaning of a (and, but, or, nor, for, yet, so) direct object by identifying or joins words or groups of words describing it. (The director made that are equal in grammatical D me the understudy for the role. importance. (David and Ruth are Declarative sentence. See Sentence. The little girl called the puppy twins. I was bored, so I left.) hers.) Definite article. See Article. Correlative conjunctions (both . . . A subject complement follows a and, just as . . . so, not only . . . Demonstrative pronoun. subject and a linking verb. It iden- but also, either . . . or, neither . . . See Pronoun. tifies or describes a subject. The nor, whether . . . or) work in pairs two kinds of subject complements to join words and groups of words Direct object. See Complement.

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R046-R060 EMLHB-845482.indd 47 7/10/06 8:48:44 AM E Intensive pronoun. See Pronoun. M Emphatic form. See Verb tense. Interjection A word or phrase that Main clause. See Clause. expresses emotion or exclamation. Mood of verb A verb expresses An interjection has no grammatical one of three moods: indicative, F connection to other words. Commas imperative, or subjunctive. Future tense. See Verb tense. follow mild ones; exclamation points follow stronger ones. (Well, have a The indicative mood is the most good day. Wow!) common. It makes a statement or G asks a question. (We are out of Gerund A verb form that ends in -ing Interrogative pronoun. bread. Will you buy it?) See Pronoun. and is used as a noun. A gerund may The imperative mood expresses a

LANGUAGE HANDBOOKLANGUAGE function as a subject, the object of a Intransitive verb. See Verb. command or makes a request. verb, or the object of a preposition. (Stop acting like a child! Please (Smiling uses fewer muscles than Inverted order In a sentence written return my sweater.) frowning. Marie enjoys walking.) in inverted order, the predicate comes before the subject. Some The subjunctive mood is used to Gerund phrase. See Phrase. sentences are written in inverted express, indirectly, a demand, order for variety or special emphasis. suggestion, or statement of necessity (I demand that he stop I (Up the beanstalk scampered Jack.) The subject also generally follows the acting like a child. It’s necessary Imperative mood. See Mood predicate in a sentence that begins that she buy more bread.) The of verb. with here or there. (Here was the subjunctive is also used to state a solution to his problem.) Questions, condition or wish that is contrary Imperative sentence. See Sentence to fact. This use of the subjunctive chart. or interrogative sentences, are generally written in inverted order. In many requires the past tense. (If you Indicative mood. See Mood of verb. questions, an auxiliary verb precedes were a nice person, you would the subject, and the main verb fol- return my sweater.) Indirect object. See Complement. lows it. (Has anyone seen Susan?) Infinitive A verb form that begins Questions that begin with who or N with the word to and functions as a what follow normal word order. Nominative pronoun. See Pronoun. noun, an adjective, or an adverb. (No Irregular verb. See Verb tense. one wanted to answer.) Note: When Noun A word that names a person, to precedes a verb, it is not a prepo- a place, a thing, or an idea. The chart sition but instead signals an infinitive. L on this page shows the main types of nouns. Infinitive phrase. See Phrase. Linking verb. See Verb.

TYPES OF NOUNS Noun Function Examples Abstract noun Names an idea, a quality, or a characteristic capitalism, terror Collective noun Names a group of things or persons herd, troop Common noun Names a general type of person, place, thing, or idea city, building Compound noun Is made up of two or more words checkerboard, globe-trotter Noun of direct address Identifies the person or persons being spoken to Maria, please stand. Possessive noun Shows possession, ownership, or the relationship my sister’s room between two nouns Proper noun Names a particular person, place, thing, or idea Cleopatra, Italy, Christianity

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R046-R060 EMLHB-845482.indd 48 2/9/07 8:57:06 AM Noun clause. See Clause chart. the jazz concert, an important A compound predicate has two LANGUAGE HANDBOOK musical event.) or more verbs or verb phrases Noun of direct address. See that are joined by a conjunction Noun chart. A gerund phrase includes a gerund plus its complements and share the same subject. (We Number A noun, pronoun, or and modifiers. (Playing the flute ran to the park and began to play verb is singular in number if it refers is her hobby.) baseball.) to one; plural if it refers to more An infinitive phrase contains the Predicate adjective. See Adjective; than one. infinitive plus its complements Complement. and modifiers. (It is time to leave Predicate nominative. See for school.) O Complement. Object. See Complement. A participial phrase contains a participle and any modifiers nec- Preposition A word that shows the essary to complete its meaning. relationship of a noun or pronoun to P (The woman sitting over there is some other word in the sentence. Prepositions include about, above, Participle A verb form that can my grandmother.) across, among, as, behind, below, function as an adjective. Present A prepositional phrase consists beyond, but, by, down, during, participles always end in -ing. (The of a preposition, its object, and except, for, from, into, like, near, of, woman comforted the crying child.) any modifiers of the object. A on, outside, over, since, through, to, Many past participles end in -ed. prepositional phrase can function under, until, with. (I usually eat (We bought the beautifully painted as an adjective, modifying a noun breakfast before school.) chair.) However, irregular verbs or a pronoun. (The dog in the form their past participles in some yard is very gentle.) A preposi- A compound preposition is other way. (Cato was Caesar’s sworn tional phrase may also function as made up of more than one word. enemy.) an adverb when it modifies a (according to, ahead of, as to, verb, an adverb, or an adjective. because of, by means of, in addi- Passive voice. See Voice. (The baby slept on my lap.) tion to, in spite of, on account of) (We played the game in spite of Past tense. See Verb tense. A verb phrase consists of one or the snow.) more auxiliary verbs followed by a Perfect tense. See Verb tense. main verb. (The job will have been Prepositional phrase. See Phrase. Personal pronoun. See Pronoun, completed by noon tomorrow.) Pronoun chart. Present tense. See Verb tense. Positive degree. See Adjective. Phrase A group of words that acts in Progressive form. See Verb tense. Possessive noun. See Noun chart. a sentence as a single part of speech. Pronoun A word that takes the An absolute phrase consists of Predicate The verb or verb phrase place of a noun, a group of words a noun or pronoun that is modi- and any objects, complements, or acting as a noun, or another pro- fied by a participle or participial modifiers that express the essential noun. The word or group of words phrase but has no grammatical thought about the subject of a that a pronoun refers to is called its relation to the complete subject sentence. antecedent. (In the following sen- or predicate. (The vegetables A simple predicate is a verb or tence, Mari is the antecedent of she. being done, we finally sat down verb phrase that tells something Mari likes Mexican food, but she to eat dinner.) about the subject. (We ran.) doesn’t like Italian food.) An appositive phrase is an A complete predicate includes A demonstrative pronoun appositive along with any modi- the simple predicate and any points out specific persons, places, fiers. If not essential to the words that modify or complete it. things, or ideas. (this, that, meaning of the sentence, an (We solved the problem in a these, those) appositive phrase is set off by short time.) An indefinite pronoun refers to commas. (Jack plans to go to persons, places, or things in a

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R046-R060 EMLHB-845482.indd 49 2/9/07 8:57:16 AM more general way than a noun (We told ourselves to be patient.) A simple sentence may contain a does. (all, another, any, both, A relative pronoun is used to compound subject or a compound each, either, enough, everything, begin a subordinate clause. predicate or both. (Alan and Teri few, many, most, much, neither, (who, whose, that, what, whom, found an old violin. Alan found an nobody, none, one, other, others, whoever, whomever, whichever, old violin and tried to play it. Alan plenty, several, some) whatever) and Teri found an old violin and An intensive pronoun adds tried to play it.) The subject and Proper adjective. See Adjective. emphasis to another noun or the predicate can be expanded with adjectives, adverbs, preposi- pronoun. If an intensive pronoun Proper noun. See Noun chart. is omitted, the meaning of the tional phrases, appositives, and sentence will be the same. verbal phrases. As long as the sen- (Rebecca herself decided to look R tence has only one main clause, LANGUAGE HANDBOOKLANGUAGE however, it remains a simple sen- for a part-time job.) Reflexive pronoun. See Pronoun. tence. (Alan, rummaging in the An interrogative pronoun is used Relative pronoun. See Pronoun. attic, found an old violin.) to form questions. (who? whom? whose? what? which?) A compound sentence has two or more main clauses. Each main A personal pronoun refers to S clause has its own subject and a specific person or thing. Sentence A group of words express- predicate, and these main clauses Personal pronouns have three ing a complete thought. Every sen- are usually joined by a comma cases: nominative, possessive, and tence has a subject and a predicate. and a coordinating conjunction. objective. The case depends upon Sentences can be classified by func- (Cats meow, and dogs bark, but the function of the pronoun in a tion or by structure. The second chart ducks quack.) Semicolons may sentence. The first chart on this on this page shows the categories by also be used to join the main page shows the case forms of per- function; the following subentries clauses in a compound sentence. sonal pronouns. describe the categories by structure. (The helicopter landed; the pilot A reflexive pronoun reflects back See also Subject; Predicate; Clause. had saved four passengers.) to a noun or pronoun used earlier A simple sentence has only one A complex sentence has one in the sentence, indicating that the main clause and no subordinate main clause and one or more same person or thing is involved. clauses. (Alan found an old violin.) PERSONAL PRONOUNS Case Singular Pronouns Plural Pronouns Function in Sentence Nominative I, you, she, he, it we, you, they subject or predicate nominative Objective me, you, her, him, it us, you, them direct object, indirect object, or object of a preposition Possessive my, mine, your, yours, her, our, ours, your, yours, replacement for the possessive form of hers, his, its their, theirs a noun

TYPES OF SENTENCES Sentence Type Function Ends with . . . Examples Declarative sentence Makes a statement A period I did not enjoy the movie. Exclamatory sentence Expresses strong emotion An exclamation point What a good writer Consuela is! Imperative sentence Makes a request or A period or an Please come to the party. gives a command exclamation point Stop! Interrogative sentence Asks a question A question mark Is the composition due today?

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R046-R060 EMLHB-845482.indd 50 2/9/07 8:57:40 AM subordinate clauses. (Since the V participles. See Gerund; Infinitive; LANGUAGE HANDBOOK movie starts at eight, we should Participle. Verb A word that expresses action or leave here by seven-thirty.) a state of being. (cooks, seem, Verb tense The tense of a verb A compound-complex sentence laughed) indicates when the action or state of has two or more main clauses and An action verb tells what some- being occurs. All the verb tenses are at least one subordinate clause. one or something does. Action formed from the four principal parts (If we leave any later, we may verbs can express either physical of a verb: a base form (talk), a miss the previews, and I want to or mental action. (Crystal decided present participle (talking), a simple see them.) to change the tire herself.) past form (talked), and a past participle (talked). A regular verb Simple predicate. See Predicate. A transitive verb is an action verb forms its simple past and past partici- that is followed by a word or Simple subject. See Subject. ple by adding -ed to the base form. words that answer the question (climb, climbed) An irregular verb Subject The part of a sentence that What? or Whom? (I held the forms its past and past participle in tells what the sentence is about. baby.) some other way. (get, got, gotten) A simple subject is the main An intransitive verb is an action noun or pronoun in the subject. verb that is not followed by a In addition to present, past, and (Babies crawl.) word that answers the question future tenses, there are three perfect tenses. A complete subject includes the What? or Whom? (The baby simple subject and any words that laughed.) The present perfect tense modify it. (The man from New A linking verb expresses a state of expresses an action or a condition Jersey won the race.) In some being by linking the subject of a that occurred at some indefinite sentences, the simple subject and sentence with a word or an time in the past. This tense also the complete subject are the expression that identifies or shows an action or a condition that same. (Birds fly.) describes the subject. (The lemon- began in the past and continues into the present. (She has played A compound subject has two or ade tastes sweet. He is our new the piano for four years.) more simple subjects joined by a principal.) The most commonly conjunction. The subjects share the used linking verb is be in all its The past perfect tense same verb. (Firefighters and police forms (am, is, are, was, were, will indicates that one past action officers protect the community.) be, been, being). Other linking or condition began and ended verbs include appear, become, before another past action started. Subjunctive mood. See Mood feel, grow, look, remain, seem, (Andy had finished his homework of verb. sound, smell, stay, taste. before I even began mine.) Subordinate clause. See Clause. An auxiliary verb, or helping The future perfect tense indicates verb, is a verb that accompanies that one future action or condition Subordinating conjunction. the main verb to form a verb will begin and end before another See Conjunction. phrase. (I have been swimming.) future event starts. Use will have Superlative degree. See Adjective; The forms of be and have are the or shall have with the past partici- Adverb. most common auxiliary verbs: ple of a verb. (By tomorrow, I will (am, is, are, was, were, being, have finished my homework, too.) been; has, have, had, having). The progressive form of a verb T Other auxiliaries include can, expresses a continuing action with Tense. See Verb tense. could, do, does, did, may, might, any of the six tenses. To make the must, shall, should, will, would. progressive forms, use the appro- Transitive verb. See Verb. Verbal A verb form that functions in priate tense of the verb be with a sentence as a noun, an adjective, the present participle of the main or an adverb. The three kinds of verb. (She is swimming. She has verbals are gerunds, infinitives, and been swimming.)

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R046-R060 EMLHB-845482.indd 51 7/10/06 8:48:59 AM The emphatic form adds special force, or emphasis, to the present and past tense of a verb. For the emphatic form, use do, does, or did with the base form. (Toshi did want that camera.) Voice The voice of a verb shows whether the subject performs the action or receives the action of the verb. A verb is in the active voice if LANGUAGE HANDBOOKLANGUAGE the subject of the sentence performs the action. (The referee blew the whistle.) A verb is in the passive voice if the subject of the sentence receives the action of the verb. (The whistle was blown by the referee.)

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R046-R060 EMLHB-845482.indd 52 7/10/06 8:49:09 AM Mechanics LANGUAGE HANDBOOK This section will help you use correct capitalization, punctuation, and abbreviations in your writing.

Capitalization d. trade names and names of documents, awards, and laws. This section will help you recognize and use Example: Microsoft; Declaration of correct capitalization in sentences. Independence; Pulitzer Prize; Rule: Capitalize the first word in any sentence, Sixteenth Amendment including direct quotations and sentences in parentheses unless they are included in another e. geographical terms and regions or localities. sentence. Example: Hudson River; Pennsylvania Avenue; Example: She said, “Come back soon.” Grand Canyon; Texas; the Midwest

Emily Dickinson became famous only f. names of planets and other heavenly bodies. after her death. (She published only Example: Venus; Earth; the Milky Way six poems during her lifetime.) g. names of ships, planes, trains, and spacecraft. Rule: Always capitalize the pronoun I no matter where it appears in the sentence. Example: USS Constitution; Spirit of St. Louis; Apollo 11 Example: Some of my relatives think that I should become a doctor. h. names of most historical events, eras, calendar items, and religious names and items. Rule: Capitalize proper nouns, including a. names of individuals and titles used in direct Example: World War II; Age of Enlightenment; address preceding a name or describing a June; Christianity; Buddhists; Bible; relationship. Easter; God Example: George Washington; Dr. Morgan; i. titles of literary works, works of art, and musical Aunt Margaret compositions.

b. names of ethnic groups, national groups, political Example: “Why I Live at the P.O.”; The Starry parties and their members, and languages. Night; Rhapsody in Blue Example: Italian Americans; Aztec; the j. names of specific school courses. Republican Party; Example: Advanced Physics; American History a Democrat; Spanish Rule: Capitalize proper adjectives (adjectives formed c. names of organizations, institutions, firms, monu- from proper nouns). ments, bridges, buildings, and other structures. Example: Christmas tree; Hanukkah candles; Example: Red Cross; Stanford University; Freudian psychology; American flag General Electric; Lincoln Memorial; Tappan Zee Bridge; Chrysler Building; Museum of Natural History

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R046-R060 EMLHB-845482.indd 53 2/9/07 8:57:51 AM Punctuation Example: There were two speakers at Gettysburg that day; only Lincoln’s This section will help you use these elements speech is remembered. of punctuation correctly. Rule: Use a period at the end of a declarative b. to separate main clauses joined by a conjunctive sentence or a polite command. adverb or by for example or that is. Example: I’m thirsty. Example: Because of the ice storm, most students could not get to school; Example: Please bring me a glass of water. consequently, the principal canceled all classes for the day. Rule: Use an exclamation point to show strong feeling or after a forceful command. c. to separate the items in a series when these LANGUAGE HANDBOOKLANGUAGE Example: I can’t believe my eyes! items contain commas. Example: Watch your step! Example: The students at the rally came from Senn High School, in Chicago, Illinois; Rule: Use a question mark to indicate a direct Niles Township High School, in Skokie, question. Illinois; and Evanston Township High School, in Evanston, Illinois. Example: Who is in charge here? d. to separate two main clauses joined by a coordi- Rule: Use a colon nating conjunction when such clauses already a. to introduce a list (especially after words such as contain several commas. these, the following, or as follows) and to introduce material that explains, restates, or illustrates Example: The designer combined the blue silk, previous material. brown linen, and beige cotton into a suit; but she decided to use the yellow Example: The following states voted for the chiffon, yellow silk, and white lace for amendment: Texas, California, an evening gown. Georgia, and Florida. Example: The sunset was colorful: purple, Rule: Use a comma orange, and red lit up the sky. a. between the main clauses of a compound sentence. b. to introduce a long or formal quotation. Example: Ryan was late getting to study hall, Example: It was Mark Twain who stated the and his footsteps echoed in the empty following proverb: “Man is the only corridor. animal that blushes. Or needs to.” b. to separate three or more words, phrases, or c. in precise time measurements, biblical chapter clauses in a series. and verse references, and business letter Example: Mel bought carrots, beans, pears, and salutations. onions. Example: 3:35 P.M. 7:50 A.M. Gen. 1:10–11 Matt. 2:23 c. between coordinate modifiers. Dear Ms. Samuels: Dear Sir: Example: That is a lyrical, moving poem.

Rule: Use a semicolon d. to set off parenthetical expressions, interjections, a. to separate main clauses that are not joined by a and conjunctive adverbs. coordinating conjunction. Example: Well, we missed the bus again.

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R046-R060 EMLHB-845482.indd 54 2/9/07 8:58:00 AM Example: The weather is beautiful today; j. after the salutation of an informal letter and after LANGUAGE HANDBOOK however, it is supposed to rain this the closing of all letters. weekend. Example: Dear Helen, Sincerely, e. to set off nonessential words, clauses, and k. to set off parts of a reference that direct the phrases, such as: reader to the exact source. —adverbial clauses Example: You can find the article in the Example: Since Ellen is so tall, the coach Washington Post, April 4, 1997, assumed she would be a good pages 33–34. basketball player. l. to set off words or names used in direct address —adjective clauses and in tag questions. Example: Scott, who had been sleeping, finally Example: Yuri, will you bring me my calculator? woke up. Lottie became a lawyer, didn’t she? —participles and participial phrases Rule: Use a dash to signal a change in thought or to Example: Having found what he was looking emphasize parenthetical material. for, he left. Example: During the play, Maureen—and she’d —prepositional phrases be the first to admit it—forgot her lines. Example: On Saturdays during the fall, I rake leaves. Example: There are only two juniors attending— Mike Ramos and Ron Kim. —infinitive phrases Rule: Use parentheses to set off supplemental Example: To be honest, I’d like to stay awhile material. Punctuate within the parentheses only if the longer. punctuation is part of the parenthetical expression. —appositives and appositive phrases Example: If you like jazz (and I assume you do), Example: Ms. Kwan, a soft-spoken woman, ran you will like this CD. (The soloist is into the street to hail a cab. Miles Davis.) Example: The upper Midwest (which states does f. to set off direct quotations. that include?) was hit by terrible Example: “My concert,” Molly replied, “is tonight.” floods last year.

g. to set off an antithetical phrase. Rule: Use brackets to enclose information that you insert into a quotation for clarity or to enclose Example: Unlike Tom, Rob enjoys skiing. a parenthetical phrase that already appears within parentheses. h. to set off a title after a person’s name. Example: “He serves his [political] party best Example: Margaret Thomas, Ph.D., was the who serves the country best.” guest speaker. —Rutherford B. Hayes i. to separate the various parts of an address, a Example: The staircase (which was designed by geographical term, or a date. a famous architect [Frank Lloyd Example: My new address is 324 Indian School Wright]) was inlaid with ceramic tile. Road, Albuquerque, New Mexico 85350. I moved on March 13, 1998.

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R046-R060 EMLHB-845482.indd 55 2/9/07 8:58:08 AM Rule: Use ellipsis points to indicate the omission of musical compositions, court cases, names of material from a quotation. newspapers and magazines, ships, trains, air- planes, and spacecraft. Italicize and capitalize arti- Example: “. . . Neither an individual nor a nation cles (a, an, the) at the beginning of a title only can commit the least act of injustice when they are part of the title. against the obscurest individual. . . .” —Henry David Thoreau Example: E.T. [film]; The Piano Lesson [play] The Starry Night [painting] Rule: Use quotation marks the New Yorker [magazine] a. to enclose a direct quotation, as follows: Challenger [spacecraft] The Great Gatsby [book] Example: “Hurry up!” shouted Lisa. the Chicago Tribune [newspaper]

LANGUAGE HANDBOOKLANGUAGE When a quotation is interrupted, use two sets of b. for foreign words and expressions that are not quotation marks. used frequently in English. Example: “A cynic,” wrote Oscar Wilde, “is Example: Luciano waved good-bye, saying, someone who knows the price of “Arrivederci.” everything and the value of nothing.” c. for words, letters, and numerals used to repre- Use single quotation marks for a quotation within sent themselves. a quotation. Example: There is no Q on the telephone keypad. Example: “Did you say ‘turn left’ or ‘turn right’?” asked Leon. Example: Number your paper from 1 through 10.

In writing dialogue, begin a new paragraph and Rule: Use an apostrophe use a new set of quotation marks every time the a. for a possessive form, as follows: speaker changes. Add an apostrophe and -s to all singular nouns, Example: “Do you really think the spaceship can plural nouns not ending in -s, singular indefinite take off?” asked the first officer. pronouns, and compound nouns. Add only an “Our engineer assures me that we have apostrophe to a plural noun that ends in -s. enough power,” the captain replied. Example: the tree’s leaves b. to enclose titles of short works, such as stories, the man’s belt poems, essays, articles, chapters, and songs. the bus’s tires Example: “The Lottery” [short story] the children’s pets “Provide, Provide” [poem] everyone’s favorite “Civil Disobedience” [essay] my mother-in-law’s job the attorney general’s decision c. to enclose unfamiliar slang terms and unusual the baseball player’s error expressions. the cats’ bowls Example: The man called his grandson a If two or more persons possess something “rapscallion.” jointly, use the possessive form for the last person named. If they possess it individually, use d. to enclose a definition that is stated directly. the possessive form for each one’s name. Example: Gauche is a French word meaning “left.” Example: Ted and Harriet’s family Ted’s and Harriet’s bosses Rule: Use italics Lewis and Clark’s expedition a. for titles of books, lengthy poems, plays, films, Lewis’s and Clark’s clothes television series, paintings and sculptures, long

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R046-R060 EMLHB-845482.indd 56 7/10/06 8:49:21 AM b. to express amounts of money or time that mod- Example: twenty-three eighty-fifth LANGUAGE HANDBOOK ify a noun. one-half cup Example: two cents’ worth e. to divide a word at the end of a line between Example: three days’ drive (You can use a syllables. hyphenated adjective instead: a Example: air-port scis-sors three-day drive.) fill-ing fin-est c. in place of omitted letters or numerals. Example: haven’t [have not] the winter of ’95 Abbreviations

d. to form the plural of letters, numerals, symbols, Abbreviations are shortened forms of words. and words used to represent themselves. Use an Rule: Use only one period if an abbreviation occurs at apostrophe and -s. the end of a sentence. If the sentence ends with a question mark or an exclamation point, use the period Example: You wrote two 5’s instead of one. and the second mark of punctuation. Example: How many s’s are there in Mississippi? Example: We didn’t get home until 3:30 A.M. Example: Why did he use three !’s at the end of Example: Did you get home before 4:00 A.M.? the sentence? Example: I can’t believe you didn’t get home Rule: Use a hyphen until 3:30 A.M.! a. after any prefix joined to a proper noun or proper adjective. Rule: Capitalize abbreviations of proper nouns and abbreviations related to historical dates. Example: all-American pre-Columbian Example: John Kennedy Jr. P.O. Box 333 b. after the prefixes all-, ex-, and self- joined to any 800 B.C. A.D. 456 1066 C.E. noun or adjective, after the prefix anti- when it joins a word beginning with i, after the prefix Use all capital letters and no periods for most vice- (except in some instances such as vice pres- abbreviations of organizations and government ident), and to avoid confusion between words agencies. that begin with re- and look like another word. Example: CBS CIA IBM Example: ex-president NFL MADD GE self-important FBI anti-inflammatory vice-principal re-creation of the event recreation time re-pair the socks repair the computer

c. in a compound adjective that precedes a noun. Example: a bitter-tasting liquid

d. in any spelled-out cardinal or ordinal numbers up to ninety-nine or ninety-ninth, and with a fraction used as an adjective.

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R046-R060 EMLHB-845482.indd 57 7/10/06 8:49:28 AM Spelling

The following basic rules, examples, and exceptions will help you master the spellings of many words.

Forming Plurals English words form plurals in many ways. Most nouns simply add -s. The following chart shows other ways of forming plural nouns and some common exceptions to the pattern. LANGUAGE HANDBOOKLANGUAGE General Rules for Forming Plurals If the word ends in Rule Examples ch, s, sh, x, z add -es glass, glasses a consonant + y change y to i and add -es caddy, caddies a vowel + y or o add only -s cameo, cameos monkey, monkeys a consonant + o generally add -es potato, potatoes common exceptions but sometimes add only -s cello, cellos f or ff add -s cliff, cliffs common exceptions change f to v and add -es hoof, hooves lf change f to v and add -es half, halves

A few plurals are exceptions to the rules in the previous chart, but they are easy to remember. The following chart lists these plurals and some examples.

Special Rules for Forming Plurals Rule Examples To form the plural of most proper names and one-word compound Cruz, Cruzes nouns, follow the general rules for plurals. Mancuso, Mancusos crossroad, crossroads To form the plural of hyphenated compound nouns or compound mother-in-law, mothers-in-law nouns of more than one word, make the most important word plural. attorney general, attorneys general Some nouns have unusual plural forms. goose, geese child, children Some nouns have the same singular and plural forms. moose scissors pants

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R046-R060 EMLHB-845482.indd 58 7/10/06 8:49:38 AM Adding Prefixes try + ed = tried fry + ed = fried LANGUAGE HANDBOOK stay + ing = staying display + ed = displayed When adding a prefix to a word, keep the original spell- copy + ing = copying joy + ous = joyous ing of the word. Use a hyphen only when the original word is capitalized or with the prefixes all-, ex-, and self- joined to a noun or adjective. Adding -ly and -ness co + operative = cooperative When adding -ly to a word that ends in a single l, keep inter + change = interchange the l, but when the word ends in a double l, drop one l. pro + African = pro-African When the word ends in a consonant + le, drop the le. ex + partner = ex-partner When adding -ness to a word that ends in n, keep the n. casual + ly = casually Suffixes and the Silent e practical + ly = practically dull + ly = dully Many English words end in a silent letter e. Sometimes probable + ly = probably the e is dropped when a suffix is added. When adding a open + ness = openness suffix that begins with a consonant to a word that ends in mean + ness = meanness silent e, keep the e. like + ness = likeness sure + ly = surely Doubling the Final Consonant COMMON EXCEPTIONS awe + ful = awful; judge + ment = judgment Double the final consonant in words that end in a consonant preceded by a single vowel if the word is one sylla- When adding a suffix that begins with a vowel to a word ble, if it has an accent on the last syllable that remains that ends in silent e, usually drop the e. there even after the suffix is added, or if it is a word believe + able = believable made up of a prefix and a one-syllable word. expense + ive = expensive stop + ing = stopping COMMON EXCEPTION mile + age = mileage admit + ed = admitted When adding a suffix that begins with a or o to a word replan + ed = replanned that ends in ce or ge, keep the e so the word will retain Do not double the final consonant if the accent is not on the soft c or g sound. the last syllable or if the accent shifts when the suffix is notice + able = noticeable added. Also do not double the final consonant if the final courage + ous = courageous consonant is x or w. If the word ends in a consonant and When adding a suffix that begins with a vowel to a word the suffix begins with a consonant, do not double the that ends in ee or oe, keep the final e. final consonant. see + ing = seeing toe + ing = toeing benefit + ed = benefited similar + ly = similarly Drop the final silent e after the letters u or w. raw + er = rawer argue + ment = argument box + like = boxlike owe + ing = owing friend + less = friendless rest + ful = restful Keep the final silent e before the suffix -ing when necessary to avoid ambiguity. singe + ing = singeing Forming Compound Words When joining a word that ends in a consonant to a word Suffixes and the Final y that begins with a consonant, keep both consonants. out + line = outline When adding a suffix to a word that ends in a consonant after + noon = afternoon + y, change the y to i unless the suffix begins with i. Keep post + card = postcard the y in a word that ends in a vowel + y. pepper + mint = peppermint

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R046-R060 EMLHB-845482.indd 59 7/10/06 8:49:45 AM ie and ei -cede, -ceed, and -sede Learning this rhyme can save you many misspellings: Because of the relatively few words with sed– sounds, “Write i before e except after c, or when sounded like a these words are worth memorizing. as in neighbor and weigh.” There are many exceptions to These words use -cede: accede, precede, secede. this rule, including seize, seizure, leisure, weird, height, One word uses -sede: supersede. either, neither, forfeit. Three words use -ceed: exceed, proceed, succeed. LANGUAGE HANDBOOKLANGUAGE

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R046-R060 EMLHB-845482.indd 60 2/9/07 8:58:19 AM TEST-TAKING SKILLS HANDBOOK

Succeeding on Tests This section is designed to help you prepare for both classroom and standardized tests. You will become familiar with the various formats of tests and the types of questions you will be required to answer.

Preparing for Classroom Tests Taking objective tests Many of the tests you take in your high school classes will This section will help you learn how to prepare for class- be objective tests, meaning that they ask questions that room tests. have specific correct answers. Time is often limited for these tests, so be sure to use your time efficiently. Thinking ahead • First, read the directions carefully. If anything is • Write down information about an upcoming test— unclear, ask questions. when it will be given, what it will cover, and so • Try to respond to each item on the test, starting with on—so you can plan your study time effectively. the easier ones. • Review your textbook, quizzes, homework assign- • Skip difficult questions rather than dwelling on them. You ments, class notes, and handouts. End-of-chapter can always come back to them at the end of the test. review questions often highlight key points from • Try to include some time to review your test before your textbook. turning it in. • Develop your own questions about main ideas and Below are tips for answering specific kinds of objective important details, and practice answering them. test items: Writing your own practice tests is an excellent way to get ready for a real test. Kind of item Tips • Make studying into an active process. Rather than simply rereading your notes or a chapter in your Multiple-choice Read all the answer choices pro- textbook, try to create a summary of the material. vided before choosing one; even if This can be an outline, a list of characters, or a time the first one seems nearly correct, line. Try to include details from both your lecture a later choice may be a better notes and your textbook reading so you will be able answer. Be cautious when choosing to see connections between the two. responses that contain absolute words such as always, never, all, or • Form study groups. Explaining information to a peer none. Since most generalizations is one of the best ways to learn the material. have exceptions, absolute state- • Sleep well the night before a test. Spreading your ments are often incorrect. study time over several days should have given you enough confidence to go to bed at your regular time TTrue/Falserue/False If any part of the item is false, the the night before a test. correct answer must be “false.” • Remember that eating well helps you remain alert. Short-answer Use complete sentences to help Students who eat a regular meal on the morning of a you write a clear response. test generally score higher than those who do not. Fill-in Restate fill-ins as regular questions if you are not sure what is being asked. Matching Note in the directions whether some responses can be used more than once or not used at all.

TEST-TAKING SKILLS HANDBOOK R61

R061-R063 EMTTSHB-845482.indd R61 7/10/06 8:50:26 AM Taking subjective (essay) tests show specifically how much you have learned in a You will also take subjective tests during high school. particular subject area. Typically, these tests ask questions that require you to write an essay. Your grade is based more on how well Tips for taking standardized tests you are able to make your point than on whether you Standardized tests are often administered outside of reg- choose a correct answer. ular class time and require registration. Ask your teacher • When you receive the test, first read it through. If or guidance counselor how you can register early to there are several questions, determine how much ensure that you can take the test at a time and location time to spend on each question. most convenient for you. In addition, follow these tips: • Begin your answer by jotting down ideas on scratch • Skip difficult questions at first. Standardized tests are paper for several minutes. Read the test question usually timed, so first answer items you know. You again to make sure you are answering it. Then create a can return later to those you skipped. rough outline from which you can create your essay. • Mark only your answers on the answer sheet. Most • Start your essay with a thesis statement in the first standardized tests are scored by a computer, so stray paragraph and follow with paragraphs that provide marks can be read as incorrect answers. supporting evidence. Give as much information as • Frequently compare the question numbers on your TEST-TAKING SKILLS HANDBOOK SKILLS TEST-TAKING possible, including examples and illustrations where test with those on your answer sheet to avoid putting appropriate. answers in the wrong spaces. • Finish your essay with a conclusion, highlighting the • If time permits, check your answers. If you are not evidence you have provided and restating your thesis. penalized for guessing, fill in answers for any items • You will probably not have time to revise and recopy you might have skipped. your essay. After you are finished writing, spend any remaining time proofreading your answer and neatly making any necessary corrections. Preparing for the PSAT and the SAT-I The verbal sections of the PSAT and SAT-I contain sentence completion items and reading comprehension questions. Preparing for Standardized Tests Standardized tests are designed to be administered to Sentence completion very large groups of students, not just those in a partic- Sentence completion items provide a sentence with one ular class. Three of the most widely known standard- or two blanks and ask you to select the word or pair of ized tests, all part of the college application process, words that best fits in the blank(s). Here is some general are the ACT, the PSAT, and the SAT. The strategies in information to help you with these questions on the PSAT this handbook refer specifically to the PSAT and SAT and SAT-I. tests, but they also can apply to preparing for the ACT • Start by reading the sentence and filling in your own and other standardized tests. word to replace the blank. Look for words that show how the word in the blank is related to the rest of The PSAT is generally administered to students in the the sentence–and, but, since, therefore, although. eleventh grade, though some schools offer it to students in the tenth grade as well. This test is designed to predict • Do not read the sentence with the words from each how well you will do on the SAT. For most students, the answer choice inserted. This may leave you with sev- PSAT is simply a practice test. Those who perform eral choices that “sound good.” exceptionally well on the eleventh grade PSAT, however, • Once you have chosen your own word to fill in the will qualify for National Merit Scholarship competition. blank, pick the word from the answer choices that is closest in meaning to your word. The SAT consists of the SAT-I: Reasoning Test and a variety of SAT-II: Subject Tests. The SAT-I is a three- hour test that evaluates your general verbal and math- ematics skills. The SAT-II: Subject Tests are hour-long tests given in specific subjects and are designed to

R62 TEST-TAKING SKILLS HANDBOOK

R061-R063 EMTTSHB-845482.indd R62 7/10/06 8:50:38 AM TEST-TAKING SKILLS HANDBOOK • If you have trouble coming up with a specific word Taking Essay Tests to fill in the blank, try to determine whether the word should be positive or negative. Even this bit of infor- Writing prompts, or long essay questions, include key words mation can help you eliminate some answer choices. that signal the strategy you will use to bring your ideas If you can eliminate even one answer choice, take a into sharp focus. Similarly, these key words also appear guess at the correct answer. in constructed responses, or short essay questions.

Reading comprehension Key Word Strategy Reading comprehension questions on the PSAT and SAT-I Analyze To analyze means to systematically and measure your ability to understand and interpret what critically examine all parts of an issue or you read. Each reading passage is followed by a series of event. questions. Here are some points to keep in mind when working with these questions: ClassifClassifyy or To classify or categorize means to put ccategorizeategorize people, things, or ideas into groups, based • You get points for answering questions correctly, not on a common set of characteristics. for reading passages thoroughly. Therefore, it is to your advantage to read the passages quickly and Compare To compare is to show how things are spend your time working on the questions. and similar or alike. To contrast is to show contrcontrastast how things are different. • After quickly reading a passage, briefly summarize it. This will help you answer general questions, which Describe To describe means to present a sketch or are based on the passage as a whole. an impression. Rich detail, especially • To answer specific questions based on details details that appeal to the senses, flesh included in the passage, return to the passage to find out a description. the correct answers. Reading Comprehension is like Discuss To discuss means to systematically write an open-book test: you are expected to look at the about all sides of an issue or event. passage while answering the questions. Evaluate To evaluate means to make a judgment • Reading Comprehension passages almost never and support it with evidence. include controversial opinions. Therefore, an answer Explain To explain means to clarify or make plain. choice like “advocated the overthrow of the government” is very likely to be incorrect. IllustrIllustrateate To illustrate means to provide examples or • If you can eliminate even one answer choice, take a to show with a picture or another graphic. guess at the correct answer. Infer To infer means to read between the lines or to use knowledge or experience to draw conclusions, make generalizations, or form a prediction. JustifJustifyy To justify means to prove or to support a position with specific facts and reasons. Predict To predict means to tell what will happen in the future based on an understanding of prior events and behaviors. State To state means to briefly and concisely present information. Summarize To summarize means to give a brief overview of the main points of an event or issue. TTracerace To trace means to present the steps or stages in a process or an event in sequential or chronological order.

TEST-TAKING SKILLS HANDBOOK R63

R061-R063 EMTTSHB-845482.indd R63 7/10/06 8:50:49 AM GLOSSARY/GLOSARIO

Pronunciation Key This glossary lists the vocabulary words found in the selections in this book. The definition given is for the word as it is used in the selection; you may wish to consult a dictionary for other meanings of these words. The key below is a guide to the pronunciation symbols used in each entry.

a at o¯ hope ng sing a¯ ape ô fork, all th thin ä father oo wood, put —th— this e end oo¯¯¯ fool zh treasure e¯ me oi oil ə ago, taken, pencil, i it ou out lemon, circus ı¯ ice u up indicates primary stress o hot u¯ use ´ indicates secondary

ENGLISH ESPAÑOL

A A aabidebide (ə b¯d) v. remain; p. 934 aabide/permanecerbide/permanecer v. subsistir; p. 934 aabundantlybundantly (ə bun dənt l¯e) adv. plentifully; aabundantly/abundantementebundantly/abundantemente adv. en gran cantidad; p. 417 cuantiosamente; p. 417 aacquaintancecquaintance (ə kw¯ant əns) n. the state of being aacquaintance/conocido(a)cquaintance/conocido(a) s. persona con quien se familiar with; p. 772 tiene trato o relación, sin ser amistad; p. 772 aacridcrid (ak rid) adj. burning, biting, or irritating to the aacrid/acrecrid/acre adj. irritante, amargo o desagradable al taste or smell; p. 1287 gusto y al olfato; p. 1287 aacutecute (ə kut¯ ) adj. sharp; intense; p. 839 aacute/agudocute/agudo adj. punzante; intenso; p. 839 aadmonishdmonish (ad mon ish) v. to warn; to reprimand; aadmonish/amonestardmonish/amonestar v. advertir; reprender; p. 76 p. 76 aadversarydversary (ad vər ser´ e¯ ) n. opponent; enemy; aadversary/adversariodversary/adversario s. oponente; enemigo; p. 117 p. 117 aadversitydversity (ad vur sə te¯ ) n. a state of hardship; aadversity/adversidaddversity/adversidad s. momento de gran dificultad; misfortune; p. 163 infortunio; desgracia; p. 163 aadvocatedvocate (ad və k¯at´) v. to support or argue for; aadvocate/abogardvocate/abogar v. defender o hablar a favor de p. 972 alguien; p. 972 aaggregatedggregated (a rə ¯a´ təd) adj. collected; gathered aaggregated/agregadoggregated/agregado adj. sumado; unido a un todo; into a whole; p. 651 p. 651

R64 GLOSSARY

RR064-R085064-R085 EMGloss-845482.inddEMGloss-845482.indd R64R64 77/10/06/10/06 8:53:048:53:04 AMAM ailment/blanch dolencia/blanqueado(a) GLOSSARY/GLOSARIO aailmentilment (al¯ mənt) n. sickness or affliction; p. 1159 aailment/dolenciailment/dolencia s. enfermedad o aflicción; p. 1159 aallayingllaying (ə l¯a in) adj. putting at rest; relieving; aallaying/calmarllaying/calmar v. tranquilizar; aplacar; p. 472 p. 472 aalteration/alteraciónlteration/alteración s. cambio; modificación; aalterationlteration (ol´ tə r¯a shən) n. change; modification; p. 295 p. 295 aamends/reparaciónmends/reparación s. desagravio, compensación o aamendsmends (ə mendz) n. something done or given to satisfacción por una ofensa, daño o injuria; p. 365 make up for injury, loss, etc.; p. 365 aamiability/afabilidadmiability/afabilidad s. amabilidad, cordialidad; aamiabilitymiability (a me ¯ ə bil´ ə t¯e) n. kindliness; p. 1142 friendliness; p. 1142 aanarchy/anarquíanarchy/anarquía s. desconcierto o desorganización aanarchynarchy (an ər k¯e) n. a complete lack of political por ausencia de una autoridad; p. 1113 order; chaos; p. 1113 aantidote/antídotontidote/antídoto s. medicina usada para contrarrestar aantidotentidote (an ti d¯ot´) n. a medicine used to los efectos de una substancia venenosa; counteract the effects of a poison; any counteracting contraveneno; p. 394 remedy; p. 394 aappall/consternarppall/consternar v. horrorizar, conmocionar; p. 362 aappallppall (ə pol ) v. to fill with horror and shock; p. 362 aappease/apaciguarppease/apaciguar v. aquietar; tranquilizar o calmar; aappeaseppease (ə p¯ez) v. to bring to a state of peace or p. 1197 quiet; to satisfy; p. 1197 aarbiter/árbitro(a)rbiter/árbitro(a) s. persona que actúa como un juez aarbiterrbiter (ar bə tər) n. a judge; p. 846 en un conflicto; p. 846 aarrogance/arroganciarrogance/arrogancia s. altanería, demasiado orgullo aarrogancerrogance (ar ə əns) n. overbearing pride or self- o soberbia; p. 134 importance; p. 134 aartifice/artificiortifice/artificio s. habilidad; arte o ingenio con lo que aartificertifice (ar tə fis) n. trickery; deception; p. 1111 algo está hecho; p. 1111 aaspirespire (əs p¯r) v. to strive for; p. 87 aaspire/aspirarspire/aspirar v. anhelar; p. 87 aassentssent (ə sent) v. to agree to something after aassent/acordarssent/acordar v. determinar o deliberar consideration; concur; p. 1316 individualmente; estar de acuerdo; p. 1316 aavaricevarice (av ər is) n. greed; p. 381 aavarice/avariciavarice/avaricia s. codicia; p. 381 aawrywry (ə r¯) adj. wrong; in a faulty way; p. 307 aawry/malwry/mal adj. contrariamente a lo previsto o a lo deseado; p. 307

B B bbalmalm (bam) n. a healing ointment; a soothing bbalm/bálsamoalm/bálsamo s. sustancia medicinal; ungüento que application; p. 273 alivia; p. 273 bbarrenarren (bar ən) adj. having little or no vegetation; bbarren/yermoarren/yermo adj. que tiene poca o ninguna bare; p. 1321 vegetación; pelado; p. 1321 bbeguileeguile (bi ¯l) v. to mislead by trickery; to bbeguile/embaucareguile/embaucar v. despistar mediante trampas; deceive; p. 420 engañar; p. 420 bbenignenign (bi n¯n) adj. pleasant and friendly; bbenign/benigno(a)enign/benigno(a) adj. afable, benévolo, piadoso; p. 1249 p. 1249 bbitteritter (bit ər) adj. hard to bear; causing pain; bbitter/amargado(a)itter/amargado(a) adj. que guarda resentimiento por p. 261 frustraciones o disgustos; p. 261 bblanchlanch (blanch) v. to turn white or become pale; bblanch/blanqueado(a)lanch/blanqueado(a) adj. decoloración; p. 78 p. 78

GLOSSARY R65

R064-R085 EMGloss-845482.indd R65 7/10/06 8:53:17 AM bleak/concord helado(a)/pacto

IO bbleakleak (bl¯ek) adj. cold; harsh; raw; p. 721 bbleak/leak/ hhelado(a)elado(a) adj. crudo; brutal; riguroso; p. 721

AR bblightlight (bl¯t) n. a disease caused by parasites that bblight/royalight/roya s. hongo parásito que ataca plantas y makes plants and trees wither and die; p. 954 árboles; p. 954 OS bblithelithe (bl¯th) adj. carefree; lighthearted; p. 187 bblithe/alegrelithe/alegre adj. despreocupado; tranquilo p. 187 bbombastombast (bom bast) n. pretentious language; bbombast/lenguajeombast/lenguaje ppomposoomposo s. expresiones ostentosas Y/GL

R p. 548 o pedantes; p. 548

A bran dish

S bbrandishrandish ( ) v. to shake or swing bbrandish/blandirrandish/blandir v. levantar o mover de modo threateningly, as a weapon; p. 203 amenazante, como un arma; p. 203 OS bbrevityrevity (brev ə t¯e) n. shortness in speech or writing; bbrevity/brevedadrevity/brevedad s. corta extensión o duración de un GL p. 1196 discurso o escrito; p. 1196

C C ccalamityalamity (kə lam ə t¯e) n. disaster; extreme ccalamity/calamidadalamity/calamidad s. desgracia; infortunio; misfortune; p. 307 p. 307 ccallousnessallousness (kal əs nəs) n. hardness in mind or ccallousness/insensibilidadallousness/insensibilidad s. dureza al pensar o feelings; insensitivity; p. 1195 actuar; crueldad; p. 1195 ccareerareer (kə rer¯ ) v. to move or run with a swift ccareer/apresurarseareer/apresurarse v. moverse o correr de prisa; headlong motion; to rush or dash along; p. 1299 avanzar con rapidez; p. 1299 ccavalcadeavalcade (kav´ əl ka¯d) n. a ceremonial procession; ccavalcade/cabalgataavalcade/cabalgata s. desfile ceremonial; p. 555 p. 555 ccensureensure (sen´ shər) n. strong disapproval; ccensure/censuraensure/censura s. reprobación; crítica o juicio condemnation as wrong; p. 302 negativos; p. 302 cchastehaste (ch¯ast) adj. pure; virtuous; modest; p. 471 cchaste/puro(a)haste/puro(a) adj. casto; modesto; virtuoso; p. 471 ccleaveleave (kl¯ev) v. to tear or rip; to split something ccleave/partirleave/partir v. rajar o hender; dividir algo en dos o apart; p. 856 más partes; p. 856 ccommendommend (kə mend) v. to praise; to express ccommend/elogiarommend/elogiar v. ensalzar; alabar; p. 589 approval of; p. 589 ccommiserationommiseration (kə miz´ ə ra¯ shən) n. a feeling or ccommiseration/conmiseraciónommiseration/conmiseración s. sentimiento o expression of sympathy; compassion; p. 1195 expresión de compasión; lástima; p. 1195 ccompensationompensation (kom´ pən sa¯ shən) n. something ccompensation/compensaciónompensation/compensación s. algo que se da that offsets, counterbalances, or makes up for; para compensar, remunerar o retribuir algo; p. 1073 p. 1073 ccomplaisanceomplaisance (kəm pla¯ səns) n. a willingness to ccomplaisance/afabilidadomplaisance/afabilidad s. amabilidad; deseo de please, be gracious, or be courteous; p. 618 complacer o ser cortés; p. 618 ccomposureomposure (kəm po¯ zhər) n. a calm or tranquil ccomposure/composturaomposure/compostura s. estado mental de state of mind; p. 149 tranquilidad o calma; p. 149 ccompulsoryompulsory (kəm pul sər e¯) adj. obligatory; ccompulsory/obligatorio(a)ompulsory/obligatorio(a) adj. que tiene que ser required; p. 1250 hecho, cumplido u obedecido; p. 1250 cconcedeoncede (kən s¯ed) v. to admit as true; acknowledge; cconcede/concederoncede/conceder v. admitir; reconocer, convenir; p. 128 p. 128 cconcordoncord (kon kord) n. an agreement of interests or cconcord/pactooncord/pacto s. acuerdo, convenio, lo que se decide feelings; p. 257 entre dos partes; p. 257

R66 GLOSSARY

R064-R085 EMGloss-845482.indd R66 7/10/06 8:53:28 AM condescend/covetousness condescender/codicia GLOSSARY/GLOSARIO ccondescendondescend (kon´ di send) v. to lower oneself; ccondescend/condescenderondescend/condescender v. dignarse; acceder; p. 730 p. 730 cconfiningonfining (kən f¯n in) adj. restricting; limiting; cconfining/restrictivoonfining/restrictivo adj. que restringe; p. 625 p. 625 cconfoundonfound (kən found) v. to confuse; to defeat or cconfound/confundironfound/confundir v. turbar; desconcertar; overthrow; to bewilder; p. 597, 748 p. 597, 748 ccongealongeal (kən j¯el) v. harden; thicken; p. 267 ccongeal/congelar(se)ongeal/congelar(se) v. solidificar(se); cuajar(se); espesar(se); p. 267 ccongenialongenial (kən j¯en e¯ əl) adj. compatible; agreeable; ccongenial/compatibleongenial/compatible adj. afín; que concuerda; p. 730 p. 730 ccongregationongregation (kon´ rə a¯ shən) n. a group of ccongregation/congregaciónongregation/congregación s. grupo de personas que people who gather for religious worship; p. 439 se reúne para orar; p. 439 cconjectureonjecture (kən jek chər) v. to infer from cconjecture/conjeturaronjecture/conjeturar v. inferir sin evidencias inconclusive evidence; to guess; p. 575 suficientes o claras; suponer; p. 575 cconspiringonspiring (kən sp¯r in) adj. planning or plotting cconspiring/conspiraronspiring/conspirar v. unirse o aliarse para preparar secretly; p. 877 una acción contra algo; p. 877 cconstantonstant (kon stənt) adj. never stopping, cconstant/constanteonstant/constante adj. que se repite continuamente; continuous; faithful, steadfast; p. 466 que permanece igual; que no deja de hacer lo empezado; p. 466 cconstellationonstellation (kon´ stə la¯ shən) n. any of eighty- cconstellation/constelaciónonstellation/constelación s. uno de ochenta y ocho eight groups of stars, many of which traditionally grupos de estrellas, que en muchos casos representan represent characters and objects in ancient mythology; personajes y objetos de la mitología antigua; p. 1335 p. 1335 cconstituteonstitute (kon stə t¯¯¯oot´) v. make up; form; cconstituted/constituióonstituted/constituió v. formó; compuso; p. 1120 p. 1120 ccontemplationontemplation (kon´ təm pl¯a shən) n. careful ccontemplation/contemplaciónontemplation/contemplación s. consideración o thought or consideration; meditation; p. 440 reflexión cuidadosa; meditación; p. 440 ccontinualontinual (kən tin u¯ əl) adj. ongoing; repeated ccontinual/continuo(a)ontinual/continuo(a) adj. constante; sin frequently; p. 261 interrupción; p. 261 cconvergeonverge (kən vurj) v. to come together in a cconverge/convergeronverge/converger v. llegar a una conclusión o common interest or conclusion; to center; p. 1142 interés común; dirigirse a un mismo punto; p. 1142 cconvictiononviction (kən vik shən) n. a strong belief; p. 1113 cconviction/convicciónonviction/convicción s. ideas en las que se cree firmemente; p. 1113 ccopiouslyopiously (k¯o p ¯e əs le¯ ) adv. plentifully; p. 175 ccopiously/copiosamenteopiously/copiosamente adv. de modo abundante; p. 175 ccordialordial (kor jəl) adj. personable and likeable; p. 1161 ccordial/cordialordial/cordial adj. afectuoso, amable; p. 1161 ccountenanceountenance (koun tə nəns) n. someone’s face; the ccountenance/semblanteountenance/semblante s. cara; expresión del rostro; expression on someone’s face; p. 981 p. 981 ccovetousnessovetousness (kuv it əs nəs) n. great desire for ccovetousness/codiciaovetousness/codicia s. deseo intenso de obtener algo something belonging to another; p. 440 que pertenece a otro; p. 440

GLOSSARY R67

R064-R085 EMGloss-845482.indd R67 7/10/06 8:53:41 AM dappled/discern moteado(a)/discernir

IO D D

AR ddappledappled (dap əld) adj. marked with spots; p. 953 ddappled/moteado(a)appled/moteado(a) adj. adornado con manchas o lunares; p. 953 OS ddauntlessauntless (dont lis) adj. daring; not easily ddauntless/intrépidoauntless/intrépido adj. sin miedo; atrevido; discouraged; p. 186 p. 186 Y/GL

R ddeemeem (de¯m) v. regard as; consider; p. 272 ddeem/considerareem/considerar v. estimar; juzgar; p. 272 A

S ddeferenceeference (def ər əns) n. courteous respect; ddeference/deferenciaeference/deferencia s. tratamiento cortés o p. 569 respetuoso; p. 569 OS ddeftlyeftly (deft le¯) adv. skillfully; nimbly; p. 122 ddeftly/diestramenteeftly/diestramente adv. hábilmente; ágilmente; GL p. 122 ddefunctefunct (di funkt) adj. no longer existing or active; ddefunct/difuntoefunct/difunto adj. que ya no existe; muerto; dead; p. 1348 p. 1348 ddefyefy (di f¯) v. to resist; to refuse to cooperate with; ddefying/desafianteefying/desafiante adj. que se niega a cooperar; p. 627 p. 627 ddeitieseities (d¯e ə t¯ez) n. gods or goddesses; divinities; ddeities/deidadeseities/deidades s. dioses o diosas; divinidades; p. 872 p. 872 ddelugeeluge (del uj¯ ) n. anything that overwhelms as if by a ddeluge/diluvioeluge/diluvio s. torrente; algo que abruma o cae flood; p. 523 como un diluvio; p. 523 ddemolitionemolition (dem´ ə lish ən) n. the state of being ddemolition/demoliciónemolition/demolición s. derribo o destrucción; demolished or obliterated; p. 986 p. 986 ddenigrationenigration (den´ i ra¯ shən) n. defamation of ddenigration/denigraciónenigration/denigración s. acción de ofender o one’s character or reputation; slander; p. 1307 desacreditar a alguien; calumnia; p. 1307 ddesolateesolate (des ə lit) adj. destitute of inhabitants; ddesolate/desolado(a)esolate/desolado(a) adj. falto de habitantes; deserted; p. 873 desierto; p. 873 ddespoticespotic (des pot ik) adj. tyrannical; oppressive; ddespotic/déspotaespotic/déspota adj. tiránico; opresivo; p. 1080 p. 1080 ddestinyestiny (des tə n¯e) n. fate; what will necessarily ddestiny/destinoestiny/destino n. fortuna; encadenamiento de happen; p. 1095 sucesos necesario e inevitable; p. 1095 ddiffusiveiffusive (di fu¯ siv) adj. spread out or widely ddiffusive/difuso(a)iffusive/difuso(a) adj. difundido o esparcido; scattered; p. 927 p. 927 ddigressigress (d¯ res) v. to stray from the main subject; ddigress/divagarigress/divagar v. desviarse del tema principal; p. 570 p. 570 ddilemmailemma (di lem ə) n. a situation requiring a choice ddilemma/dilemailemma/dilema s. situación de duda en la que hay between equally undesirable alternatives; p. 1154 que elegir; p. 1154 ddiligentlyiligently (dil ə jənt l¯e) adv. persistently; p. 86 ddiligently/diligentementeiligently/diligentemente adv. de modo persistente; p. 86 ddirefulireful (d¯r fəl) adj. terrible; dreadful; p. 320 ddireful/espantoso(a)ireful/espantoso(a) adj. terrible; atroz; p. 320 ddirgeirge (durj) n. a song sung in grief; a mournful ddirge/endechairge/endecha s. canción triste o de lamento; himno hymn; p. 855 fúnebre; p. 855 ddisabuseisabuse (dis´ ə buz¯ ) v. to free from a falsehood or ddisabuse/desengañarisabuse/desengañar v. sacar a alguien del error; misconception; p. 590 p. 590 ddiscerniscern (di surn) v. to perceive; to detect; p. 523 ddiscern/discerniriscern/discernir v. percibir; detectar; p. 523

R68 GLOSSARY

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p. 535 p. p. 148 p. p. 426 p. p. 746 p. p. 295 p. p. 1141 p. GLOSSARY GLOSSARY p. 1336 p. p. 1099 p. p. 213 p. p. 608 p. que siente o muestra que siente o muestra liberar; poner en libertad; que se expresa con énfasis; p. 200 p. separado; extendido o tacto, sensatez; con poca luz y melancólico; v. v. r cuidadoso al hablar o actuar; al hablar o actuar; cuidadoso entretenimiento; distracción; adj. ) comunicación oral o escrita; comunicación poder o control sobre algo; a adj. s. e o ) patentemente diferente; sin acuerdo en las opiniones; sin las opiniones; en sin acuerdo salir de una fuente; expedir; triste; p n s s s. i a dar a conocer; revelar; s. adj. moverse en diferentes direcciones ( s. ó c ( o n ) i r construcción alta; se refiere o arrobamiento; un estado más alla de s. v. hacer feliz; n o ñ adj. a c ó r s a chistoso; cómico; raro; extraer la esencia; v. a i v. c ( a i r s e e adj. r o habitar, morar; a adj. i s r s. s. t r r t v. i o d u r a d o n o í m s r fuerza desconocida que actúa sobre las fuerza desconocida que actúa sobre las c v. e r e o á g c s i s r e g i a p. 604 p. r d f r s v. e a r l s r s o p i i e v j c b r i / p. 107 p. adj. c a i n i e i s i p. 102 p. p. 132 p. c u e a s. l g m d d s i f e d e i p. 589 p. i t c v e s d i v v i d / / l t m l t o e i i / i i / d x i l / f o / d s d a n b o / e n d s c d d d é u i n / a g i i e s e e / / s p / f o / e / t e t / s t s i i / e o / r l i e s r d d e y l i e e t n / a r a c r e i r / / r u s u s g s g / a l e e l / h f n n c l l r r r a e l l m r a o o r i e i l t e a a p f e e u e e t c c c c d m p t l o i s o prudente; p. 720 cosas fatalidad; y determina sucesos; razón o dominio de sí mismo; p. 1181 p. 808 p. 605 armonía; p. 1133 repartido; desde un punto común; desviarse; desprecio; p. 772 particularmente a un edificio alto y de aspecto imponente; p. 285 s v v s s s s s s s v v a i i i o o r w i i i i i i i i i m m m c d l discordia/enfático(a) eemanate/emanar eemancipate/emancipar eemphatic/enfático(a) ddiversion/diversión ddivulge/divulgar ddoleful/afligido dominion/dominiodominion/dominio ddoom/sino ddroll/risible ddwell/residir E eecstasy/éxtasis eedifice/edificio eelate/regocijar ddiscord/discordia ddiscourse/discurso ddiscreet/discreto ddiscretion/discreción ddisdainful/desdeñoso ddismal/sombrío(a) ddisperse/dispersar(se) ddistill/destilar ddiverge/divergir ddiverse/diverso

p. 426 p. p. 148 p. p. 1336 p. p. 535 p. p. 102 p. p. 808 p. p. 1141 p. p. 213 p. to free; to liberate; p. 746 p. p. 608 p. feeling or showing ) v. good judgment; control or the exercise of with strong emphasis; ¯t´ p. 295 p. p. 200 p. ) n. to come forth from a ) n. verbal communication in verbal communication ) n. an amusement; an ) adj. having or showing having or careful to scatter about; distribute to scatter about; distribute ) v. a state beyond reason or self- markedly different; dark and gloomy; ) n. ) adj. sad; to move in different directions a building, especially a large ) v. to make known; disclose; ¯t´ p. 107 p. ) n. ) adj. a lack of agreement or of agreement ) n. a lack e p. 285 p. ) adj. ) v. that which cannot be escaped; ) adj. ¯n fəl ¯n ) n. ors´ to extract the essence of; ) v. ) adj. p. 1181 p. ¯t amusingly odd; to live as a resident; p. 605 p. ord to make happy; ) v. ) n. i man sə pa i man ) v. ) v. dis kresh ən dis kresh dis da də min yən də min dis k dis ( em fat ik em fat di vur zhən di vur vurj ) adj. p. 589 p. em ə na em ¯l fəl ¯l dis purs e dis kre ( ( t

( d¯ dis k dis ( oom di vulj ek stə s¯ ek di vurs ( l ( ¯t do ol p. 1099 p. p. 720 p. diz məl diz ed ə fis ed ( a p. 132 p. n ( n e c d¯¯¯ u n ( i e dwel dis til ( s ( p f ( o e ( ( t o i la t ( t dr¯ i i ( o ( r i l e s p. 604 p. d e y l e i t e n ( a a c e i r ( ( r u n s u s s g

g ( a l e e l ( i h f n n c l l r r r a e l l m a r o o r i e i l t e a a p f e e e u e t c d m p t c c c l m o i s o speech or writing; speech or control; entertainment; harmony; widely; p. 772 contempt; scornful; judgment in speech and action; prudent; and action; judgment in speech source; to issue; control; p. 1133 death, ruin, or destruction; one; from a common point; to branch out; v v v v s s s s s s s s a w o r i i i o o i i i i i i i i i m m l m c d discord/emphatic eemphatic eemancipate eelate eemanate eecstasy eedifice E ddwell ddoom ddroll ddominion ddivulge ddoleful ddiverse ddiversion ddiverge ddisperse ddistill ddismal ddiscretion ddisdainful ddiscreet ddiscourse ddiscord R064-R085 EMGloss-845482.indd R69R064-R085 EMGloss-845482.indd R69 endure/flounder soportar/tambaleando

IO eendurendure (en door) v. bear; tolerate; put up eendure/soportarndure/soportar v. resistir; tolerar; aguantar; p. 426 with; p. 426 AR eenmity/enemistadnmity/enemistad s. hostilidad; p. 420 eenmitynmity (en mə t¯e) n. ill will; hostility; p. 420

OS eenvious/envidioso(a)nvious/envidioso(a) adj. que siente dolor o pesar eenviousnvious (en ve¯ əs) adj. feeling jealous or del bien de otros; que desea lo que no posee; discontented because of the good fortune or superior p. 1252 Y/GL abilities of another; p. 1252 R eesteem/estimasteem/estima s. opinión o actitud favorable; aprecio;

A eesteemsteem (es te¯m) n. favorable opinion; p. 549 p. 549 S eestimablestimable (es tə mə bəl) adj. deserving of esteem; eestimable/estimablestimable/estimable adj. que merece aprecio; OS admirable; p. 102 admirable; p. 102

GL eexecutexecute (ek sə ku¯t´) v. to carry out; to put into eexecute/ejecutarxecute/ejecutar v. llevar a cabo; realizar; p. 285 effect; p. 285 eexotic/exótico(a)xotic/exótico(a) adj. extrañamente hermoso o eexxoottiicc (i zot ik) adj. strangely beautiful or fascinante; p. 1048 fascinating; p. 1048 eexplicit/explícito(a)xplicit/explícito(a) adj. que expresa claramente y eexplicitxplicit (eks plis it) adj. plainly and clearly expressed; determinadamente; p. 1250 definite; p. 1250 eexploit/hazañaxploit/hazaña s. proeza; p. 376 eexploitxploit (eks ploit) n. bold deed; p. 376 eexpound/exponerxpound/exponer v. presentar en detalle; explicar; eexpoundxpound (iks pound) v. to set forth in detail; p. 86 explain; p. 86 eextraordinary/extraordinario(a)xtraordinary/extraordinario(a) adj. que excede lo eextraordinaryxtraordinary (iks tro r də ner´ e¯) adj. very unusual normal o lo ordinario; p. 987 or remarkable; p. 987 eexultation/exultaciónxultation/exultación s. júbilo; regocijo; p. 655 eexultationxultation (e´ zul ta¯ shən) n. joy; elation; p. 655

F F ffaculty/facultadaculty/facultad s. capacidad mental; habilidad; ffacultyaculty (fak əl t¯e) n. capacity of the mind; ability; aptitud; p. 729 aptitude; p. 729 ffallow/barbechoallow/barbecho s. tierra arada y sin sembrar para ffallowallow (fal o¯) n. land plowed but left unseeded; dejarla descansar; p. 953 p. 953 ffarce/farsaarce/farsa s. comedia humorística en la que se ffaarrcece (fars) n. a humorous drama in which the situation exagera la situación de los personajes; p. 1074 and characters are greatly exaggerated; p. 1074 ffatal/crucialatal/crucial adj. que es decisivo o muy importante ffatalatal (f¯at əl) adj. causing death, destruction, or porque condiciona el desarrollo de algo; p. 1095 harm; p. 1095 ffeigned/fingido(a)eigned/fingido(a) adj. simulado; imaginado; p. 929 ffeignedeigned (fa¯nd) adj. pretended; imagined; p. 929 ffeuds/contiendas.euds/contiendas. adj. lidia, pelea; disputa o ffeudeud (f¯ud) n. lengthy, bitter conflict or dispute; discusión; p. 1095 p. 1095 ffidelity/fidelidadidelity/fidelidad s. lealtad y constancia que se debe a ffidelityidelity (fi del ə te¯) n. the quality or state of being las ideas, afectos, obligaciones; p. 1329 faithful; p. 1329 fflee/huirlee/huir v. escapar(se); p. 261 ffleelee (fle¯) v. to run away; p. 261 ffleet/ligero(a)leet/ligero(a) adj. apresurado; rápido; p. 1000 ffleetleet (fle¯t) adj. swift; fast; p. 1000 ffloundering/tambaleandoloundering/tambaleando v. moviéndose como si fflounderlounder (floun dər) v. struggle to obtain footing; fuese a caer; p. 1269 p. 1269

R70 GLOSSARY

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p. 721 p. p. 87 p. p. 121 p. p. 1349 p. GLOSSARY GLOSSARY p. 1202 p. p. 878 p. p. 1316 p. p. 1204 p. antes de todo, destacado o antes de despoblado, desierto; despreocupado; sin prestar adj. adj. preparación o preocupación para preparación o preocupación p. 77 p. ) que no es serio; tonto; ) adj. tratar de resolver; luchar; a a reír a carcajadas o vulgarmente; formado o moldeado, a menudo formado o moldeado, e alcanzar el máximo desarrollo el máximo alcanzar o s. satisfacer; complacer; - ( t afectuoso y amable; agradable y excesivamente brillante; enfrentamientos o desacuerdos mirada de dolor o disgusto; conseguir o lograr resultados luego n o v. o n p. 216 p. v. ( r ó v. v. e d adj. r hendidura hecha en la tierra con el r i s. a r n. r r v. ovacionar; aclamar; a a s o adj. delicado; débil; e a r l disparate; hecho o dicho imprudentes o hecho o dicho imprudentes disparate; e e i l a e n adj. adj. e j c o f l a c s. v c o j o i ó m i e n v. p. 303 p. e i d i s a e h e a o f v d r s. i disputa o contienda ardiente; c r i í c r ó p. 1082 p. r p. 712 p. p. 869 p. u a e c c c p. 1203 p. r l t j r a a n d c r l r p adj. o p e i f d i r r i l a r o l e / m / / i / a s. / s r u f f r t r o t u / h o f s s c s / / g a f n o s g c / c c o e h / s / / e u / c á h t ñ e / / o l c o n i g i e l / r s d y l o w w i k l h f i r a p l v f o / a n m s e i / a r / i a s o d i / l i p t o f t y l a r e e g s i y m u l i e f r n v c atender contingencias o evitaratender contingencias futuros; males p. 1186 insensatos; arado; ranura; arruga en la cara; llamativo; están de trabajar por ellos; recoger cultivos cuando maduros; p. 1169 progreso; prosperar; progreso; amistoso; en primer lugar; atención; mediante golpes o presión después de calentarse; mediante golpes o p. 25 p. 1269 p. 1153 entre personas o colectividades; i a a r l r r r r e i i a a a e o a e l r r r u r u l o o o o o r r r florecer/indiferente H hhail/vitorear hheedless/indiferente ffrivolous/frívolo ffurrow/surco G ggarish/chillón ggenial/cordial gglean/cosechar ggrapple/forcejear ggratify/gratificar ggrimace/mueca gguffaw/carcajear fflourish/florecer ffolly/locura fforemost/primer(o-a) fforesight/previsión fforged/forjado fforsaken/desolado(a) ffrail/frágil ffray/riña ffriction/fricción

p. 87 p. p. 878 p. p. 121 p. p. 77 p. p. 1349 p. p. 1316 p. p. 1202 p. p. 869 p. p. 1204 p. ahead of all others or in ahead of deserted or lonely; not serious; silly; p. 25 p. careless; not paying preparation or concern for the preparation or concern ) adj. the clashing between two to satisfy; indulge; ) adj. giving warmth and comfort; a look of pain or disgust; excessively flashy; gaudy; bright; to attempt to deal with; to ) adj. to exist peak of at the p. 712 p. ) n. ) v. ) n. to laugh loudly and boisterously; ) adj. formed or shaped, often with blows formed or shaped, ) v. ) n. ¯st´ a long, narrow trench in the ground ) v. p. 216 p. ) adj. t´ ) adj. ) v. foolishness; an irrational and useless an irrational and foolishness; ak ən ak ) n. to collect slowly and carefully; to gather delicate; fragile; ) adj. o p. 303 p. o e əl ) n. ) v. ed lis ed r mo r a heated dispute or contest; r s¯ r acclaim; pay tribute to; r s¯ r ¯ fo fo h¯ friv ə ləs friv fo p. 1203 p. rim is rim p. 1169 p. rap əl rap flur ish flur ¯ ar ish ar

rjd en ) adj. frik shən frik ) v. ( u f fur ¯ fur ) n. ( fo ( e n¯e ( ( rat ə f¯´ rat t j¯ p. 721 p. t ( s s al l¯ a ( ( n s al ( e h ( s ( ( fol e fol e u ( h e ( fr¯ ( fr¯ o l h¯ c n g e l ( s d y o w w k i l

h i a p l f o ( a n m s e i ( a r ( i a s o d i ( l i p t o f t y l a s r e e g i y m l u f i e r n v c made by a plow; a rut, groove, or wrinkle; future; undertaking; p. 1153 the first position; developmentachievement; or to thrive; people or groups of opposed views; attention; pleasant or cheerful; or pressure after heating; p. 1186 struggle; p. 1269 crops left on a field after reaping; p. 1082 i a a r r l r r r e i i a a a e o r u r r a e l r u o r r r o o o o l flourish/heedless hhail hheedless H ggrimace gguffaw ggratify ggrapple gglean ggarish ggenial G ffurrow ffrivolous ffray ffriction fforsaken ffrail fforesight fforged fforemost ffolly fflourish R064-R085 EMGloss-845482.indd R71R064-R085 EMGloss-845482.indd R71 hinder/indomitable estorbar/indomable

IO hhinderinder (hin dər) v. to make difficult the progress of; hhinder/estorbarinder/estorbar v. impedir el progreso; to hold back; p. 1154 obstaculizar; p. 1154 AR hhospitableospitable (hos pi tə bəl) adj. offering generous hhospitable/hospitalarioospitable/hospitalario adj. que acoge a sus OS and cordial welcome to guests; p. 1333 huéspedes con amabilidad y generosidad; p. 1333 hhueue (hu¯ ) n. color, shade, or tint; p. 477 hhue/matiz(ces)ue/matiz(ces) s. color, grado o tono; p. 477 Y/GL hip´ ə krit i kəl R hhypocriticalypocritical ( ) adj. pretending to hhypocritical/hipócritaypocritical/hipócrita adj. persona que finge ideas,

A believe one thing but doing the opposite; p. 772 sentimientos o cualidades diferentes de los que tiene S en realidad; p. 772 OS

GL I iillustriousllustrious (i lus tr¯e əs) adj. famous and I distinguished; p. 838 iillustrious/ilustrellustrious/ilustre adj. famoso y distinguido; p. 838 iimminentmminent (im ə nənt) adj. about to happen; impending; p. 1291 iimminent/inminentemminent/inminente adj. que está por ocurrir; iimmutablymmutably (i mu¯ tə bl¯e) adv. unchangeably; próximo; p. 1291 permanently; p. 651 iimmutably/inmutablementemmutably/inmutablemente adv. de un modo que no iimpartmpart (im part) v. to give; donate; p. 823 cambia; permanentemente; p. 651 iimpassivelympassively (im pas iv l¯e) adv. in an emotionless iimpart/impartirmpart/impartir v. dar; repartir; p. 823 manner; p. 1181 iimpassively/impasiblementempassively/impasiblemente adv. sin mostrar iimpedimentmpediment (im ped ə mənt) n. an obstruction; an emoción; p. 1181 obstacle; p. 286 iimpediment/impedimentompediment/impedimento s. obstáculo; iimperiousmperious (im pe¯r e¯ əs) adj. imperative; urgent; tropiezo; p. 286 p. 1171 iimperious/imperiosomperious/imperioso adj. imperativo; urgente; iimperturbablemperturbable (im´ pər tur bə bəl) adj. not easily p. 1171 excited or disturbed; calm; p. 1141 iimperturbable/imperturbablemperturbable/imperturbable adj. que no se iimpetuousmpetuous (im pech oo¯¯¯ əs) adj. characterized by emociona o molesta fácilmente; calmado; p. 1141 rushing headlong into things; impulsive; p. 665 iimpetuous/impetuosompetuous/impetuoso adj. apresurado; iimpingempinge (im pinj) v. to strike or dash; to collide; impulsivo; p. 665 p. 1142 iimpinge/tropezarmpinge/tropezar v. golpear; chocar; p. 1142 iincensedncensed (in sensd) v. to make enraged; filled with anger; p. 356 iincensed/indignado(a)ncensed/indignado(a) adj. enfadado; irritado; iincitencite (in s¯t) v. to urge or provoke; p. 836 p. 356 iinconstancynconstancy (in kon stən se¯) n. changeable nature; iincite/incitarncite/incitar v. urgir o provocar; p. 836 disloyalty; p. 471 iinconstancy/inconstancianconstancy/inconstancia s. falta de estabilidad y permanencia; facilidad para cambiar de opinión, de iindictmentndictment (in d¯ t mənt) n. a formal accusation; amigos, etc.; p. 471 p. 537 iindictment/acusaciónndictment/acusación s. denuncia formal; p. 537 iindignationndignation (in´ di n¯a shən) n. anger aroused by something unjust or mean; p. 727 iindignation/indignaciónndignation/indignación s. ira provocada por algo iindissolublendissoluble (in´ di sol yə bəl) adj. incapable of injusto o malo; p. 727 being broken; permanent; p. 353 iindissoluble/indisolublendissoluble/indisoluble adj. que no se puede desunir iindomitablendomitable (in dom ə tə bəl) adj. incapable of o separar; p. 353 being subdued or overcome; p. 1171 iindomitable/indomablendomitable/indomable adj. incapaz de ser gobernado o sometido; rebelde; p. 1171

R72 GLOSSARY

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p. 1196 p. p. 177 p. p. 548 p. p. 666 p. p. 651 p. GLOSSARY GLOSSARY que no se puede que se inicia y se persona estrechamente persona estrechamente de modo inherente adv. e adj. t p. 203 p. p. 1178 p. e p. 432 p. firmemente establecido; n que no se puede evitarno se puede que o adj. l acto de incitar o impulsar; absurdo; incoherente; padecimiento; dolencia o padecimiento; dolencia adj. e e b p. 606 p. t e ilimitadamente; sin ilimitadamente; adv. temerario; valiente; que se piensa o percibe de p. 310 p. l a p. 988 p. m s. desacreditado; mala de n i e s. b t a n e adj. talento; inventiva; d adj. d falto de interés; soso; a t c que tiene un punto o filo afilado; n adj. ó i o e e r a l i e p. 1289 p. peligro; l e d a adj. c d a s. s m b m adj. adj. a a p e o m r n o n de buen humor; alegre y festivo; a e e s. i í o g adj. g e t a d e r o i adj. r i i v i t o m t i n s r t o t i ) i m a i r lo que se hace o se dice para que alguien v c t g p e n s n r n a / d i a n i i e p. 31 p. e s i a i é i f g r ( n f / / e adj. u r / f r i e n t l s. p l a t n n o i r t i n e / í y p. 711 p. i i n i / p. 1120 p. l n r a b a / l i n d s / / e n i / l n i / e i / b e l a e / s y t u n v / i l a t / o m y y i t a a y i t u l a g i c e o d b / i t r d t o d i j n r i i v o e a r r u e a e s / a d i t e / o l t i p m t i a b n i t i g p n m i m r a i n m t e i / p n r p v e e i e i t t u r r a i i e e e a p. 619 p. 358 p. 303 inmediato sin necesidad de razonar; o esencial; dentro de su misma naturaleza; crónico; empedernido; se ría sin mala intención; prevenir; termino; alteración de la salud; p. 148 detiene alternativamente; evitar o remediar; reputación; de amor o amistad; unida a otra por vínculos imposible de separar; t t t v v e f f f g s s s t o s r r e n n n n r r e e o n n n n n n n n n inevitable/agudo(a) K kkeen/agudo(a) iintrepid/intrépido iintrinsically/intrínsecamente iintuitive/intuitivo iinveterate/arraigado iirrational/irracional iirremediable/irremediable J jjeopardy/riesgo jjest/broma jjovial/jovial iinevitable/inevitable iinfamous/infame iinfinitely/infinitamente iinfirmity/enfermedad iingenuity/ingenio iinseperable/inseparable iinsipid/insípido iinstigation/instigación iintermittent/intermitente

p. 303 p. p. 548 p. p. 988 p. not subject to alternately the act of inciting or ) adj. p. 203 p. inherently; in its very incapable of being of being incapable cleverness; ) adj. ) adj. linked so closely ) n. p. 711 p. lacking reason; ill- weakness; state of being weakness; state of ) n. having a bad reputation; having a ) adj. ) adv. p. 651 p. e e fearless; courageous; ¯ ə bəl danger; ) n. ) adj. firmly established; deep- ) adj. e boundlessly; endlessly; boundlessly; ) adv. ) adj. known or perceived ) adj. ¯ p. 1178 p. ) n. ¯ shən ¯ full of good humor; genial and ) adj. ¯ de ¯ oo ə t¯ oo ) adj. lacking interest; dull; p. 310 p. p. 1289 p. ) adj. having a sharp edge or point; p. 666 p. ir i me in´ tər mit ənt tər mit in´ oo ə tiv oo in sep ər ə bəl in sep in trin zik l¯ in trin e al an utterance or act offered humorously or ( in´ stə a in´ in vet ə rit in vet p. 432 p. i nev ə tə bəl i nev ( ( p. 148 p. e in fə məs in in´ jə n¯¯¯ in´ p. 31 p. ( i rash ən əl i rash t jep ər de jep l ) adj. in fə nit le in fə nit in fur mə t¯ mə in fur e ( y in t¯¯¯ in trep id in trep ( l n

b ( l ) n. p. 619 p. ( ( ( l n ( p. 358 p. in sip id in sip e p. 606 p. ( p. 1196 p. b e l a e ( o v¯o ¯n s y t ( i j¯ l a t ( o y y t a a y i t u ke l a i c e d b ( i t r d t d i n r i i jest o v e r u e a a s ( d a i t

e ( o l t i m p t i a n i t i g p n m i r m a i n m t e i ( p r n p e v i e e i t t e r r u i a i e e a feeble or unable; urging on; p. 177 advised; playful; p. 1120 that it is almost impossible to separate; that it is almost impossible inventiveness; rooted; avoided or prevented;avoided or certain; remedy or cure; mockingly; nature; starting and stopping; notorious; without deliberate thought; v t t t t v f g s s s e f f o s r r e o e e r r n n n n n n n n n n n n n inevitable/keen K kkeen jjovial jjeopardy jjest J iirrational iirremediable iinveterate iintuitive iintrinsically iintermittent iintrepid iinstigation iinsipid iinseparable iinfirmity iingenuity iinfinitely iinfamous iinevitable R064-R085 EMGloss-845482.indd R73R064-R085 EMGloss-845482.indd R73 kindred/mourn semejante/acongojar

IO kkindredindred (kin drid) adj. like; allied; similar; p. 713 kkindred/semejanteindred/semejante adj. casi igual; análogo; similar; p. 713 AR OS

L L Y/GL

R llabyrinthabyrinth (lab ə rinth´) n. a place containing llabyrinth/laberintoabyrinth/laberinto s. lugar que tiene pasajes o A

S winding, interconnected passages; p. 1080 recovecos interconectados; p. 1080 llamentament (lə ment) n. expression of sorrow; song or llament/lamentoament/lamento s. expresión de pesar; canción o OS literary composition that mourns a loss or death; composición literaria que expresa dolor por una GL p. 25 pérdida o muerte; p. 25 llanguishanguish (lan wish) adj. dispirited; lacking vitality; llanguished/lánguido(a)anguished/lánguido(a) adj. falto de ánimo; sin p. 272 fuerzas; p. 272 llicenseicense (l¯ səns) n. freedom used irresponsibly; llicense/libertinajeicense/libertinaje s. abuso de la libertad sin tener en p. 925 cuenta a los demás; p. 925 lloathoath (lo¯th) adj. reluctant; unwilling; p. 556 lloath/reaciooath/reacio adj. que se opone a hacer algo; remiso; p. 556 lloiteringoitering (loi tər in) adj. standing or lingering idly lloitering/vagandooitering/vagando v. andar libre y sin rumbo; about a place; p. 868 holgazaneando; p. 868 lugubrious (loo ¯¯¯oo bre¯ əs) adj. excessively llugubrious/lúgubreugubrious/lúgubre adj. afligido, sombrío o tétrico; mournful or sorrowful; p. 1351 p. 1351 llumberingumbering (lum bər in) v. moving heavily and llumbering/moverseumbering/moverse ppesadamenteesadamente frase verbal. clumsily; p. 1358 moviéndose trabajosa y torpemente; p. 1358 lluminousuminous (l¯¯¯oo mə nəs) adj. emitting a glowing light; lluminous/luminoso(a)uminous/luminoso(a) adj. que despide luz; p. 1269 p. 1269

M M mmagnitudeagnitude (ma nə t¯¯¯ood´) n. greatness of size or mmagnitude/magnitudagnitude/magnitud s. de gran tamaño o extensión; extent; p. 580 p. 580 mmaliciousalicious (mə lish əs) adj. deliberately harmful; mmalicious/maliciosoalicious/malicioso adj. que provoca daño p. 559 deliberadamente; p. 559 mmarar (mar) v. to spoil or damage; p. 846 mmar/estropearar/estropear v. maltratar o deteriorar; p. 846 mmeekeek (m¯ek) adj. mild; gentle; p. 261 mmeek/sumiso(a)eek/sumiso(a) adj. dócil; obediente; p. 261 mmonarchonarch (mon ərk´) n. one who rules over a state mmonarch/monarcaonarch/monarca s. el que rige un estado o territorio, or a territory, usually by hereditary right, as a king or a usualmente por derecho heredado, como un rey o queen; p. 550 reina; p. 550 mmorbidorbid (mo r b i d ) adj. overly sensitive to death and mmorbid/mórbidoorbid/mórbido adj. muy sensible a la muerte o decay; not cheerful or wholesome; p. 1154 descomposición; que no es saludable ni alegre; p. 1154 mmortalortal (mort əl) adj. destined to die; p. 268 mmortal/mortalortal/mortal adj. que ha de morir; p. 268 mmournourn (morn) v. to show or feel sadness; grieve; mmourn/acongojarourn/acongojar v. mostrar tristeza o dolor por la p. 544 muerte de alguien; lamentar una pérdida; p. 544

R74 GLOSSARY

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p. 626 p. p. 256 p. GLOSSARY GLOSSARY p. 820 p. gran generosidad; gran ser cliente de un de modo que no adv. sin par; sin igual; e p. 309 p. t s. desusado, inadecuado; v. actitud de descuido o actitud de descuido agobiado; abatido; estado en que la persona no n a o i i e función o diversión públicas; c adj. s. c acto realizado para mostrar p. 1127 p. s. que causa odio, disgusto, o e n m a o l a i adj. s. i e adj. a g ) c b s. incapacidad que impide el habla; que impide el habla; incapacidad c c p. 1358 p. o o d e a i l n a a multitud o infinidad de personas, o infinidad de personas, multitud f n ( i a d sentimiento intenso; afección; r n i u e desviar la conversación cuando no se p. 524 p. adj. i e

c p. 1129 p. o n a c c ) i n i t i n n s. t c m p á l a s. u e adj. i v. t e s s a ( u l g p. 1048 p. ) r r n t

c p. 618 p. m i b n d o m o e a a p ó a e manto; atmósfera obscura y sombría; / s o s i a ( n o o

n v í o p i c s e / r o c / b e o r / i i s p. 1336 p. c i y a u n e n s. / o p d l i d d e i n / c / p q e / o / / e u m e o / i e s t t e e s z n / l s / n i t c s n c e a n e m s i a s d e o / n / f e o n l a i n g e i a l p u i i i y o i e r a v r e l / t o s r n t r o i r l s i p l s t e n g l r s g p. 982 indiferencia; arrepentimiento por los pecados; cede a ningún razonamiento o persuasión; cede a ningún razonamiento o persuasión; inflexiblemente; repugnancia; p. 310 p. 329 anticuado, caduco; p. 544 p. 1321 quiere tratar un tema; cosas asuntos; o se da cuenta de las cosas; sin palabras, sin voz o sin sonidos; sin palabras, negocio; u u y a e e b d p a a a a e b b munificencia/penitencia ppatronize/ir a un negocio ppeerless/incomparable ppenance/penitencia oobstinately/obstinadamente oodious/odioso(a) ooppressed/oprimido P ppageant/espectáculo ppall/palio pparry/esquivar ppassion/pasión mmunificence/munificencia mmute/mudo(a) mmyriad/miríada N nnegligence/neglicencia O ooblivion/inconsciencia oobsolete/obsoleto(a)

p. 1127 p. in a manner not great generosity; great ) n. ) adv. an air of careless ease or an air of careless ease to be a customer of; no longer in use; out- p. 820 p. burdened; weighed down; ¯´ a state of forgetting; ) n. ) v. p. 256 p. an act of self-punishment to a great or countless number; a great or ) n. unrivaled; without equal; powerful emotion; love; p. 310 p. ) adj. an elaborately staged drama or ) adj. ¯z´ ) n. ) n. ) n. ) n. ¯t ) adj. causing hate, disgust, or ¯ ən ) adj. to respond, as to a question or ¯ nif ə səns ə ¯ nif e əd mu ) v. ¯ əs p. 1048 p. ¯ trə n ¯ ob stə nit le ob e ne li jəns ne ə prest p. 618 p. ( unable to speak; refraining from speak; refraining from ) adj. unable to ¯ er lis er pa e ( ( p. 1129 p. ob´ sə le ob´ pen əns pen p ( paj ənt paj ə bliv e ə bliv c ¯t y pash ən pash

e ( ) n. an atmosphere of dark and gloom; l mir ¯ mir ¯ de d o n ( c ( e ( ( e ( e p. 1358 p. ( par ¯ par e t e t mu e s ol z n ( s ( n i t c s n c a n e s i p s d e o ( n f ( e o n l a

i n g e i a l u i i i y o i e r a v r e l ( o t s r n t r i o r l s s p l i t e n s g l r g p. 982 show repentance for a sin; repugnance; p. 1321 spectacular exhibition; casualness; p. 1336 p. 309 yielding to argument, persuasion, or reason; yielding to argument, persuasion, or reason; inflexibly; p. 524 argument, by warding off or diverting; dated; p. 329 p. 626 p. 544 producing vocal sounds; producing y u u a e e a a a a p b b b e ddious munificence/penance ppenance ppeerless ppatronize ppassion ppall pparry ppageant P ooppressed o oobstinately oobsolete O ooblivion N nnegligence mmyriad mmute mmunificence R064-R085 EMGloss-845482.indd R75R064-R085 EMGloss-845482.indd R75 perceive/prophetic percibir/profético

IO pperceiveerceive (pər s¯ev) v. to become aware of; pperceive/percibirerceive/percibir v. ser consciente de algo; comprehend; p. 156 comprender; p. 156 AR pperileril (per əl) n. risk of injury, loss, or destruction; pperil/peligroeril/peligro s. riesgo de herida, pérdida o destrucción; OS p. 201 p. 201 pperipheryeriphery (pə rif ər e¯) n. the outward or farthest pperiphery/periferiaeriphery/periferia s. espacio que rodea un núcleo

Y/GL boundary; p. 1358 cualquiera; p. 1358 R

A pperniciousernicious (pər nish əs) adj. destructive; deadly; ppernicious/pernicioso(a)ernicious/pernicioso(a) adj. perjudicial; gravemente S p. 375 dañoso; p. 375

OS pperpetualerpetual (pər pech oo¯¯¯ əl) adj. constantly pperpetual/perpetuo(a)erpetual/perpetuo(a) adj. que dura y permanece;

GL occurring; p. 1160 p. 1160 ppertainertain (pər t¯an) v. to be connected to or have ppertain/relacionarertain/relacionar v. que está conectado o asociado a relevance to; p. 385 algo; p. 385 pphilosophicalhilosophical (phil´ ə sof i kəl) adj. concerned with pphilosophical/filosófico(a)hilosophical/filosófico(a) adj. relacionado a los the deeper meaning of life; p. 987 aspectos esenciales de la vida; p. 987 ppietyiety (p¯ ə te¯ ) n. devoutness; reverence; p. 783 ppiety/piedadiety/piedad s. devoción; reverencia; p. 783 ppivotalivotal (piv ət əl) adj. of central or vital importance; ppivotal/centralivotal/central adj. de enorme importancia; p. 1306 p. 1306 pplenteouslenteous (plen t¯e əs) adj. abundant; fruitful; pplenteous/abundantelenteous/abundante adj. en gran cantidad; copioso; p. 328 p. 328 pploddinglodding (plod in) v. walking heavily and/or pplodding/caminarlodding/caminar ttrabajosamenterabajosamente frase verbal; slowly; p. 1358 moviéndose lenta y pesadamente, con trabajo; p. 1358 ppompomp (pomp) n. splendid or dignified display; p. 711 ppomp/pompaomp/pompa s. acompañamiento suntuoso y ppreceptrecept (pre¯ sept) n. a rule intended as a guide for solemne; p. 711 conduct or action; p. 665 pprecept/preceptorecept/precepto s. regla o pauta de comportamiento pprecipicerecipice (pres ə pis) n. a very steep or overhanging o acción; p. 665 mass of rock as on a cliff; p. 1329 pprecipice/precipiciorecipice/precipicio s. despeño o caída violenta y pprecipitatelyrecipitately (pri sip ə tət´ l¯e) adv. without profunda, casi vertical; p. 1329 deliberation; hastily; abruptly; p. 1178 pprecipitately/precipitadamenterecipitately/precipitadamente adv. sin pensarlo; ppredominanceredominance (pri dom ə nəns) n. the state of apresuradamente; abruptamente; p. 1178 being most important, common, or noticeable; p. 348 ppredominance/predominanciaredominance/predominancia s. condición de ser lo ppresumablyresumably (pri z¯¯¯oo mə bl¯e) adv. by reasonable más importante, común o notorio; p. 348 assumption; p. 1159 ppresumably/esresumably/es ddee ssuponeruponer adv. se puede conjeturar pprevailrevail (pri v¯al) v. be in general use; succeed; o calcular según los indicios; p. 1159 p. 467 pprevail/prevalecerrevail/prevalecer v. perdurar, subsistir; sobresalir, pprevaricationrevarication (pri var ə ka¯ shən) n. the act of tener superioridad; p. 467 evading the truth; lying; p. 111 pprevarication/engañorevarication/engaño s. acto de evadir la verdad; pprodigiousrodigious (prə dij əs) adj. great in size, number, or mentira; p. 111 degree; enormous; p. 627 pprodigious/descomunalrodigious/descomunal adj. extraordinario en tamaño, pprofoundrofound (prə found) adj. characterized by deep número o grado; enorme; p. 627 understanding or insight; p. 744 pprofound/profundorofound/profundo adj. que se cararacteriza por una ppropheticrophetic (prə fet ik) adj. having the quality of gran comprensión o conocimiento; p. 744 foretelling future events; p. 324 pprophetic/proféticorophetic/profético adj. que tiene la cualidad de anticipar futuros sucesos; p. 324

R76 GLOSSARY

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p. 379 p. p. 933 p.

p. 120 p. p. 557 p. GLOSSARY GLOSSARY p. 1169 p. pena o pesar de haber calcular ganancias y s. s. que ha aceptado o p. 327 p. s o t a agradablemente raro o t n n e adj. i ceder; rendirse; abandonar; buen juicio; sensatez; e cuidadoso; cauto; o p. 401 p. u común; ordinario o vulgar; ordinario común; que es capaz de razonar; m que ha adquirido olor o sabor brillante, como con alegría, amor, d mover o incitar; inducir a alguien incitar; inducir a alguien mover o i adj. c v. s. habilidad para hacer algo bien para hacer algo bien habilidad t

) apagar; aplacar; a r decir o hacer de nuevo; repetir; a i n e i a l a arreglar; remediar o corregir; v. adj. i i ( c s. p. 344 p. e d r v. c c e v.

fuerte resentimiento u odio; adj. adj. p. 393 p. o a arruinar; destruir; n adj. adj. p r eliminar impurezas; hacer más fino o t l a r v. n i n e c ) z o eliminación de impurezas o elementos eliminación de impurezas e e e c t a r n a s t c o u a e u r s. s d r i v. a o e n v. ( r r c e g r n n p. 537 p. r r t e s. a u v u r r d o a e o j t a n o e s r i a s a p. 434 p. i a p. 1251 p. i a i / r o i o l u r a c p. 156 p. c t e c t / r p o p g e r p. 727 p. e n d / p. 1047 p. / o / x n i r a r r d n n e d p c p a s f g h r i / / e e e r / p u r / a e n s / a e / n r / s l c t e / p i r / l e i p i / r t a / t s s / / c h n n a k t / / u c t r i n e s a e n c d e e e e n o n r q a n n i o g e o a i n w s v d d g e r i c c e n o n a k o i i t i r a e o o o u u hecho algo; remordimiento; perdonado; inconvenientes; pérdidas; p. 1130 hecho; arteo primor; p. 77 p. 838 más puro; a que haga algo; a que haga o energía; sensible; p. 1177 peculiar; más fuertes, a perder; mejorándose o echándose p. 1316 i l p c c d f d n n t v r r r r r u u u e e e e e e e a a a a a prosaico/arrepentimiento rreiterate/reiterar rrelinquish/renunciar rrepentance/arrepentimiento R rradiant/radiante rrancid/rancio(a) rrancor/rencor rrational/racional rravage/asolar rreckoning/ajuste de cuentas rreconciled/reconciliado rredress/reparar rrefine/refinar pprosaic/prosaico pprovoke/provocar pprowess/destreza pprudence/prudencia pprudent/prudente ppurge/purga Q qquaint/pintoresco(a) qquench/extinguir

p. 557 p. p. 120 p. p. 1169 p. p. 379 p. p. 401 p. feeling of sorrow for to give up; put aside; a settlement of accounts; cautious; careful; sound judgment; careful sound judgment; careful able to reason; sensible; ) v. ) n. to say or do again; to ) adj. brought to acceptance beaming, as with joy, love, p. 393 p. commonplace; ordinary; commonplace; ) n. ) n. ) v. to call forth; or to stir to action ) adj. p. 327 p. superior ability; skill; superior ability; freed from imperfections; bitter malice or resentment; ¯ld ) adj. to put out; to extinguish; to set right; to remedy; ) adj. ) v. ) adj. at´ ) n. ) n. to lay waste to; to destroy; ) v. ) v. ) adj. ) adj. having an offensive or foul odor ok the process of getting rid of impurities the process of getting ) v. ) adj. pleasingly unusual or odd; a ika ¯ ənt p. 933 p. ood əns ood ri pent əns ri pent p. 838 p. ood ənt ood nd rek ən s rek ) n. ri lin kwish ri lin rek ən in rek ¯nt o z¯ pr ¯¯¯ p. 1251 p. p. 434 p. e it ə r¯ e it ( r¯ prou is prou ( prə v¯ a d e pr¯¯¯ e ( ( rash ən əl rash

kwench p. 1316 p. ri dres ( pr¯ ri f¯ r¯ d c rav ij rav p. 344 p. g ran kər ran h kwa p. 1130 p. ( ran sid ran ( e ( purj ( e n s ( ( n ( s l c t e ( i ( l ( e i i ( t a ( t s s ( ( c h n n a k t ( d u c t r i n e s a e n c d

e e e e n o n r q p. 537 p. a n n i o g e o a n i w g d d s v e r i c c n e o n a k o i i t i e r aaint u u o o o or undesirable elements; wrongdoing; remorse; p. 1177 improved; or taste; feeling; p. 727 p. 77 to abandon; repeat; of; or energy; management; p. 156 p. 1047 p f i l c c d n t v d n u u r r u r r r e e e e e e e a a a a a prosaic/repentance rrepentance rrelinquish rrefined rreiterate rredress rreckoning rreconciled rravage rrancor rrational rradiant rrancid R qquench Q qqu ppurge pprudence pprudent pprowess pprovoke pprosaic R064-R085 EMGloss-845482.indd R77R064-R085 EMGloss-845482.indd R77 replenish/slander reabastecer/calumniar

IO rreplenisheplenish (ri plen ish) v. to refill or make complete rreplenish/reabastecereplenish/reabastecer v. llenar o completar de nuevo; again; to add a new supply to; p. 417 agregar o volver a surtir; p. 417 AR rreposeepose (ri p¯oz) v. lie at rest; rest from work or toil; rrepose/reposarepose/reposar v. permanecer en quietud; descansar OS p. 786 en medio de un trabajo o fatiga; p. 786 rreproveeprove (ri proov ¯¯¯ ) v. to scold or correct, usually rreprove/reprendereprove/reprender v. corregir, regañar o amonestar a Y/GL gently or out of kindness; p. 126 alguien desaprobando su conducta; p. 126 R

A reespitespite (res pit) n. a delay or extension; p. 158 rrespite/pausaespite/pausa s. postergación o intervalo; p. 158 S rrestrainestrain (ri stra¯n) v. to hold back; restrict; p. 149 rrestrain/refrenarestrain/refrenar v. aguantar; reprimir; p. 149 OS rretaliationetaliation (ri tal´ e¯ a¯ shən) n. getting even with; rretaliation/represaliaetaliation/represalia s. revancha por una agresión; GL revenge; p. 973 venganza; p. 973 rretoetorrtt (ri tort) v. to reply in a witty, quick, or sharp rretort/replicaretort/replicar v. responder en una manera ingeniosa, manner; p. 1052 rápida, o aguda; p. 1052 rrevelationevelation (rev´ ə l¯a s h ə n ) n. the act of making rrevelation/revelaciónevelation/revelación s. descubrimiento de algo something known; something that is revealed; secreto u oculto; manifestación de algo oculto; p. 1316 p. 1316 rreverentlyeverently (rev rənt l¯e) adv. respectfully; with deep rreverently/reverentementeeverently/reverentemente adv. con respeto; que affection or veneration; p. 1186 muestra veneración; p. 1186 rrueue (r¯¯¯oo) n. sorrow; remorse; p. 1001 rrue/arrepentir(se)ue/arrepentir(se) v. sentir gran pena por algo; desear que algo no hubiera ocurrido; p. 1001

S ssanguineanguine (san win) adj. confident; optimistic; S p. 746 ssanguine/optimistaanguine/optimista adj. confiado; esperanzado; ssatietyatiety (sə t¯ ə t¯e) n. a feeling of weariness or even p. 746 dislike of something caused by satisfying an appetite ssatiety/hartazgoatiety/hartazgo s. sensación de molestia o cansancio or desire for it in excess; p. 860 que puede darse por la satisfacción completa o sscorncorn (skorn) v. to reject as contemptible or excesiva, esp. de comida o bebida; p. 860 unworthy; p. 272 sscorn/despreciarcorn/despreciar v. desairar, desdeñar; no apreciar el sscruplecruple (skroo ¯¯¯ pəl) n. a moral or ethical principle valor de algo; p. 272 that restrains action; p. 347 sscruple/escrúpulocruple/escrúpulo s. principio moral o ético que limita sscrutinycrutiny (skr¯¯¯oot ən e¯) n. close watch or una acción; p. 347 examination; p. 970 sscrutiny/escrutiniocrutiny/escrutinio s. examen y averiguación exacta de ssecludedecluded (si kl¯¯¯o o d i d ) adj. shut off from others; algo; p. 970 undisturbed; p. 786 ssecluded/apartado(a)ecluded/apartado(a) adj. retirado, separado, remoto; ssensibleensible (sen sə bəl) adj. having good judgment p. 786 or sound thinking; p. 1188 ssensible/sensato(a)ensible/sensato(a) adj. prudente, de buen juicio, que sshroudhroud (shroud) n. burial cloth; p. 30 piensa antes de actuar; p. 1188 ssiegeiege (s¯ej) n. blockade; the surrounding of a fortified sshroud/mortajahroud/mortaja s. tela o paño para el entierro; p. 30 place by an opposing army intending to invade it; ssiege/sitioiege/sitio s. asedio; cerco puesto a una plaza o p. 396 fortaleza para combatirla o apoderarse de ella; ssinewinew (sin u¯ ) n. a tendon; p. 1301 p. 396 sslanderlander (slan dər) v. to utter false or malicious ssinew/tendóninew/tendón s. tejido fibroso; p. 1301 statements about; p. 148 sslander/calumniarlander/calumniar v. desacreditar; difamar; p. 148

R78 GLOSSARY

R064-R085 EMGloss-845482.indd R78 7/10/06 8:55:56 AM GLOSSARY/GLOSARIO 7/10/06 8:56:05 AM7/10/06 8:56:05 AM

R79

p. 477 p. p. 845 p. p. 1080 p. p. 974 p. p. 466 p. p. 595 p. p. 528 p. GLOSSARY GLOSSARY fascinado; que arroba fascinado; que arroba de modo áspero y que opera o existe pasado de moda o reprimir; refrenar; p. 137 p. p. 340 p. adj. innecesario; sobrante; adv. adj. ) adj. engaño o fingimiento; ardid prohibición de la publicación e adj. o a harto; que ha satisfecho el t o ) ( e n d alimento y otros medios que s. a p. 1080 p. o hecho a escondidas; sigiloso; p. 1073 p. s. n sucio; mísero; avariento; sucio; mísero; avariento; p. 1203 p. ( p. 285 p. adj. e observar y mirar a escondidas; a preocupado o interesado; preocupado a tomar el lugar de; d serio, formal; grave, sombrío; serio, formal; á n o o u r s. a m adj. ó m sucio o deteriorado debido a la sucio o deteriorado c r d u s i v. ) conquistar; subyugar; pacificar; i o i p. 98 p. l e v. p. 261 p. e p. 566 p. e t s t f t e a adj. o r calmar(se), pasar(se); despreciar; ahuyentar; t n adj. l g r combate, contienda, disputa; e ( adj. ) n n n ) a d adj. e b e v. r a ser suficiente; e t a a e o o t e t a r e n mala intención; maldad; v. v. t t u b ( / p adj. p n pereza; ( i d n a d r r p. 1307 p. e n. s a s n i o d u t a o r u c v. o a / o e a m l o r í u t h i s r v s. r s e e l t t c m d z i s. n a s e s p. 782 p. / c t c / p i e a t a / s c p. 1346 p. / / o e a c i a a s e t g i e a s a r m u l d e l s d í r e / c d s e c h e s u s f r n u i u / / o o c i e e / l c / f a n a d n s j s o s n y ó n m m t s s / / n / l a d e / / b u / s a u o s s t u o n e n y r g / a e l r l / e e n o d c e e / o f f a t n m g r a i h e n n d t i d / r u l r / r r l / t b i i i i n e e e c l m l e e e t i p d s t e e p p r a h e l k c t f d d f f l a t e i t i i a p r s b b b f p p p p l l r e i u u bajo la superficie; tierra; debajo de la o circulación; censura; p. 549 y cautiva los sentidos; p. 339 conservan la vida; de guerra para conseguir un objetivo; chirriante; p. 268, p. 268, 544 p. 256 apetito con comida y bebida; vigilar o aguardar; deseoso de servir;deseoso de mezquino; pobreza y el descuido; fuera de uso; p. 1157 r r r a e o u u u t t t u u u u u u u u l o o o p p p q t t flojera/sustento ssuppressing/supresión ssurfeited/saciado(a) ssustenance/sustento sstrategem/estratagema sstridently/estridentemente sstrife/conflicto ssubdue/someter ssubside/decaer ssubterranean/subterráneo ssuffice/bastar ssuperannuated/anticuado ssuperfluous/superfluo ssupplant/suplantar ssuppressed/contenido(a) ssloth/flojera ssolemn/solemne ssolicitous/solícito ssordid/sórdido(a) sspellbound/embelesado(a) sspite/malicia sspurn/rechazar ssqualid/mísero sstalking/acechando sstealthy/furtivo(a)

p. 466 p. p. 98 p. p. 974 p. ) adj. out of p. 261 p. below the p. 1157 p. p. 477 p. p. 845 p. p. 595 p. beyond what is p. 137 p. p. 340 p. p. 339 p. ) adj. ¯´ tid ¯´ u a fascinated; affected as fascinated; affected ) adj. prohibiting publication ¯ ən p. 528 p. subdued; held back; full of concern; a deception; a military ) n. overfed; ) adj. ) n. food or other items that oo əs ) n. ¯ ne ¯ p. 1073 p. in a harsh, grating ) adv. dirty or broken down due to ) adj. secret; sly; ) adj. to take the place of, often p. 285 p. e conquer; overcome; quiet; serious; somber; tracking; pursuing; to give way or end; filthy; selfish; greedy; mean; filthy; selfish; greedy; ) adj. ) v. ) v. ) adj. p. 1203 p. ) v. p. 1080 p. ) v. ) adj. to be enough for; oo´ pər an ¯ pər an oo´ ) adj. e s¯¯¯ to reject or drive off; ) adj. ) v. d oo laziness; səb´ tə ra səb´ unrest or violent conflict; ( d ənt l¯ d ) v. sə pres in sə pres soo pur fl¯¯¯ soo pur d sə presd ( sus tə nəns sus spel bound spel p. 566 p. s e ) n. strat ə jəm strat n ( ) n. t ( p. 549 p. o kin o str¯ sə lis ə təs sə lis desire to annoy or harm; ill will; ) n. desire to annoy or ( ( ( sur fit əd sur a sə plant s g a f d e ( stel th¯ stel p. 1346 p. d st səb s¯

e t r did r səb d¯¯¯ u sol əm sol p. 1080 p. n u skwol id skwol ( ( c i e ( ( sə f¯ n oth so n s o y n m t spurn s s ( ( n ( l d ( ( u ( a str¯ u sl s s sp¯ u t n e n p. 1307 p. y ( g a e l r ( e e n d o e e ( o f a t n g a r i h e n n d t i d ( r l r u

( r r l ( t b i i i n i e a e c l m l e e e t i p e e p p d s t r a e h l k c t f d d f f t l a t e i i i a p r s f p p p p b b b i u u l l r e tactic designed to surprise an enemy; support life; unfairly; date; manner; p. 256 or circulation; censoring; necessary; earth’s surface; underground; p. 268, p. 268, 544 poverty or neglect; p. 782 if by enchantment; r r r a e o u u u u u u u u u u t t t u t t p p q o l o o ppellbound sloth/sustenance ssurfeited ssustenance ssuppressing ssuppressed ssupplant ssuperannuated ssuperfluous ssuffice ssubside ssubterranean sstrife ssubdue sstridently sstratagem sstalking sstealthy ssqualid sspite sspurn s ssordid ssolemn ssolicitous ssloth R064-R085 EMGloss-845482.indd R79R064-R085 EMGloss-845482.indd R79 teeming/usurper rebosante/usurpador

IO T T

AR tteemingeeming (t¯em in) adj. full; at the point of tteeming/rebosanteeeming/rebosante adj. muy lleno; lleno en grado overflowing; p. 869 extremo; p. 869 OS ttemerityemerity (tə mer ə te¯) n. excessive or reckless ttemerity/temeridademerity/temeridad s. excesivo atrevimiento o boldness; rashness; p. 1348 imprudencia; audacia; p. 1348 Y/GL

R ttempestempest (tem pist) n. a violent storm; a violent ttempest/tempestadempest/tempestad s. tormenta fuerte y violenta; A outburst or disturbance; p. 295 agitación de los ánimos; p. 295 S tthresholdhreshold (thresh ho¯ld´) n. doorway; entranceway; tthreshold/umbralhreshold/umbral s. entrada; parte inferior o escalón; OS p. 1000 p. 1000 GL tthwarthwart (thwort) v. to prevent from doing or achieving tthwart/obstruirhwart/obstruir v. impedir que se haga o logre algo; something; p. 1154 p. 1154 ttransgressransgress (trans res) v. to break or violate a law; ttransgress/transgredirransgress/transgredir v. violar una ley; sobrepasar un to go beyond a limit; p. 522 límite; p. 522 ttransientransient (tran shənt) adj. lasting only a brief time; ttransient/transitorioransient/transitorio adj. que tan sólo dura un tiempo temporary; p. 839 breve; temporal; p. 839 ttreacheryreachery (treach ər e¯) n. willful betrayal of trust; ttreachery/traiciónreachery/traición s. acción que rompe la confianza o treason; p. 257 fidelidad; deslealtad; p. 257 ttreadread (tred) v. to walk or step upon; p. 296 ttread/pisarread/pisar v. caminar o poner el pie encima; p. 296 ttriflrifliingng (tr¯ flin) n. treating someone or something ttrifling/jugandorifling/jugando ((con)con) v. tratar algo o a alguien sin la as unimportant; showing a lack of proper respect; consideración o el respeto que merece; no respetar o p. 982 burlarse de alguien; p. 982 ttrudgerudge (truj) v. to walk wearily or laboriously; ttrudge/caminarrudge/caminar ((concon ddificultad)ificultad) frase verbal marchar p. 1099 penosamente y con mucho trabajo; p. 1099 ttumultumult (t¯¯¯oo məlt) n. disorder; an uproar; p. 857 ttumult/tumultoumult/tumulto s. confusión; alboroto; p. 857 ttyrantyrant (t¯ rənt) n. a cruel, oppressive ruler; a ruler ttyrant/tirano(a)yrant/tirano(a) s. gobernante que abusa de su poder with unlimited power; p. 302 y autoridad de manera injusta; quien tiene el poder absoluto; p. 302

U U uunconfinednconfined (un kən f¯nd) adj. not shut in; uunconfined/ilimitado(a)nconfined/ilimitado(a) adj. que no tiene límites; sin unrestricted; p. 472 restricciones p. 472 uuncouthncouth (un k¯¯¯ooth) adj. crude; lacking polish, uuncouth/tosco(a)ncouth/tosco(a) adj. burdo, grosero; sin delicadeza, culture, or refinement; p. 713 cultura o educación; p. 713 uunperturbednperturbed (un pər turbd) adj. undisturbed; not uunperturbed/imperturbablenperturbed/imperturbable adj. sereno; tranquilo; troubled; p. 1322 p. 1322 uunsavorynsavory (un s¯a vər e¯ ) adj. sinister; morally uunsavory/ultrajantensavory/ultrajante adj. ofensivo; deshonroso; questionable; p. 1071 p. 1071 uusurpersurper (u¯ surp ər) n. one who seizes the power, uusurper/usurpadorsurper/usurpador s. quien toma el poder, la posición position, or rights of another by force; p. 402 o los derechos de otro mediante la fuerza; p. 402

R80 GLOSSARY

R064-R085 EMGloss-845482.indd R80 7/10/06 8:56:15 AM GLOSSARY/GLOSARIO 7/10/06 8:56:28 AM7/10/06 8:56:28 AM R81

p. 651 p. p. 1297 p. p. 744 p.

GLOSSARY GLOSSARY p. 969 p. p. 272 p. vacío; profundo respeto o profundo respeto o ponerse mustio; resecarse y de modo distorsionado adv. e t v. que flexiona el cuerpo, como lleno de entusiasmo y s. adj. n presuntuoso; deseo excesivo presuntuoso; o ) atención cuidadosa; n asqueroso o desagradable; e a d el que vende algo; ó ( i n decolorado; s. m c o adj. adj. a a s. a t a i adj. d o o p. 1357 p. i r hecho heroico con arrojo y coraje; hecho heroico con r d ) c adj. a s d h o e i a a n e disgustar; enojar; irritar; apogeo; punto máximo; p o c adj. ( d c s t n s. a r r p. 1301 p. ) u r r l e o n e a i o a a c í e v. o p. 661 p. s s. v d a ( g t v t p. 664 p. t r o v / i o i p. 268 p. r m i n n o e n s a p. 257 p. v / n d n e r g e g e / d e i d f g / r l i o e v u / l e i d a n / g e a c n t f s / c á p i t r a / v t n a r / n u n e i p v / o h r n y r e / e / r t a o h l e d i l / l a / t h n n o i y i n c i l n x t e a n adoración; p. 31 cuando se siente dolor; p. bravura; p. 1113 o enredado; devoción; de mostrar las cualidades y de que se le reconozcan que se le reconozcan las cualidades y de de mostrar y alaben; perder frescura; p. 1099 a i r r g l e a a a e e i i e e desocupado(a)/cenit W wwan/pálido(a) wwithering/marchitando wwrithing/retorcido wwryly/tergiversadamente Z zzealous/fervoroso zzenith/cenit V vvacant/desocupado(a) vvain/vanidoso(a) vvalor/valentía vvendor/vendedor vveneration/veneración vvex/enfadar vvigilance/vigilancia vvile/repugnante p. 744 p. p. 651 p. p. 31 p. p. 1297 p. p. 1113 p. p. 1099 p. ) n. deep respect or p. 969 p. becoming dry; shriveling ) v. twisting, as in pain; careful watchfulness; empty; p. 1357 p. ¯ shən ¯ one who sells goods; ) n. p. 272 p. a peak; the greatest point; ) adj. ) n. in a twisted or distorted ) adj. courage and boldness, as in battle; courage and boldness, ) adj. filled with intense, enthusiastic ) n. conceited; excessively conceited; with pleased ) n. repulsive or disgusting; disturb; trouble; irritate; ) adv. ven´ ə ra ven´ p. 661 p. ¯ with ər in with ) adj. pale; ¯th in ¯th vij ə ləns vij p. 664 p. ( ) adj. r ) v. ¯ kənt ¯ p. 1301 p.

zel əs zel ¯ nith ¯ p. 257 p. ( n p. 268 p. ven dər ven ( va ) adj. ze ¯ le¯ g ( o ¯n r ( e i val ər val ( g n t s ( c won va i r ( t n a v¯l veks r ( u n i ( o

h r n y e ( r ( t a o h l d e i l ( l a ( t h n i n o y i n n x c i l t e n a reverence; manner; bravery; oneself; from lack of moisture; devotion; a i r r g l i i e e e a a a e e vacant/zenith zzenith Z zzealous wwryly wwrithing wwan wwithering W vvile vvigilance vveneration vvex vvendor vvalor vvacant vvain V R064-R085 EMGloss-845482.indd R81R064-R085 EMGloss-845482.indd R81 ACADEMIC WORD LIST

The list of words that appears on this page and the following pages represents a research-based collection of words that are commonly used in academic texts. The purpose of the list is to present students with the basics of a working academic vocabulary, one that will prove useful in reading, writing, and research in many areas of study. Many of these words also appear throughout the Glencoe Language Arts program.

Sublist One interpretation affect obtained constant analysis involved appropriate participation constraints approach issues aspects perceived contribution area labor assistance positive convention assessment legal categories potential coordination assume legislation chapter previous core authority major commission primary corporate available method community purchase corresponding benefit occur complex range criteria concept percent computer region deduction consistent period conclusion regulations demonstrate constitutional policy conduct relevant document context principle consequences resident dominant contract procedure construction resources emphasis create process consumer restricted ensure data required credit security excluded definition research cultural select framework derived response design site funds distribution role distinction sought illustrated economic section elements strategies immigration environment sector equation survey implies established significant evaluation text initial estimate similar features traditional instance evidence source final transfer interaction export specific focus justification factors structure impact Sublist Three layer financial theory injury alternative link formula variables institute circumstances location function investment comments maximum identified Sublist Two items compensation minorities income achieve journal components negative indicate acquisition maintenance consent outcomes individual administration normal considerable partnership

R82 ACADEMIC WORD LIST

RR082-R084082-R084 EMAWL-845482.inddEMAWL-845482.indd 8282 22/9/07/9/07 8:21:088:21:08 AMAM ACADEMIC WORD LIST WORD ACADEMIC philosophy ethnic alter pursue furthermore physical goals amendment ratio gender proportion granted aware rejected ignored published hence capacity revenue incentive reaction hypothesis challenge stability incidence registered implementation clause styles incorporated reliance implications compounds substitution index removed imposed conflict sustainable inhibition scheme integration consultation symbolic initiatives sequence internal contact target input sex investigation decline transition instructions shift job discretion trend intelligence specified label draft version interval sufficient mechanism enable welfare lecture task obvious energy whereas migration technical occupational enforcement minimum techniques option entities Sublist Six ministry technology output equivalent abstract motivation validity overall evolution accurate neutral volume parallel expansion acknowledged nevertheless parameters exposure aggregate overseas Sublist Four phase external allocation preceding access predicted facilitate assigned presumption adequate principal fundamental attached rational annual prior generated author recovery apparent professional generation bond revealed approximated project image brief scope attitudes promote liberal capable subsidiary attributed regime license cited tapes civil resolution logic cooperative trace code retained marginal discrimination transformation commitment series medical display transport communication statistics mental diversity underlying concentration status modified domain utility conference stress monitoring edition contrast subsequent network enhanced Sublist Seven cycle sum notion estate adaptation debate summary objective exceed adults despite undertaken orientation expert advocate dimensions perspective explicit aid domestic Sublist Five precise federal channel emerged academic prime fees chemical error adjustment psychology flexibility classical

ACADEMIC WORD LIST R83

RR082-R084082-R084 EMAWL-845482.inddEMAWL-845482.indd 8383 22/9/07/9/07 8:21:188:21:18 AMAM comprehensive submitted inevitably confined temporary comprise successive infrastructure controversy trigger confirmed survive inspection conversely unified contrary thesis intensity device violation converted topic manipulation devoted vision couple transmission minimized diminished decades ultimately nuclear distorted Sublist Ten definite unique offset duration adjacent deny visible paragraph erosion albeit differentiation voluntary plus ethical assembly ACADEMIC WORD LIST disposal practitioners format collapse dynamic Sublist Eight predominantly founded colleagues eliminate abandon prospect incompatible compiled empirical accompanied radical inherent conceived equipment accumulation random insights convinced extract ambiguous reinforced integral depression file appendix restore intermediate encountered finite appreciation revision manual enormous foundation arbitrary schedule mature forthcoming global automatically tension mediation inclination grade bias termination medium integrity guarantee chart theme military intrinsic hierarchical clarity thereby minimal invoked identical conformity uniform mutual levy ideology commodity vehicle norms likewise inferred complement via overlap nonetheless innovation contemporary virtually passive notwithstanding insert contradiction visual portion odd intervention crucial widespread preliminary ongoing isolated currency protocol panel media denote Sublist Nine qualitative persistent mode detected accommodation refine posed paradigm deviation analogous relaxed reluctant phenomenon displacement anticipated restraints so-called priority dramatic assurance revolution straightforward prohibited eventually attained rigid undergo publication exhibit behalf route whereby quotation exploitation bulk scenario release fluctuations ceases sphere reverse guidelines coherence subordinate simulation highlighted coincide supplementary solely implicit commenced suspended somewhat induced concurrent team

R84 ACADEMIC WORD LIST

RR082-R084082-R084 EMAWL-845482.inddEMAWL-845482.indd 8484 22/9/07/9/07 8:21:268:21:26 AMAM INDEX OF SKILLS

11106,106, 11116,116, 11117,117, 11122,122, 11138,138, 11149,149, CClassicismlassicism 4452–45352–453 References beginning with R refer to handbook pages. 11155,155, 1166,1166, 1174,1174, 1184,1184, 1192,1192, 1200,1200, CClichéliché RR33 11242,242, 1245,1245, 1246,1246, 1258,1258, 1267,1267, 1271,1271, CClimaxlimax 3369,69, 1053,1053, 1075,1075, 1211,1211, 12131213 Literary Concepts 11275,275, 1278,1278, 11284,284, 11295,295, 1304,1304, 11313,313, SSeeee alsoalso PPlot.lot. 11318,318, 1327,1327, 1331,1331, 1344,1344, 1354,1354, 13551355 CClosedlosed coupletcouplet 559191 AAbsurd,bsurd, TheaterTheater ofof thethe. SSeeee TTheaterheater ofof AAuthor’suthor’s meaningmeaning 11107,107, 11091109 CColloquialismolloquialism RR33 tthehe Absurd.Absurd. AAuthor’suthor’s ppurposeurpose 1115,15, 154,154, 169,169, 170,170, CComedyomedy RR33 AActct RR11 2280,80, 2282,82, 2288,88, 5573,73, 609,609, 765,765, 854,854, hheroiceroic RR33 AAllegoryllegory 1154,54, 169,169, 533,533, 539,539, R1R1 8863,63, 11009,009, 1087,1087, 1098,1098, 1100,1100, R2,R2, R24R24 CComicomic devicesdevices 11198198 AAlliterationlliteration 1192,92, 276,276, 278,278, 451,451, 7794,94, 800,800, AAuthor’suthor’s stylestyle 553,3, 141,141, 1170,70, 1192,92, 289,289, 313,313, CComicomic reliefrelief 3351,51, R4R4 8803,03, 8876,76, 936,936, 1206,1206, 1356,1356, 1359,1359, R1R1 4405,05, 4443,43, 5531,31, 5540,40, 5562,62, 5585,85, 6601,01, 6615,15, CConceitsonceits 4428,28, 442,442, R4R4 AAllusionllusion 5520,20, 5530,30, 600,600, 7733,33, 11118,118, RR11 6620,20, 6621,21, 6643,43, 6657,57, 6668,68, 6669,69, 7734,34, 7765,65, eelaboratelaborate 445252 AAmbiguitymbiguity 11340,340, RR11 7778,78, 794,794, 864,864, 937,937, 977,977, 992,992, 1087,1087, mmetaphysicaletaphysical 4428,28, 438,438, 442,442, R4R4 AAnalogynalogy 223,3, 552,2, 89,89, 1124,24, 1140,40, 1197,97, 2206,06, 11116,116, 11164,164, 11191,191, 11207,207, 11256,256, 11294,294, CConclusiononclusion 8851,51, 853853 2210,10, 217,217, 260,260, 264,264, 271,271, 274,274, 289,289, 438,438, 11311,311, 11325,325, 11354354 CConflonfl ictict 3351,51, 1208–1215,1208–1215, 1285,1285, R13R13 4442,42, 4444,44, 4475,75, 4479,79, 5553,53, 5561,61, 5593,93, 6600,00, AAutobiographyutobiography 1146,46, RR22 eexternalxternal 223,3, 52,52, 779,9, 191,191, 5530,30, 11075,075, 8843,43, 8847,47, 923,923, 999,999, 1046,1046, 1078,1078, 1123,1123, BBalladallad 8866,66, R2R2 11212,212, 1293,1293, 1305,1305, 1310,1310, R4R4 11137,137, 1155,1155, 1185,1185, 1190,1190, 1268,1268, 1305,1305, ffolkolk 2208–20908–209 iinternalnternal 223,3, 552,2, 779,9, 191,191, 5530,30, 11075,075, 11332,332, R1R1 lliteraryiterary 882727 11164,164, 1212,1212, 1293,1293, R4R4 AAnapestnapest RR1,1, R7R7 BBalladallad stanzastanza 2210,10, 217,217, 827,827, R2R2 CConnotationonnotation 2271,71, 274,274, 611,611, 660,660, 668,668, AAnecdotenecdote RR11 BBiasias 11173,173, 1193,1193, 1198,1198, R2,R2, R25R25 7726,26, 7733,33, 9948,48, 11173,173, 11247,247, 11255,255, RR4,4, AAntagonistntagonist 1191,91, 1075,1075, R1R1 BBiographyiography 6660,60, 6668,68, 7794,94, R2–R3R2–R3 RR2020 AAnthropomorphismnthropomorphism 11319,319, 1324,1324, R1R1 BBlanklank verseverse 3315,15, 405,405, R3R3 CConsonanceonsonance 7794,94, 876,876, 931,931, 936,936, 1201,1201, AAntithesisntithesis 660101 BByronicyronic herohero 8848–84948–849 11206,206, 11261,261, RR44 AAphorismphorism RR11 SSeeee alsoalso HHero.ero. CContextontext 555,5, 5858 AApostrophepostrophe 2271,71, 274,274, R1R1 CCadenceadence RR33 cculturalultural 110–11,0–11, 68,68, 242–243,242–243, 409,409, AArchetyperchetype 1172,72, 191,191, 205,205, R1–R2R1–R2 CCaesuraaesura 5591,91, R3R3 4463,63, 5506–507,06–507, 6698–699,98–699, 7743,43, 752,752, AArgumentrgument 1124,24, 140,140, 352,352, 368,368, 425,425, 427,427, CCaricaturearicature 662020 9912–913,12–913, 992,992, 1034–1035,1034–1035, 1061,1061, 1076,1076, 4428,28, 443,443, 456,456, 458,458, 603,603, 674,674, 733,733, CCarpearpe diemdiem 4453,53, 456,456, 458,458, 478,478, R3R3 11232–1233,232–1233, 1257,1257, 11266266 11150,150, 11155,155, 11189,189, RR22 CCavalieravalier poetrypoetry 4452–453,52–453, R3R3 hhistoricalistorical 110–11,0–11, 193,193, 242–243,242–243, AAsideside 3305,05, 336,336, R2R2 CCharacterharacter 2210,10, 217,217, 218–225,218–225, 387,387, 405,405, 5506–507,06–507, 698–699,698–699, 760,760, 764,764, 912–913,912–913, AAssonancessonance 7794,94, 876,876, 931,931, 9936,36, 11201,201, 6620,20, 11123,123, 11137,137, 11193,193, 11198,198, 11210,210, 11212,212, 9938,38, 9947,47, 992,992, 1034–1035,1034–1035, 1076,1076, 11206,206, 11261,261, RR22 11272,272, 1275,1275, 1294,1294, 11305,305, 11339,339, R3R3 11232–1233232–1233 AAssumptionssumption 11069,069, 11076,076, 11340340 SSeeee alsoalso CCharacterization;haracterization; SStereotype.tereotype. ssocialocial 110–11,0–11, 242–243,242–243, 506–507,506–507, AAtmospheretmosphere 3316,16, 336,336, 798,798, R2R2 ddynamicynamic 2217,17, RR33 6698–699,98–699, 912–913,912–913, 1034–1035,1034–1035, AAttributionsttributions 11311311 fl at 11198,198, RR33 11232–1233232–1233 AAuthor’suthor’s craftcraft 222,2, 558,8, 882,2, 992,2, 1145,45, 1196,96, ffoiloil 3352,52, 368,368, R7R7 CConversationalonversational stylestyle 445252 2254,54, 2259,59, 2265,65, 2270,70, 275,275, 279,279, 283,283, mmainain 11193,193, RR33 CCoupletouplet 2253,53, 3300,00, 5591,91, R4,R4, R16R16 2292–293,92–293, 336,336, 351,351, 414,414, 424,424, 430,430, 445,445, mminorinor 11193,193, RR33 cclosedlosed 559191 4455,55, 4464,64, 4469,69, 4474,74, 4479,79, 516,516, 532,532, 542,542, rroundound 11198,198, RR33 eend-stoppednd-stopped 559191 5546,46, 5552,52, 5564,64, 5574,74, 585,585, 586,586, 602,602, 614,614, sstatictatic 2217,17, RR33 hheroiceroic 4453,53, 585,585, 591591 6623,23, 6628,28, 6648,48, 6659,59, 7708,08, 7717,17, 7725,25, 7742,42, CCharacterizationharacterization 993,3, 140,140, 539,539, 769,769, 777,777, CCrisisrisis. SSeeee PPlot.lot. 7754,54, 7768,68, 780,780, 795,795, 799,799, 833,833, 842,842, 847,847, 9967,67, 976,976, 1053,1053, 1137,1137, 1305,1305, 1310,1310, R3R3 CCulturalultural contextcontext 110–11,0–11, 68,68, 242–243,242–243, 8850,50, 865,865, 879,879, 922,922, 930,930, 939,939, 951,951, 956,956, ddirectirect 1115,15, 539,539, 769,769, 967,967, 1137,1137, R3R3 4409,09, 4454,54, 4463,63, 5506–507,06–507, 6643,43, 9966,66, 9977,77, 979,979, 984,984, 994,994, 998,998, 1003,1003, iindirectndirect 1115,15, 539,539, 769,769, 967,967, 1137,1137, R3R3 6698–699,98–699, 7743,43, 752,752, 912–913,912–913, 992,992, 11045,045, 11068,068, 11077,077, 11089,089, 11093,093, 11097,097, CChroniclehronicle 8833

INDEX OF SKILLS R85

RR085-R099085-R099 EMSKILLS-845482.inddEMSKILLS-845482.indd 8585 22/6/07/6/07 11:19:2311:19:23 AMAM 11034–1035,034–1035, 1061,1061, 1076,1076, 1232–1233,1232–1233, EEpistlepistle 7743,43, R6 FFormorm 4465,65, 752, 8866,66, 8870,70, 874,874, 942,942, 1206,1206, 11257,257, 11266266 EEpistolarypistolary novelnovel 774343 R7 DDactylactyl R4, R7 EEpitaphpitaph 7709,09, 715,715, R6 eepicpic 20–220–211 DDenotationenotation 27271,1, 274,274, 611,611, 660,660, 668,668, 726, EEpithetpithet R6 FFormalormal essayessay 55551,1, 612–613612–613 733, 9948,48, 11173,173, 11247,247, 11255,255, R4, R20 EEssayssay 28284,4, 5591,91, 661212 See also EssEssay.ay. DDénouementénouement (resolution)(resolution) 363699 fformalormal 55551,1, 6612–613,12–613, R6 FFramerame storystory 93, R7 See also Plot. iinformalnformal ((personal)personal) 5547,47, 551,551, 613,613, R6 FFreeree verseverse 11314,314, 11317,317, R7 DDescriptionescription 9967,67, 976,976, 1163,1163, R4 pperiodicaleriodical 661515 GGenreenre 221,1, 150,150, 217,217, 264,264, 406,406, 540,540, 669,669, sspatialpatial orderorder 535311 EEthicalthical appealsappeals 667676 7778,78, 781,781, 785,785, 1092,1092, 1277,1277, 1325,1325, R7 INDEX OF SKILLS DDialectialect 7718,18, 723, 1247,1247, 11332,332, 11338,338, R4 EExaggerationxaggeration 557373 GGothicothic novelnovel 834, 8840,40, R7 DDialogueialogue 53, 1170,70, 205, 562,562, 769,769, 777,777, See also Hyperbole. GGreekreek drama,drama, classicalclassical 20–220–211 7778,78, 11209,209, 11212,212, 11215,215, 11311,311, R4 EExclamationxclamation 8871,71, 874874 HHaikuaiku R7–R8 DDiaryiary 553, 5561,61, R4 EExemplumxemplum 1116,16, 1141,41, R6 HHeptametereptameter R8 DDictioniction 4405,05, 5585,85, 7786,86, 793,793, 854,854, 863,863, EExpositionxposition 36369,9, 985,985, 991991 HHeroero 11190,190, 1324,1324, R5 See also Plot. BByronicyronic 8848–849,48–849, R8 DDimeterimeter R5 EExtendedxtended metaphormetaphor 6603,03, 6609,09, R6 eepicpic 221,1, 52, 53, R5 DDramarama R5 FFableable 11319,319, R6 HHeroiceroic comedycomedy R3 aabsurdistsbsurdists 11277277 FFairyairy ttaleale R6 HHeroiceroic coupletcouplet 453, 585,585, R8 cclassicallassical GreekGreek 20–220–211 FFallingalling actionaction 363699 HHeroiceroic stanzastanza R8 ccontemporaryontemporary 11277277 See also Plot. HHexameterexameter R8 kkitchen-sinkitchen-sink 11276276 FFantasyantasy R6 HHistoricalistorical ccontextontext 110–11,0–11, 193,193, 242–243, mmedievaledieval 1152–15352–153 FFarcearce R6 5506–507,06–507, 698–699,698–699, 7760,60, 764,764, DDramaticramatic ironyirony 1116,16, 123,123, 404,404, 851,851, 1004,1004, FFictioniction R6 829–832, 9912–913,12–913, 938, 9947,47, 9992,92, 11185,185, 11190190 hhistoricalistorical 623, 628 11034–1035,034–1035, 1076,1076, 11232–1233232–1233 See also IronyIrony.. FFigurativeigurative languagelanguage 26260,0, 263, 6600,00, 8843,43, HHistoricalistorical fi cctiontion 623, 628, R8 DDramaticramatic monologuemonologue 93937,7, 980,980, 983,983, 8879,79, 1303,1303, R6 HHistoricalistorical inflinfl uencesuences 5, 670,670, 829 11008,008, R5 aapostrophepostrophe 27271,1, 274,274, R1 HHistoricalistorical narrativenarrative 83, 89,89, R8 DDramaticramatic poetrypoetry R5 hhyperboleyperbole 4475,75, 478,478, 1173,1173, R8 HHistoryistory R8 DDramaticramatic structurestructure R5 mmetaphoretaphor 29294,4, 297,297, 3312,12, 431,431, 930, HHoratianoratian odeode 887474 DDynamicynamic ccharacterharacter 2217,17, R3 11098,098, 1100,1100, 1354,1354, R1R100 HHubrisubris R8 EElegylegy 44446,6, 448, 709,709, 715,715, 923, R5 ooxymoronxymoron 8874,74, 1201,1201, 1206,1206, R12R12 HHumorumor 1124,24, 140,140, 573,573, 1198,1198, R8 EEmotionalmotional appealsappeals 427, 675675 ppersonifiersonifi cationcation 1123,23, 274,274, 297,297, 3312,12, HHymnymn R8 EEndnd rhymerhyme R5, R15R15 43431,1, 437,437, 517,517, 519,519, 1109,1109, 1206,1206, 1268,1268, HHyperboleyperbole 4475,75, 478,478, 1173,1173, R8 EEnd-stoppednd-stopped coupletcouplet 5591,91, R5 11270,270, R13R13 IIambamb R7, R8 EEnglishnglish languagelanguage ssimileimile 29294,4, 297,297, 298,298, 300, 312,312, 431,431, IIambicambic ppentameterentameter 252, 1115,1115, R8–R9 MMiddleiddle EnglishEnglish 990–910–91 930, 11098,098, 1100,1100, 1354,1354, R1R166 IIdiomdiom 11247,247, R9 OOldld EnglishEnglish 880,0, 9090 ssymbolymbol 551,1, 297,297, R18R18 IImagerymagery 1116,16, 150,150, 274,274, 437,437, 5562,62, 6600,00, EEnglishnglish (Shakespearean)(Shakespearean) SonnetSonnet 252, FFigureigure ofof speechspeech 29294,4, 43437,7, 11201,201, 11206,206, 7715,15, 798,798, 847,847, 875,875, 876,876, 879,879, 887,887, 930, 253, 866,866, R16R16 R6 955, 9995,95, 9997,97, 1094,1094, 1096,1096, 1118,1118, 1121,1121, EEnjambmentnjambment 7781,81, 785,785, R5 FFlashbacklashback 11175,175, 1183,1183, R7 11147,147, 1189,1189, 1328,1328, 1330,1330, 1356,1356, 1359,1359, R9 EEpicpic. See also Mock-epic. FFlash-forwardlash-forward R7 IImpliedmplied themetheme 45454,4, 4463,63, 5575,75, 11191,191, ffolkolk R5 FFlatlat ccharacterharacter 11198198 11293,293, R18R18 fformorm 20–220–211 See also CharacterCharacter.. IInformalnformal (personal)(personal) essayessay 5547,47, 55551,1, 661313 hheroero 221,1, 52, 53, R5 FFoiloil 352, 368,368, R7 See also EssEssay.ay. lliteraryiterary R5 FFolkolk balladsballads 20208–2098–209 IInteriornterior mmonologueonologue R9 EEpigrampigram 5587,87, R5 FFolkloreolklore R7 IInternalnternal rrhymehyme R9, R15R15 EEpigraphpigraph R5 FFolktaleolktale R7 IInversionnversion 3313,13, 543,543, R9 EEpiloguepilogue R6 FFootoot 43431,1, 7764,64, 995,995, R7 IIronyrony 5573,73, 13391339 EEpiphanypiphany 11046,046, 11067,067, 11139,139, 11146,146, R6 FForeshadowingoreshadowing 11123,123, 1136,1136, 1338,1338, R7

R86 INDEX OF SKILLS

R085-R094 EMSKILLS-845482.indd 86 2/5/07 4:09:00 PM INDEX OF SKILLS INDEX ddramaticramatic 1116,16, 123,123, 404,404, 851,851, 1004,1004, MMoodood 774,4, 79,79, 80,80, 169,169, 205, 278,278, 796,796, PPentameterentameter R1R133 11185,185, 11190,190, R9 7798,98, 923, 930, 976,976, 11090,090, 11092,092, 11163,163, PPeriodicaleriodical eessayssay 661515 ssituationalituational 1116,16, 123,123, 404,404, 584,584, 851,851, 11282,282, 1353,1353, R11R11 PPersonaersona 5573,73, R1R133 11004,004, 11008,008, 11198,198, 11310,310, R9 MMoraloral R1R111 PPersonalersonal essayessay 661313 vverbalerbal 1116,16, 4404,04, 5584,84, 11006,006, 11185,185, MMoralityorality playsplays 1153,53, R1R111 See also EssEssay.ay. 11190,190, 11317,317, R9 MMotifotif 3313,13, 337,337, 351,351, 442, 4478,78, R11R11 PPersonifiersonifi cationcation 1123,23, 274,274, 312,312, 43431,1, 437,437, IIrregularrregular odeode R1R122 MMotivationotivation 11046,046, 1053,1053, 1136,1136, R11R11 5517,17, 519,519, 1109,1109, 1146,1146, 1206,1206, 1268,1268, 1270,1270, IItaliantalian (Petrarchan)(Petrarchan) SonnetSonnet 252, 253, MMysteryystery playsplays 1152–153,52–153, R10R10 R1R133 5517,17, 1092,1092, R16R16 MMythyth R1R111 PPersuasionersuasion R1R133 JJournalournal 7796,96, 7798,98, R9 NNarrativearrative R1R111 PPetrarchanetrarchan SonnetSonnet 252, 253, 517,517, 10921092 JJuxtapositionuxtaposition 8843,43, 847,847, R9 hhistoricalistorical 83, 8989 See also Sonnet. KKenningenning R9 NNarrativearrative poetrypoetry 8804,04, 827, R1R111 PPlayslays 1154,54, 331616 See also Drama. LLegendegend 1192,92, 197,197, 205, R9 NNarratorarrator 11069,069, 1075,1075, 1255,1255, R11R11 mmiracleiracle 1152–15352–153 LLiteraryiterary balladballad 827 oomniscientmniscient 11136136 mmoralityorality 115353 See also Ballad. NNarratorarrator commentarycommentary 777878 mmysteryystery 1152–15352–153 LLiteraryiterary criticismcriticism 118,8, 123,123, 264,264, 265, 297,297, NNaturalismaturalism R1R111 PPlotlot 36368,8, 387,387, 11831183 4405,05, 44441,1, 443, 583,583, 669,669, 734, 803,803, 840,840, NNatureature iimagerymagery 8875,75, 888787 cclimaxlimax 36369,9, 11053,053, 1075,1075, 11211,211, 1213,1213, 853, 8862,62, 8870,70, 990,990, 997,997, 11085,085, 11147,147, NNeoclassicismeoclassicism R1R111 R1R133 11191,191, 1367,1367, 1372–1373,1372–1373, R10,R10, R24 NNonceonce wordswords ((nonsensenonsense words)words) 9957,57, cconflonfl ictict R1R133 LLiteraryiterary historyhistory 20–220–21,1, 90–91,90–91, 152–153,152–153, RR1111 eexpositionxposition 36369,9, 985,985, 991,991, R13R13 20208–209,8–209, 252–253, 314–315,314–315, 428–429, NNonfionfi ctionction R1R122 ffallingalling actionaction 36369,9, R13R13 452–453, 612–613,612–613, 766–767,766–767, 848–849,848–849, NNonsenseonsense vverseerse 95957,7, 959,959, R12R12 rresolutionesolution 36369,9, 11211,211, 1213,1213, R13R13 9964–965,64–965, 11066–1067,066–1067, 1276–12771276–1277 NNovelovel R1R122 rrisingising actionaction 36369,9, 11211,211, 11213,213, R13R13 LLiteraryiterary inflinfl uencesuences 996060 eepistolarypistolary 774343 PPoetryoetry 774,4, 80,80, 93, 116,116, 1124,24, 26260,0, 26266,6, LLiteraryiterary ttraditionsraditions 8875,75, 888787 GGothicothic 834, 840840 425, 1109,1109, R13R13 LLoadedoaded wordswords 11172,172, 11731173 RRegionalistegionalist 996565 See also Sonnet. LLogicalogical aappealsppeals 667575 ssocial-problemocial-problem 9964–96564–965 CCavalieravalier 452–453 LLyricyric poetrypoetry 449, 45450,0, 7793,93, 9999,99, 11002,002, NNovellaovella R1R122 llyricyric 449, 793,793, 999,999, 10021002 R1R100 NNovelovel ooff mmannersanners R1R122 mmetaphysicaletaphysical 428–429 MMainain ccharacterharacter 11193,193, R3 OOctavectave 253, 5517,17, R12R12 nnarrativearrative 8804,04, 827 See also CharacterCharacter.. See also Sonnet. RRomanticomantic 778181 MMaximaxim R1R100 OOctetctet R1R122 PPointoint ofof viewview 27278,8, 7777,77, 11075,075, 11212,212, 11213,213, MMedievaledieval dramadrama 1152–15352–153 OOdede 45459,9, 8871,71, 8874,74, R12R12 11345345 MMeditativeeditative tonetone 452 HHoratianoratian 8874,74, R1R122 fi rst-personrst-person 27276,6, 889,889, 892,892, 976,976, R1R133 MMelodramaelodrama R1R100 iirregularrregular R1R122 oobjectivebjective R1R144 MMemoiremoir 11264,264, R10R10 OOmniscientmniscient narratornarrator 11136136 tthird-personhird-person 27276,6, 1353,1353, R13R13 MMetaphoretaphor 29294,4, 297,297, 3312,12, 43431,1, 930, 11098,098, See also NarratorNarrator.. tthird-personhird-person llimitedimited R1R144 11100,100, 1115,1115, 1354,1354, R10R10 OOnomatopoeianomatopoeia 8876,76, 957,957, 1270,1270, R1R122 tthird-personhird-person omniscientomniscient 11353,353, R13R13 eextendedxtended 6603,03, 660909 OOralral traditiontradition R1R122 PPostmodernismostmodernism R1R144 MMetaphysicaletaphysical cconceitonceit 428, 438, 442, R4 OOttavattava rimarima 11115,115, R12R12 PProloguerologue R1R144 MMetaphysicaletaphysical poetrypoetry 428–429, R10R10 OOxymoronxymoron 8874,74, 1201,1201, 1206,1206, R12R12 PPropagandaropaganda 11173,173, R14R14 MMetereter 252, 436, 450,450, 930, 997,997, 1115,1115, R10R10 PParablearable 11057,057, R12R12 PPropsrops R1R144 ffootoot 43431,1, 764,764, 995995 PParadoxaradox 26269,9, 4470,70, 473,473, 1085,1085, R12R12 PProserose R1R144 MMetonymyetonymy R1R100 PParallelismarallelism 28284,4, 28288,8, 28289,9, 422, 5591,91, 6601,01, PProtagonistrotagonist 1191,91, 1075,1075, R14R14 MMinorinor charactercharacter 11193,193, R3 7765,65, 871,871, 874,874, 1172,1172, R12R12 PProverbsroverbs 11309,309, 1311,1311, R14R14 MMiracleiracle playsplays 1152–153,52–153, R10R10 PParodyarody 29294,4, 5575,75, 5584,84, R1R133 PPsalmsalm R1R144 MMock-epicock-epic 5593,93, 6600,00, R1R100 PPastoralastoral R1R133 PPunun 30304,4, R14R14 MModernismodernism 11038,038, 1066,1066, R10–R11R10–R11 PPatheticathetic fallacyfallacy R1R133 PPuritanuritan writingwriting R1R144 MMonologueonologue R1R111 PPatternsatterns 887676 QQuatrainsuatrains 253, R14,R14, R16R16

INDEX OF SKILLS R87

R085-R094 EMSKILLS-845482.indd 87 2/5/07 4:10:45 PM RRationalismationalism R1R144 SSettingetting 53, 53531,1, 7716,16, 11076,076, 11210,210, 11296,296, SStructuretructure 11110,110, 11115,115, 11172,172, R1R177 RRealismealism 9916,16, 1066,1066, R14R14 11302,302, R16R16 SStyletyle 53, 1141,41, 170,170, 192,192, 289,289, 313,313, 405,405, RRefrainefrain 30304,4, 1206,1206, R14R14 SShakespeareanhakespearean songssongs R1R166 4415,15, 422, 443, 531,531, 5540,40, 5562,62, 5585,85, 6601,01, RRegionalismegionalism R14R14 SShakespeareanhakespearean sonnetsonnet 252, 253, 866866 6615,15, 620, 621,621, 6643,43, 65657,7, 6668,68, 6669,69, 734, RRegionalistegionalist novelnovel 996565 See also Sonnet. 7765,65, 778,778, 864,864, 937,937, 940,940, 942,942, 1116,1116, RRenaissanceenaissance R15R15 SShakespeare’shakespeare’s TheaterTheater 3314–31514–315 11118,118, 11121,121, 1136,1136, 11256,256, R1R17,7, R33 RRepetitionepetition 28289,9, 765,765, 871,871, 9940,40, 9942,42, 11207,207, SShorthort storystory 11066–1067,066–1067, 1208–1215,1208–1215, SSubjectubject R1R188 11261,261, R1R155 11256,256, R16R16 SSuspenseuspense R1R188 RResolutionesolution 36369,9, 1211,1211, 12131213 SSimileimile 29294,4, 297,297, 29298,8, 300, 312,312, 431,431, 930, SSymbolymbol 551,1, 297,297, 458,458, 755, 759,759, 1078,1078, INDEX OF SKILLS See also Plot. 11098,098, 1100,1100, 1354,1354, R1R166 11086,086, 1146,1146, 1302,1302, R18R18 RRestorationestoration AgeAge R15R15 SSituationalituational iironyrony 1116,16, 123,123, 404,404, 584,584, 851,851, SSymbolistymbolist poetrypoetry R1R188 RRhetorichetoric 11167,167, 11172,172, R1R155 11004,004, 11008,008, 11198,198, 11310310 SSymbolizeymbolize 723, 862,862, 1109,1109, 1136,1136, 1205,1205, RRhetoricalhetorical ddevicesevices 28289,9, 676,676, 679,679, 871,871, See also IronyIrony.. 11302302 8874,74, R1R155 SSlantlant rhymerhyme 11259,259, 1261,1261, R16R16 SSynecdocheynecdoche R1R188 aanalogynalogy R1 SSocialocial contextcontext 110–11,0–11, 242–243, 506–507,506–507, TTercetercet R1R188 eexclamationsxclamations 8871,71, 874874 6698–699,98–699, 9912–913,12–913, 1034–1035,1034–1035, TTerzaerza rimarima R1R188 pparallelismarallelism 28284,4, 28288,8, 28289,9, 422, 6601,01, 11232–1233232–1233 TTetrameteretrameter R1R188 6681,81, 765,765, 871,871, 874,874, R12R12 SSocial-problemocial-problem novelnovel 9964–96564–965 TTheaterheater rrepetitionepetition 28289,9, 7765,65, 871,871, 9940,40, R1R155 SSoliloquyoliloquy 305, 336, R16R16 ooff thethe absurdabsurd 11272,272, 1275,1275, 1277,1277, R1R188 RRhetoricalhetorical questionquestion 8871,71, 874,874, 1172,1172, R15R15 SSongong 303011 SShakespeare’shakespeare’s 3314–31514–315 RRhymehyme 446565 SSonnetonnet 262666 TThemeheme 554,4, 774,4, 80,80, 141,141, 301,301, 304,304, 305, eendnd R5, R15R15 EEnglishnglish ((Shakespearean)Shakespearean) 252, 253, 423, 436, 438, 5584,84, 5591,91, 715,715, 752, 759,759, iinternalnternal R9, R15R15 8866,66, R16R16 8863,63, 930, 93937,7, 938, 9940,40, 9947,47, 955, sslantlant 11259,259, 1261,1261, R16R16 IItaliantalian (Petrarchan)(Petrarchan) 252, 253, 517,517, 11075,075, 1198,1198, 1207,1207, 1261,1261, 1285,1285, 13111311 RRhymehyme schemescheme 252, 26266,6, 26269,9, 45450,0, 723, 11092,092, R16R16 iimpliedmplied 4454,54, 4463,63, 5575,75, 11191,191, 1293,1293, R18R18 8847,47, 863,863, 1107,1107, R1R155 mmetereter aandnd rrhymehyme ppatternsatterns 252 sstatedtated 11191,191, 1293,1293, R18R18 RRhythmhythm 4465,65, 923, 930, R1R155 SSpenserianpenserian 252, 253, R16R16 uuniversalniversal 45454,4, 463463 ssprungprung 952, 955 SSonnetonnet sequencesequence 27271,1, R17R17 TThesishesis 352, 726, 733, 11086,086, R18R18 RRisingising actionaction 36369,9, 11211,211, 11213213 SSoundound devicesdevices 45458,8, 879,879, 1328,1328, 1330,1330, R17R17 TThird-personhird-person pointpoint ofof viewview. See PPointoint See also Plot. aalliterationlliteration 1192,92, 276,276, 278,278, 451,451, 7794,94, of vieview.w. RRomanceomance R1R155 8800,00, 8876,76, 936, 1356,1356, 11359,359, R1 TTitleitle 11094,094, 1096,1096, 1100,1100, 1293,1293, R1R188 RRomanticismomanticism R1R155 aassonancessonance 7794,94, 876,876, 931,931, 936, R2 TToneone 1116,16, 123,123, 255, 258,258, 263, 26269,9, 30301,1, RRomanticomantic poetrypoetry 7781,81, 785785 cconsonanceonsonance 7794,94, 876,876, 931,931, 936, R4 30304,4, 436, 4468,68, 5561,61, 573,573, 628, 656,656, 785,785, RRoundound ccharacterharacter 11198198 oonomatopoeianomatopoeia 8876,76, 957,957, 1270,1270, R12R12 7798,98, 930, 931,931, 936, 9976,76, 11002,002, 1004,1004, See also CharacterCharacter.. SSpatialpatial orderorder 53531,1, R23 11044,044, 11061,061, 11075,075, 11098,098, 11100,100, 11109,109, RRun-onun-on lineline. See Enjambment. SSpeakerpeaker 28280,0, 45451,1, 11243,243, 11245,245, R1R177 11150,150, 1155,1155, 1163,1163, 1207,1207, 1317,1317, R18,R18, R33 SSarcasmarcasm R1R155 SSpenserianpenserian ssonnetonnet 252, 253, R16R16 mmeditativeeditative 452 SSatireatire 5565,65, 5573,73, 778,778, 9991,91, R1R155 SSpenserianpenserian sstanzatanza R1R177 TTragedyragedy 38388,8, 404,404, R18–R19R18–R19 SScansioncansion 7764,64, R1R166 SSpondeepondee R7, R17R17 TTragicragic ﬂ awaw R1R199 SScenecene R1R166 SSprungprung rhythmrhythm 952, 955, R17R17 TTragicragic herohero 3316,16, 388,388, 404,404, 405405 SSciencecience ﬁ ctionction R1R166 SStagetage directionsdirections R1R177 See also TTragedy.ragedy. SSensoryensory detailsdetails 7786,86, 7793,93, 8876,76, 8879,79, 11118,118, SStanzatanza 7760,60, 763,763, R17R17 TTranslationsranslations 117373 11175,175, 11831183 SStatedtated themetheme 11191,191, 1293,1293, R18R18 TTrimeterrimeter R1R199 See also ImagerImagery.y. SStatictatic ccharacterharacter 221717 TTrocheerochee R7, R19R19 SSepteteptet R1R166 See also CharacterCharacter.. UUnderstatementnderstatement 4478,78, 573,573, 1293,1293, R1R199 SSequenceequence 23, 52, 11319,319, 11324324 SStereotypetereotype R1R177 UUniversalniversal themetheme 45454,4, 463463 See also Sonnet sequence. See also CharacterCharacter.. VVerbalerbal ironyirony 1116,16, 4404,04, 5584,84, 11006,006, 11185,185, SSestetestet 253, 517,517, R16R16 SStreamtream ofof consciousnessconsciousness 11156,156, 11163,163, 11190,190, 11317317 See also Sonnet. R1R177 See also IronyIrony..

R88 INDEX OF SKILLS

R085-R099 EMSKILLS-845482.indd 88 2/6/07 11:19:33 AM VVernacularernacular 11247,247, 1255,1255, R19R19 iimagerymagery 111616 CColonialismolonialism aandnd OF SKILLS INDEX VVerseerse epistleepistle 558787 llanguageanguage 11268,268, 11270270 PPostcolonialismostcolonialism 11233,233, 1236–12371236–1237 VVerseerse paragraphparagraph 11098,098, 1100,1100, R19R19 lliteraryiterary inflinfl uencesuences 996060 DDisillusionmentisillusionment andand DarkerDarker VVillanelleillanelle 11206,206, R19R19 llogicalogical rreasoningeasoning R24–R25 VVisionsisions 9913,13, 918–919918–919 VVoiceoice 305, 3312,12, 6649,49, 65656,6, 11279,279, 11282,282, MMedievaledieval theatertheater 115353 TThehe EEmergencemergence ooff RRealismealism 9913,13, R1R19,9, R33 MMetaphorsetaphors 11110,110, 11115115 9916–91716–917 WWitit 7743,43, 752, R19R19 MMetaphysicaletaphysical ppoetryoetry 429 TThehe EEnglishnglish EEnlightenmentnlightenment aandnd mmoodood 7796,96, 798,798, 923, 930 NNeoclassicismeoclassicism 5507,07, 512–513512–513 Reading and Critical oobjectivitybjectivity 111616 TThehe EpicEpic WarriorWarrior 111,1, 12–1312–13 ppersuasiveersuasive ttechniquesechniques R25 GGlobalizationlobalization 11233,233, 1238–12391238–1239 Thinking ssensoryensory ddetailsetails 7786,86, 11175,175, 11183183 HHumanistsumanists aandnd CCourtiersourtiers 243, AActivatingctivating priorprior knowledgeknowledge 1197,97, 206,206, ssettingetting 53 244–245 834, 8840,40, 11360,360, R21R21 ssoundound ddevicesevices 27276,6, 278,278, 458,458, 8876,76, MMakingaking andand RemakingRemaking TraditionsTraditions See also Connecting to personal 887979 11233,233, 1234–12351234–1235 eexperience.xperience. sstyletyle 9942,42, 11118,118, 11121121 MModernismodernism 11035,035, 1038–10391038–1039 AAmbiguity,mbiguity, iidentifyingdentifying 11340340 ssyntaxyntax 95957,7, R24 NNatureature andand thethe ImaginationImagination 6699,99, AAnalyzingnalyzing 11,, 72, 79,79, 89,89, 115,115, 123,123, 139,139, ttextext structurestructure 255, 258,258, 415,415, 423, 7702–70302–703 1144,44, 150,150, 168,168, 190,190, 195,195, 205, 217,217, 258,258, 5565,65, 5574,74, 1062,1062, R22 OOptimismptimism aandnd tthehe BBeliefelief iinn 263, 269,269, 274,274, 278,278, 282, 287,287, 297,297, 300, tthemeheme 114141 PProgressrogress 9913,13, 914–915914–915 30304,4, 311,311, 336, 351,351, 368,368, 387,387, 403,403, 409,409, ttoneone 1116,16, 123,123, 931,931, 936, 11150,150, 11155155 TThehe PowerPower ofof FaithFaith 111,1, 114–154–15 4412,12, 422, 427, 436, 441,441, 448, 45450,0, 45458,8, wwordord choicechoice R24 PPuritanismuritanism andand thethe CivilCivil WarWar 5507,07, 4468,68, 4473,73, 4478,78, 5519,19, 529, 538, 5545,45, 55551,1, AApplyingpplying backgroundbackground knowledgeknowledge 3316,16, 5508–50908–509 5560,60, 5573,73, 575,575, 591,591, 599,599, 609,609, 620, 628, 336, 4465,65, 4468,68, 8866,66, 8870,70, 11090,090, 11092092 TThehe QuestQuest forfor TruthTruth andand 6647,47, 656,656, 667,667, 673,673, 715,715, 723, 732, 741,741, AArgumentrgument BBeautyeauty 6699,99, 704–705704–705 752, 759,759, 763,763, 776,776, 785,785, 792,792, 798,798, 803,803, aanalyzingnalyzing 352, 368,368, 603,603, 610610 TThehe RestorationRestoration 507,507, 510–511510–511 827, 832, 8840,40, 8847,47, 853, 862,862, 870,870, 8874,74, eevaluatingvaluating 1124,24, 140,140, 456,456, 458,458, 726, TThehe SacredSacred andand thethe SecularSecular 243, 8879,79, 930, 935, 942,942, 950,950, 955, 959,959, 962,962, 733 248–249 9975,75, 983,983, 990,990, 997,997, 11002,002, 11008,008, 11053,053, AAskingsking qquestionsuestions 11156,156, 11185185 TThehe SStirringstirrings ooff RRomanticismomanticism 699,699, 11065,065, 11075,075, 11085,085, 11092,092, 11096,096, 11100,100, AAssessingssessing 383877 7700–70100–701 11104,104, 11109,109, 11114,114, 11121,121, 11146,146, 11155,155, AAssumptions,ssumptions, iidentifyingdentifying 11069,069, 11076,076, TThehe WWorldorld ofof RomanceRomance 111,1, 116–176–17 11162,162, 1172,1172, 1183,1183, 1189,1189, 1198,1198, 1205,1205, 11340340 WWorldorld WarWar IIII andand ItsIts AftermathAftermath 11245,245, 1254,1254, 1261,1261, 1270,1270, 1275,1275, 1282,1282, AAuthor’suthor’s bbackground,ackground, iinvestigatingnvestigating R24 11035,035, 11040–1041040–1041 11292,292, 1302,1302, 1309,1309, 11317,317, 1323,1323, 1330,1330, AAuthor’suthor’s beliefs,beliefs, drawingdrawing BBigig IdeaIdea treatments,treatments, comparingcomparing andand 11338,338, 1343,1343, 1352,1352, 1359,1359, 11363363 cconclusionsonclusions 423, 427, 553, 556161 ccontrastingontrasting 554,4, 668,8, 45454,4, 4463,63, 62621,1, aargumentrgument 352, 368,368, 603,603, 610610 AAuthor’suthor’s ccraft,raft, eevaluatingvaluating 336, 351351 6643,43, 8875,75, 887,887, 938, 947,947, 1044,1044, 1061,1061, ccause-and-effectause-and-effect relationshipsrelationships 1146,46, AAuthors’uthors’ cculture,ulture, ccomparingomparing aandnd 11257,257, 11266266 1150,50, 388,388, 404,404, 644,644, 800,800, 880303 ccontrastingontrasting 6688 BBuildinguilding backgroundbackground 23, 55, 558,8, 774,4, 83, CCavalieravalier poetrypoetry 453 AAuthor’suthor’s meaning,meaning, drawingdrawing 93, 1116,16, 124,124, 1146,46, 1154,54, 1172,72, 1193,93, 1197,97, ccharacteristicsharacteristics ofof textstexts R24 cconclusionsonclusions 11107,107, 11091109 2210,10, 255, 260,260, 266,266, 271,271, 276,276, 280,280, 284,284, ccharacterizationharacterization 7769,69, 7777,77, 9967,67, 9976,76, AAuthor’suthor’s purpose,purpose, recognizingrecognizing 1154,54, 1169,69, 29294,4, 301,301, 305, 316,316, 337,337, 352, 369,369, 388,388, 11305,305, 11310310 85854,4, 8863,63, 1098,1098, 1100,1100, R24 4406,06, 4415,15, 425, 438, 446,446, 45456,6, 45459,9, 4460,60, cconflonfl ictict 11285,285, 11293293 AAuthor’suthor’s sstatements,tatements, eevaluatingvaluating R24 4461,61, 465,465, 4470,70, 4475,75, 5517,17, 520, 533, 5543,43, ccontrastingontrasting imagesimages 255 BBackgroundackground knowledge,knowledge, applyingapplying 3316,16, 5547,47, 553, 565,565, 587,587, 593,593, 603,603, 615,615, 623, cculturalultural contextcontext 668,8, 4409,09, 7743,43, 752 336, 4465,65, 4468,68, 8866,66, 8870,70, 11090,090, 11092092 629, 635, 639, 6649,49, 6660,60, 6670,70, 7709,09, eevidencevidence 11078,078, 11086086 BBias,ias, rrecognizingecognizing 11193,193, 11198,198, R25 7718,18, 726, 743,743, 755, 769,769, 7781,81, 796,796, 800,800, fi ggurativeurative languagelanguage 8843,43, 8847,47, 11110,110, BBigig IdeaIdea 8804,04, 829, 834, 8843,43, 85851,1, 8866,66, 8871,71, 8876,76, 11115115 A BardBard forfor thethe AgesAges 243, 246–247246–247 8880,80, 8882,82, 8884,84, 923, 93931,1, 9940,40, 9943,43, fi gguresures ofof speechspeech 29294,4, 29297,7, 43431,1, 1201,1201, CClass,lass, CColonialism,olonialism, aandnd tthehe GGreatreat 9944,44, 9946,46, 952, 95957,7, 9960,60, 9967,67, 9980,80, 11206206 WWarar 11035,035, 1036–10371036–1037 9985,85, 9995,95, 9999,99, 11004,004, 1046,1046, 1054,1054, 1057,1057, hhistoricalistorical ccontextontext 1193,93, 7760,60, 776464

INDEX OF SKILLS R89

R085-R099 EMSKILLS-845482.indd 89 2/6/07 11:19:42 AM 11059,059, 11069,069, 11078,078, 11090,090, 11094,094, 11098,098, CConflonfl iict,ct, analyzinganalyzing 11285,285, 11293293 DDeterminingetermining 11101,101, 1107,1107, 1110,1110, 1118,1118, 1123,1123, 11139,139, 11150,150, CConnectingonnecting mmainain ideaidea andand supportingsupporting 11156,156, 11167,167, 11175,175, 11185,185, 11193,193, 11201,201, ttoo thethe BigBig IdeaIdea 551,1, 72, 79,79, 89,89, 115,115, ddetailsetails 28284,4, 28288,8, 667070 11243,243, 1259,1259, 1263,1263, 1264,1264, 11268,268, 1272,1272, 1123,23, 139,139, 144,144, 150,150, 168,168, 190,190, 195,195, 205, ppatternsatterns 887676 11279,279, 1285,1285, 1296,1296, 11305,305, 1314,1314, 11319,319, 2217,17, 258,258, 263, 269,269, 271,271, 274,274, 276,276, 278,278, DDistinguishingistinguishing ffactact aandnd oopinionpinion 4410,10, 11328,328, 1332,1332, 1340,1340, 11345,345, 11356356 28280,0, 282, 28287,7, 297,297, 300, 30304,4, 3311,11, 336, 6649,49, 65657,7, 1167,1167, 11721172 CCause-and-effectause-and-effect orderorder R22 35351,1, 368,368, 387,387, 403,403, 409,409, 422, 427, 436,436, DDrawingrawing conclusionsconclusions 20209,9, 298,298, 300, CCause-and-effectause-and-effect relationships,relationships, 44441,1, 448, 450,450, 458,458, 468,468, 4473,73, 4478,78, 5519,19, 8866,66, R23 aanalyzingnalyzing 1146,46, 1150,50, 388,388, 404,404, 6644,44, 529, 538, 5545,45, 55551,1, 553, 560,560, 565,565, 573,573, aaboutbout aauthor’suthor’s bbeliefseliefs 423, 427, 553, INDEX OF SKILLS 8800,00, 880303 5575,75, 591,591, 599,599, 609,609, 620, 628, 65656,6, 6667,67, 556161 CCharacteristicsharacteristics ofof texts,texts, analyzinganalyzing R24 6673,73, 715,715, 723, 732, 752, 759,759, 763,763, 7776,76, aaboutbout aauthor’suthor’s mmeaningeaning 11107,107, 11109109 CCharacterization,haracterization, analyzinganalyzing 7769,69, 7777,77, 7785,85, 792,792, 798,798, 803,803, 827, 840,840, 847,847, 853, aaboutbout mmeaningeaning 85851,1, 853, 1332,1332, 13391339 9967,67, 976,976, 1305,1305, 13101310 8862,62, 8870,70, 874,874, 879,879, 930, 935, 942,942, 955, aaboutbout tthemeheme 305, 312312 CCharactersharacters 95959,9, 9975,75, 980,980, 990,990, 997,997, 11002,002, 11008,008, EEvaluatingvaluating 551,1, 72,72, 779,9, 89,89, 1115,15, 1123,23, 1139,39, ccomparingomparing aandnd ccontrastingontrasting 884949 11053,053, 11075,075, 11085,085, 11092,092, 11096,096, 11100,100, 1144,44, 168,168, 190,190, 195,195, 205,205, 217,217, 2258,58, 2263,63, mmakingaking inferencesinferences aboutabout 11123,123, 11137,137, 11109,109, 11114,114, 11121,121, 11146,146, 11155,155, 11162,162, 11172,172, 2269,69, 2274,74, 2276,76, 2282,82, 2287,87, 2297,97, 3300,00, 3304,04, 11272,272, 11275275 11183,183, 1189,1189, 1198,1198, 1205,1205, 1245,1245, 1254,1254, 3311,11, 336,336, 368,368, 3387,87, 4403,03, 4409,09, 4412,12, 4422,22, mmappingapping 11305305 11261,261, 1270,1270, 1275,1275, 1282,1282, 1292,1292, 1302,1302, 4427,27, 4436,36, 4441,41, 4448,48, 4450,50, 4468,68, 4473,73, 4478,78, rrespondingesponding toto 2210,10, 2217,17, 383877 11309,309, 1317,1317, 1323,1323, 1330,1330, 1332,1332, 1338,1338, 5519,19, 529,529, 538,538, 5545,45, 5551,51, 5560,60, 5573,73, 5575,75, CChronologicalhronological orderorder 423, R22, R23 11352,352, 11359,359, 11363363 5591,91, 599,599, 609,609, 620,620, 628,628, 6647,47, 6656,56, 6667,67, CClarifyinglarifying meaningmeaning 26260,0, 264,264, 952, 957,957, ttoo contemporarycontemporary iissuesssues 551,1, 623, 628, 6673,73, 715,715, 723,723, 732,732, 7741,41, 7752,52, 7759,59, 7763,63, 95959,9, 980,980, 9983,83, 11185,185, 11190,190, 11279,279, 11282282 7741,41, 985,985, 991,991, 11046,046, 11053,053, 1314,1314, 11317317 7776,76, 785,785, 792,792, 798,798, 8803,03, 8827,27, 8832,32, 8840,40, CComparingomparing andand contrastingcontrasting 11314314 ttoo ppersonalersonal eexperiencexperience 1142,42, 26266,6, 8847,47, 853,853, 862,862, 870,870, 879,879, 930,930, 935,935, 942,942, AAuthors’uthors’ cultureculture 6688 26269,9, 999,999, 1002,1002, 1345,1345, 1353,1353, R21R21 9950,50, 955,955, 959,959, 975,975, 983,983, 990,990, 997,997, 1002,1002, BBigig IdeaIdea treatmentstreatments 554,4, 668,8, 45454,4, 4463,63, ttoo readingreading selectionsselections 223,3, 54,54, 74,74, 883,3, 11008,008, 1053,1053, 1065,1065, 11075,075, 11078,078, 1085,1085, 62621,1, 643,643, 875,875, 8887,87, 938, 9947,47, 11044,044, 993,3, 116,116, 124,124, 1146,46, 1154,54, 1172,72, 1197,97, 2210,10, 11092,092, 11096,096, 11100,100, 11104,104, 11109,109, 11114,114, 11121,121, 11061,061, 1257,1257, 12661266 2255,55, 260,260, 266,266, 284,284, 294,294, 301,301, 3305,05, 3316,16, 11146,146, 11155,155, 11162,162, 11172,172, 11183,183, 11189,189, 11198,198, ccharactersharacters 884949 4412,12, 415,415, 425,425, 438,438, 446,446, 454,454, 456,456, 465,465, 11205,205, 1245,1245, 11254,254, 11261,261, 11270,270, 11275,275, cculturesultures 554,4, 668,8, 45454,4, 4463,63, 62621,1, 6643,43, 4470,70, 475,475, 517,517, 520,520, 533,533, 543,543, 547,547, 587,587, 11282,282, 1292,1292, 1302,1302, 1309,1309, 11317,317, 11323,323, 11044,044, 11061,061, 11257,257, 11266266 5593,93, 603,603, 615,615, 6621,21, 6623,23, 6647,47, 649,649, 660,660, 11338,338, 1343,1343, 1352,1352, 1359,1359, 11363363 ggenresenres 221,1, 91,91, 153,153, 209,209, 253, 315,315, 406,406, 7709,09, 718,718, 726,726, 743,743, 7755,55, 7769,69, 7781,81, 7796,96, aargumentrgument 1124,24, 140,140, 456,456, 458,458, 726, 429, 453, 6613,13, 7767,67, 8849,49, 9965,65, 11067,067, 8800,00, 804,804, 8832,32, 834,834, 843,843, 8851,51, 8866,66, 8871,71, 733 11277277 8875,75, 876,876, 923,923, 931,931, 9938,38, 9940,40, 9950,50, 9952,52, aauthor’suthor’s craftcraft 336, 351351 hhistoricalistorical ccontextsontexts 938, 947947 9957,57, 962,962, 967,967, 9980,80, 9985,85, 9995,95, 9999,99, aauthor’suthor’s sstatementstatements R24 iimagerymagery 8875,75, 887,887, 995,995, 997,997, 1094,1094, 11004,004, 11044,044, 11046,046, 11065,065, 11069,069, 11078,078, ccredibilityredibility 1150,50, 337,337, 351,351, 6660,60, 6668,68, 11096096 11090,090, 11094,094, 11098,098, 11104,104, 11107,107, 11110,110, R24 lliteraryiterary ttraditionsraditions 8875,75, 888787 11118,118, 1123,1123, 1139,1139, 11150,150, 11156,156, 11167,167, 11175,175, hhistoricalistorical inflinfl uencesuences 5, 670,670, 829, pprofirofi lesles 11257,257, 11266266 11185,185, 1193,1193, 1201,1201, 1243,1243, 1257,1257, 11259,259, 9960,60, 10421042 sspeakerspeakers 28280,0, 282 11268,268, 1272,1272, 1279,1279, 11285,285, 11296,296, 11305,305, iimagerymagery 115050 sstyletyle 62621,1, 643643 11314,314, 1319,1319, 1328,1328, 1343,1343, 1345,1345, 13561356 rrhetoricalhetorical ddevicesevices 8871,71, 874874 tthemeshemes 554,4, 423, 45454,4, 4463,63, 938, 994747 CConnotation,onnotation, examiningexamining 27271,1, 274,274, 948948 ssoundound devicesdevices 11328,328, 11330330 ttoneone 26269,9, 11044,044, 10611061 CContrastingontrasting images,images, analyzinganalyzing 255 EEvidence,vidence, analyzinganalyzing 11078,078, 11086086 vvisualizationsisualizations 755 CCredibility,redibility, eevaluatingvaluating 1150,50, 337,337, 351,351, EExaminingxamining CComparison-contrastomparison-contrast orderorder R22 6660,60, 668,668, R24 cconnotationonnotation 27271,1, 274,274, 948948 CComprehension,omprehension, monitoringmonitoring 1172,72, 192,192, CCultures,ultures, comparingcomparing andand ddenotationenotation 27271,1, 274,274, 948948 5547,47, 551,551, 718,718, 724, 952, 955 ccontrastingontrasting 554,4, 668,8, 45454,4, 4463,63, 62621,1, FFactact andand opinion,opinion, distinguishingdistinguishing 4410,10, CConclusions,onclusions, drawingdrawing 20209,9, 298,298, 300, 6643,43, 11044,044, 11061,061, 11257,257, 11266266 6649,49, 65657,7, 1167,1167, 11721172 305, 3312,12, 423, 427, 553, 561,561, 85851,1, 853, CCulturalultural context,context, aanalyzingnalyzing 668,8, 752 FFaultyaulty rreasoning,easoning, rrecognizingecognizing R25 8866,66, 1107,1107, 1109,1109, 1332,1332, 1339,1339, R23 DDenotation,enotation, eexaminingxamining 27271,1, 274,274, 948948 FFigurativeigurative languagelanguage

R90 INDEX OF SKILLS

R085-R094 EMSKILLS-845482.indd 90 2/5/07 4:11:20 PM aanalyzingnalyzing 8843,43, 8847,47, 11110,110, 11115115 mmainain ideasideas (in(in poems)poems) 253 LLogicalogical ssequenceequence R23 OF SKILLS INDEX iidentifyingdentifying 884343 pproblemroblem andand solutionsolution 5517,17, 519,519, 736 MMainain ideasideas 352 FFiguresigures ofof speech,speech, analyzinganalyzing 29294,4, 297,297, ssequenceequence 23, 52, 11319,319, 11324324 ddeterminingetermining 28284,4, 28288,8, 6670,70, R23 43431,1, 11201,201, 11206206 IImagerymagery ddeterminingetermining ((inin ppoems)oems) 253 GGeneralizations,eneralizations, makingmaking 6615,15, 620, 1004,1004, aanalyzingnalyzing andand evaluatingevaluating 115050 MMakingaking generalizationsgeneralizations 6615,15, 620, 1004,1004, 11009,009, 1259,1259, 1261,1261, R23 ccomparingomparing andand contrastingcontrasting 8875,75, 11009,009, 1259,1259, 1261,1261, R23 GGenresenres 8887,87, 995,995, 997,997, 1094,1094, 10961096 MMakingaking iinferencesnferences 449, 451,451, R23 ccomparing/contrastingomparing/contrasting 221,1, 991,1, 1153,53, iinterpretingnterpreting 5593,93, 6600,00, 7709,09, 7716,16, 11356,356, aaboutbout ccharactersharacters 11123,123, 1137,1137, 11272,272, 20209,9, 253, 315,315, 4406,06, 429, 453, 6613,13, 7767,67, 11359359 11275275 8849,49, 9965,65, 11067,067, 11277277 IIndependentndependent rreadingeading 228–229, 423, aaboutbout tthemeheme 774,4, 80,80, 438, 442, 575,575, iidentifyingdentifying (Romantic(Romantic poetry)poetry) 7781,81, 492–493, 684–685,684–685, 898–899,898–899, 1009,1009, 558484 778585 11020–1021,020–1021, 11116,116, 11218–1219,218–1219, 11359,359, MMakingaking predictionspredictions 11139,139, 1147,1147, R23 GGraphicraphic organizersorganizers 6644,44, R2R21–R221–R22 11374–1375374–1375 MMapping,apping, characterscharacters 11305305 ccharacterharacter (map)(map) 776969 IInferringnferring. See Making inferences. MMeaningeaning ccharthart 23, 669,9, 774,4, 83, 1124,24, 1172,72, 1197,97, IInformation,nformation, ssynthesizingynthesizing 11101,101, 1247,1247, cclarifyinglarifying 26260,0, 264,264, 952, 957,957, 959,959, 255, 263, 264,264, 266,266, 276,276, 280,280, 294,294, 11255,255, R23 9980,80, 9983,83, 11185,185, 1190,1190, 1279,1279, 12821282 305, 352, 36369,9, 387,387, 38388,8, 4406,06, 4410,10, 4415,15, IInterpretingnterpreting 551,1, 72, 79,79, 89,89, 115,115, 123,123, 139,139, ddrawingrawing conclusionsconclusions aaboutbout 85851,1, 853, 425, 431,431, 438, 446,446, 451,451, 456,456, 465,465, 475,475, 1144,44, 150,150, 168,168, 190,190, 195,195, 205, 217,217, 258,258, 11332,332, 13391339 5517,17, 533, 547,547, 553, 565,565, 603,603, 623, 709,709, 263, 269,269, 274,274, 276,276, 282, 287,287, 297,297, 300, rrestatingestating 262600 9948,48, 11046,046, 11078,078, 11118,118, 11247,247, 11259,259, 30304,4, 311,311, 336, 351,351, 368,368, 387,387, 403,403, 409,409, MMetaphorsetaphors 11268,268, 1296,1296, 1328,1328, 1332,1332, 1345,1345, 13601360 4412,12, 422, 427, 436,436, 441,441, 448, 45450,0, 45458,8, aanalyzingnalyzing 11110,110, 11115115 cchecklisthecklist 333377 4468,68, 4473,73, 4478,78, 5519,19, 529, 538, 5545,45, 55551,1, iidentifyingdentifying 11110110 ccompare-contrastompare-contrast chartchart 282800 5560,60, 5573,73, 575,575, 591,591, 599,599, 609,609, 620, 628, MModesodes ooff rreasoning,easoning, aanalyzingnalyzing cconceptoncept webweb 93931,1, 9940,40, 13051305 6647,47, 656,656, 667,667, 673,673, 715,715, 723, 732, 741,741, R24–R25 ccontinuumontinuum 111616 752, 759,759, 763,763, 776,776, 785,785, 792,792, 798,798, 803,803, MMonitoringonitoring ccomprehensionomprehension 1172,72, 192,192, ddiagramiagram 52, 260,260, 12431243 827, 832, 8840,40, 8847,47, 853, 862,862, 870,870, 8874,74, 5547,47, 551,551, 718,718, 724, 952, 955,955, R21R21 ddouble-entryouble-entry jjournalournal 998585 8879,79, 930, 935, 942,942, 950,950, 955, 959,959, 962,962, MMoodood FFoldablesoldables 118,8, 250,250, 514,514, 706,706, 920, 9975,75, 983,983, 990,990, 997,997, 11002,002, 11008,008, 11053,053, aanalyzingnalyzing 7796,96, 798,798, 923, 930 11042,042, 1240,1240, R26–R29 11065,065, 11075,075, 11078,078, 11085,085, 11092,092, 11096,096, rrespondingesponding toto 8800 iideadea webweb 282844 11100,100, 11104,104, 11109,109, 11114,114, 11121,121, 11146,146, OObjectivity,bjectivity, aanalyzingnalyzing 111616 mmapap 11,, 2 11155,155, 1162,1162, 1172,1172, 11183,183, 1189,1189, 11198,198, OOrderrder ooff iimportancemportance ssequenceequence R23 mmoodood graphicgraphic 116969 11205,205, 1245,1245, 1254,1254, 11261,261, 11270,270, 11275,275, PParaphrasingaraphrasing 93, 1115,15, 4473,73, 5587,87, 5592,92, pparaphrasearaphrase chartchart 558787 11282,282, 1292,1292, 1302,1302, 1309,1309, 11317,317, 1319,1319, 9980,80, R23, R3R377 rresponse-evidenceesponse-evidence chartchart 221010 11330,330, 1338,1338, 1343,1343, 1352,1352, 1359,1359, 13631363 PPatternattern ofof organization,organization, analyzinganalyzing R24 ssequenceequence chartchart 11319319 iimagerymagery 5593,93, 6600,00, 7709,09, 716,716, 1356,1356, PPatterns,atterns, determiningdetermining 887676 VVennenn diagramdiagram 755, 13141314 11359359 PPersuasiveersuasive techniques,techniques, analyzinganalyzing R25 wwebeb diagramdiagram 1191,91, 12721272 ttoneone 11150150 PPredictingredicting 36369,9, 387387 wwordord webweb 272711 IInvestigating,nvestigating, aauthor’suthor’s bbackgroundackground R24 PPredictionsredictions HHistoricalistorical ccontextontext LLanguage,anguage, analyzinganalyzing 11268,268, 11270270 mmakingaking 11139,139, 1147,1147, R23 aanalyzingnalyzing 1193,93, 7760,60, 776464 LLiteraryiterary criticismcriticism 118,8, 123,123, 265, 297,297, 4405,05, vverifyingerifying 11139139 ccomparingomparing andand contrastingcontrasting 938, 947947 5583,83, 669,669, 1367,1367, R24 PPreviewingreviewing 3, 669,9, 1142,42, 4410,10, 4475,75, 4479,79, HHistoricalistorical inflinfl uuences,ences, evaluatingevaluating 5, 6670,70, LLiteraryiterary inflinfl uuences,ences, analyzinganalyzing 996060 6644,44, 736, 9948,48, 1062,1062, 11360360 829, 9960,60, 11042042 LLiteraryiterary rresponseesponse R23R2377 PPrimaryrimary sourcessources 485, 7792,92, 1162,1162, 11254254 IIdentifyingdentifying LLiteraryiterary ttraditions,raditions, ccomparingomparing aandnd PPriorrior kknowledge,nowledge, aactivatingctivating 1197,97, 206,206, aambiguitymbiguity 11340340 ccontrastingontrasting 8875,75, 888787 834, 8840,40, 11360,360, R21R21 aassumptionsssumptions 11069,069, 11076,076, 11340340 LLogicalogical rreasoningeasoning PProblemroblem aandnd ssolution,olution, iidentifyingdentifying 5517,17, cclueslues 557575 aanalyzingnalyzing R24–R25 5519,19, 736 fi ggurativeurative languagelanguage 8843,43, 11110110 ddeductiveeductive rreasoningeasoning R24 PProfirofi lles,es, comparingcomparing andand ggenre:enre: RomanticRomantic poetrypoetry 781,781, 785785 iinductivenductive reasoningreasoning R24 ccontrastingontrasting 11257,257, 11266266

INDEX OF SKILLS R91

R085-R094 EMSKILLS-845482.indd 91 2/5/07 4:12:00 PM QQuestioninguestioning 44446,6, 448, 5543,43, 5547,47, 11098,098, 11205,205, 1245,1245, 1254,1254, 11261,261, 11270,270, 11275,275, SSupportingupporting ddetails,etails, ddeterminingetermining 28284,4, 11243,243, 11245245 11282,282, 1292,1292, 1302,1302, 1309,1309, 11317,317, 1319,1319, 28288,8, 6670,70, R23 RReadingeading checkcheck 7, 113,3, 15,15, 17,17, 239, 24241,1, 11330,330, 1338,1338, 1343,1343, 1352,1352, 1359,1359, 13631363 SSyntax,yntax, aanalyzingnalyzing 95957,7, R24 245, 24247,7, 249, 5503,03, 5505,05, 5509,09, 5511,11, 5513,13, ttoo ccharactersharacters 2210,10, 221717 SSynthesizingynthesizing iinformationnformation 11101,101, 1247,1247, 6695,95, 6697,97, 7701,01, 7703,03, 7705,05, 9909,09, 9911,11, 9915,15, ttoo lliteratureiterature R23 11255,255, R23 9917,17, 919,919, 1031,1031, 1033,1033, 1037,1037, 1039,1039, 1041,1041, ttoo moodmood 8800 TTextext structurestructure 11231,231, 1235,1235, 1237,1237, 12391239 ttoo tonetone 30301,1, 304304 aanalyzingnalyzing 255, 258,258, 415,415, 423, 565,565, RReadingeading graphicalgraphical informationinformation 8, 9, RRestating,estating, mmeaningeaning 262600 5574,74, 1062,1062, R22 24240,0, 241,241, 5504,04, 5505,05, 6698,98, 6699,99, 9910,10, 9911,11, RReviewingeviewing 8804,04, 828 ccause-and-effectause-and-effect orderorder 423, R22 INDEX OF SKILLS 11032,032, 1033,1033, 1230,1230, 11231,231, R22 RRhetoricalhetorical ddevices,evices, eevaluatingvaluating 8871,71, 874874 cchronologicalhronological oorderrder 423, R22 RReadingeading processprocess R20–R25 SSemanticemantic ffeatureseatures aanalysisnalysis R2R211 ccomparison-contrastomparison-contrast orderorder 423, R22 RRecallingecalling 551,1, 72, 79,79, 89,89, 115,115, 123,123, 139,139, SSensoryensory ddetails,etails, aanalyzingnalyzing 7786,86, 1175,1175, sspatialpatial orderorder 423, 531,531, R23 1144,44, 150,150, 168,168, 190,190, 195,195, 205, 217,217, 258,258, 11183183 TThemeheme 263, 269,269, 274,274, 276,276, 282, 287,287, 297,297, 300, SSequenceequence R23 aanalyzingnalyzing 114141 30304,4, 311,311, 336, 351,351, 368,368, 387,387, 403,403, 409,409, iidentifyingdentifying 23, 52, 11319,319, 11324324 ccomparingomparing aandnd ccontrastingontrasting 4412,12, 422, 427, 436, 441,441, 448, 45450,0, 45458,8, llogicalogical R23 tthemeshemes 554,4, 423, 45454,4, 463,463, 938, 994747 4468,68, 4473,73, 4478,78, 5519,19, 529, 538, 5545,45, 55551,1, SSetting,etting, aanalyzingnalyzing 53 ddrawingrawing conclusionsconclusions aaboutbout 305, 312312 5560,60, 5573,73, 575,575, 591,591, 599,599, 609,609, 620, 628, SSettingetting ppurposeurpose fforor rreadingeading 23, 669,9, 72, mmakingaking iinferencesnferences 774,4, 80,80, 438, 442, 6647,47, 656,656, 667,667, 673,673, 715,715, 723, 732, 741,741, 83, 93, 1116,16, 124,124, 1142,42, 1146,46, 1154,54, 1172,72, 5575,75, 558484 752, 759,759, 763,763, 776,776, 785,785, 792,792, 798,798, 803,803, 1193,93, 197,197, 210,210, 255, 260,260, 266,266, 271,271, 276,276, TThesishesis 28284,4, 352 827, 832, 8840,40, 8847,47, 853, 862,862, 870,870, 8874,74, 28280,0, 28284,4, 294,294, 30301,1, 305, 3316,16, 4406,06, 4410,10, See also Main ideas. 8879,79, 930, 935, 942,942, 950,950, 955, 959,959, 962,962, 4415,15, 425, 438, 446,446, 456,456, 465,465, 4470,70, 475,475, TToneone 9975,75, 983,983, 990,990, 997,997, 11002,002, 11008,008, 11053,053, 5517,17, 520, 533, 543,543, 5547,47, 553, 5565,65, 5585,85, aanalyzingnalyzing 1116,16, 123,123, 931,931, 936, 11150,150, 11065,065, 11075,075, 11078,078, 11085,085, 11092,092, 11096,096, 5593,93, 6603,03, 623, 6644,44, 6649,49, 6660,60, 6670,70, 11155155 11100,100, 11104,104, 11109,109, 11114,114, 11121,121, 11146,146, 7709,09, 718,718, 726, 736, 743,743, 755, 7769,69, 7781,81, ccomparingomparing aandnd ccontrastingontrasting 26269,9, 11155,155, 1162,1162, 1172,1172, 1183,1183, 1189,1189, 11198,198, 7796,96, 800,800, 804,804, 829, 834, 843,843, 85851,1, 8866,66, 11044,044, 11061061 11205,205, 1245,1245, 1254,1254, 11261,261, 11270,270, 11275,275, 8871,71, 876,876, 923, 931,931, 940,940, 948,948, 952, 957,957, iinterpretingnterpreting 11150150 11282,282, 1292,1292, 1302,1302, 1309,1309, 11317,317, 1319,1319, 9960,60, 9967,67, 980,980, 985,985, 995,995, 999,999, 11004,004, rrespondingesponding toto 30301,1, 304304 11330,330, 1338,1338, 1343,1343, 1352,1352, 1359,1359, 13631363 11046,046, 11062,062, 11069,069, 11090,090, 11094,094, 11098,098, VVerifyingerifying ppredictionsredictions 11139139 RRecognizingecognizing 11101,101, 1107,1107, 1110,1110, 1118,1118, 1139,1139, 11150,150, 11156,156, VVisualizations,isualizations, comparingcomparing aandnd AAuthor’suthor’s purposepurpose 1154,54, 169,169, 854,854, 863,863, 11167,167, 1175,1175, 1185,1185, 1193,1193, 1201,1201, 1243,1243, ccontrastingontrasting 755 11098,098, 1100,1100, R24 11259,259, 1268,1268, 1272,1272, 1279,1279, 1285,1285, 1296,1296, VVisualizingisualizing 520, 530, 755, 7759,59, 11156,156, bbiasias 11193,193, 11198,198, R25 11305,305, 1314,1314, 1319,1319, 1328,1328, 1332,1332, 1340,1340, 11163,163, 11296,296, 11303303 ffaultyaulty reasoningreasoning R25 11345,345, 1356,1356, 1360,1360, R21R21 WWho,ho, wwhat,hat, wwhy,hy, wwhere,here, aandnd wwhenhen RRespondingesponding 551,1, 72, 79,79, 89,89, 115,115, 123,123, 139,139, SSignalignal wordswords R22 qquestionsuestions R23 1144,44, 150,150, 168,168, 190,190, 195,195, 205, 217,217, 258,258, SSilentilent readingreading R23 WWordord choice,choice, analyzinganalyzing R24 263, 269,269, 274,274, 276,276, 282, 287,287, 297,297, 300, SSkimmingkimming R2R211 30304,4, 311,311, 336, 351,351, 368,368, 387,387, 403,403, 412,412, SSoundound devicesdevices Vocabulary 422, 427, 436, 441,441, 448, 450,450, 458,458, 468,468, aanalyzingnalyzing 27276,6, 278,278, 458,458, 8876,76, 887979 4473,73, 478,478, 490,490, 519,519, 529, 538, 5545,45, 55551,1, eevaluatingvaluating 11328,328, 11330330 AAcademiccademic vvocabularyocabulary 52, 880,0, 1140,40, 1169,69, 5560,60, 5573,73, 575,575, 591,591, 599,599, 609,609, 620, 628, SSpatialpatial orderorder 423, 531,531, R23 1192,92, 206,206, 278,278, 282, 300, 4404,04, 43437,7, 442, 6647,47, 656,656, 667,667, 673,673, 715,715, 723, 732, 741,741, SSpeakers,peakers, ccomparingomparing aandnd 448, 45451,1, 45458,8, 4479,79, 5519,19, 530, 539, 5561,61, 752, 759,759, 763,763, 776,776, 785,785, 792,792, 798,798, 803,803, ccontrastingontrasting 28280,0, 282 5574,74, 584,584, 592,592, 600,600, 610,610, 657,657, 716,716, 724, 827, 832, 8840,40, 8847,47, 853, 862,862, 870,870, 8874,74, SStyletyle 733, 753, 7764,64, 7793,93, 7798,98, 8803,03, 828, 853, 8879,79, 930, 935, 942,942, 950,950, 955, 959,959, 962,962, aanalyzingnalyzing 9942,42, 11118,118, 11121121 8863,63, 936, 9942,42, 959,959, 991,991, 997,997, 1009,1009, 9975,75, 983,983, 990,990, 997,997, 11002,002, 11008,008, 11053,053, ccomparingomparing andand contrastingcontrasting 62621,1, 643643 11086,086, 11092,092, 11109,109, 11115,115, 11137,137, 11147,147, 11065,065, 11075,075, 11078,078, 11085,085, 11092,092, 11096,096, SSubheads,ubheads, rreadingeading 736, 10621062 11163,163, 1190,1190, 1206,1206, 1245,1245, 1261,1261, 1275,1275, 11100,100, 11104,104, 11109,109, 11114,114, 11121,121, 11146,146, SSummarizingummarizing 83, 889,9, 425, 5517,17, 533, 539, 11282,282, 1293,1293, 1310,1310, 11324,324, 1339,1339, 1353,1353, 11155,155, 1162,1162, 1172,1172, 1183,1183, 1189,1189, 11198,198, 8804,04, R23 R82–R8R82–R844

R92 INDEX OF SKILLS

R085-R099 EMSKILLS-845482.indd 92 2/6/07 11:19:55 AM AAnalogiesnalogies 23, 52, 774,4, 80,80, 889,9, 1124,24, 1140,40, VVocabularyocabulary referencereference materialsmaterials R20 eemotionalmotional 6675,75, 6677,77, 667878 OF SKILLS INDEX 1197,97, 206,206, 210,210, 217,217, 260,260, 264,264, 271,271, 274,274, tthesaurushesaurus 554141 eethicalthical 6676,76, 667777 438, 442, 444, 4475,75, 4479,79, 553, 5561,61, 5593,93, WWordord originsorigins 73, 83, 26266,6, 269,269, 301,301, 30304,4, llogicalogical 6675,75, 6677,77, 667878 6600,00, 7709,09, 716,716, 843,843, 847,847, 923, 930, 9999,99, 33337,7, 351,351, 5547,47, 55551,1, 735, 769,769, 777,777, 781,781, AApplyingpplying 11002,002, 1046,1046, 1053,1053, 1078,1078, 11086,086, 1123,1123, 7785,85, 847,847, 871,871, 952, 955, 980,980, 983,983, 993,993, fformorm 752, 874874 11137,137, 1185,1185, 1190,1190, 1268,1268, 1270,1270, 1305,1305, 11150,150, 1155,1155, 1175,1175, 1285,1285, 1293,1293, 1319,1319, sstyletyle 11256256 11310,310, 1332,1332, 1339,1339, R1 11324,324, R20 tthemeheme 752 AAnglo-Saxonnglo-Saxon wwordord ppartsarts 73, 154154 WWordord partsparts 73, 1154,54, 169,169, 284,284, 288,288, 316,316, AArgumentrgument 667474 See also PPersuasiveersuasive AAntonymsntonyms 1146,46, 352, 368,368, 520, 530, 543,543, 336, 533, 539, 623623,, 735, 7743,43, 752, 832, WWriting.riting. 5545,45, 6615,15, 620, 649,649, 657,657, 781,781, 793,793, 1139,1139, 8840,40, 9985,85, 9991,91, 11069,069, 11076,076, 11148,148, 1183,1183, oorganizingrganizing 667777 11147147 11345,345, 1353,1353, R20 AAudienceudience 2219,19, 481,481, 675,675, 677,677, 889,889, 1011,1011, BBasease wordswords R20 11209,209, 13651365 CConnotationonnotation 27271,1, 274,274, 611,611, 660,660, 668,668, Writing AAuthor’suthor’s craftcraft 726, 733, 1247,1247, 1255,1255, R4, R20 eevaluatingvaluating 336, 35351,1, 4479,79, 5574,74, 585,585, CContextontext cluesclues 1116,16, 123,123, 305, 312,312, 38388,8, AActionction verbsverbs 11214214 6601,01, 628, 864,864, 879,879, 977,977, 11116,116, 11155,155, 4404,04, 425, 427, 4470,70, 4473,73, 5585,85, 5592,92, 6603,03, AActivective voicevoice 889595 11245,245, 1275,1275, 13541354 6610,10, 804,804, 828, 866,866, 870,870, 931,931, 936, 967,967, AAnalysisnalysis rrespondingesponding toto 884747 9976,76, 11094,094, 11096,096, 11110,110, 11115,115, 11167,167, 11172,172, ooff culturalcultural contextcontext 4463,63, 10611061 AAuthor’suthor’s ppurpose,urpose, eexploringxploring 1115,15, 170,170, 11201,201, 1206,1206, 1296,1296, 1303,1303, R20 lliteraryiterary 11010–1017010–1017 11009,009, 11087087 ccontrastontrast 202077 ppersonalersonal 888989 BBackgroundackground 6678,78, 11014014 eexamplexample 202077 sstyletyle 664343 BBibliography,ibliography, workingworking R36–R3R36–R377 rrestatementestatement 202077 tthemeheme 994747 BBibliographyibliography cardcard R36 ssynonymynonym 202077 AAnalyzingnalyzing BBlanklank verseverse 440505 DDenotationenotation 27271,1, 274,274, 611,611, 660,660, 668,668, 726, ccharacterharacter 11137,137, 13391339 BBrainstormingrainstorming 8847,47, 1311,1311, 1367,1367, R30 733, 1247,1247, 1255,1255, R4, R20 ccomicomic ddevicesevices 11198198 BBusinessusiness e-maile-mail R45 EEtymologytymology 26266,6, 301,301, 337,337, 547,547, 781,781, 993,993, ccoupletsouplets 300 BBusinessusiness writingwriting 11148148 cculturalultural ccontextontext 4463,63, 992,992, 10611061 bbusinessusiness ee-mail-mail R45 GGreekreek rootsroots (word(word parts)parts) 1154,54, 304,304, 735 fi ggurativeurative languagelanguage 11303303 jjobob applicationapplication R44 HHomophonesomophones 11312312 ggenreenre elementselements 1150,50, 217,217, 264,264, 540,540, lletteretter ooff aapplicationpplication R42 LLatinatin rootsroots (word(word parts)parts) 1154,54, 169,169, 304,304, 6669,69, 7778,78, 1092,1092, 13251325 mmemosemos R45 539, 735 hhistoricalistorical ccontextontext 999292 rrésuméésumé R43 MMathath andand sciencescience termsterms 11148148 hhumorumor 11198198 CCallall forfor actionaction 667777 MMiddleiddle EnglishEnglish wordword partsparts 990–91,0–91, 1169,69, iimagerymagery 11147147 CCharacterharacter 303044 mmoodood 272788 aanalyzingnalyzing 11137,137, 13391339 OOldld EnglishEnglish rootsroots 73, 304304 pplotlot 11183183 ccomparing/contrastingomparing/contrasting 11294294 PPoliticalolitical aandnd hhistoricalistorical ttermserms 999393 ppoemoem fforor lliteraryiterary aanalysisnalysis 11013013 ddescribingescribing 11210,210, 11212212 PPrefirefi xesxes 533, 623, 735, 832, R20 pprofessionalrofessional writingwriting modelmodel 2219–220,19–220, rrespondingesponding toto 620 RRootsoots 533, 623, 735, 832, 11481148 6675–676,75–676, 889–890,889–890, 1011–1012,1011–1012, CChronologicalhronological oorder,rder, cclarifyinglarifying SSuffiuffi xesxes 3316,16, 336, 533, 623, 735, 832, 11209–1211,209–1211, 1365–13661365–1366 wwithith 11219219 11148,148, R20 ssettingetting 53, 531531 CCiting,iting, ttitlesitles 11371371 SSynonymsynonyms 93, 115,115, 172,172, 192,192, 207,207, 255, ssoundound ddevicesevices 1192,92, 458,458, 794794 CCitingiting sourcessources 484899 25258,8, 294,294, 297,297, 369,369, 387,387, 415,415, 423, 431,431, sstyletyle 664343 CClarifyinglarifying wwithith cchronologicalhronological 43437,7, 465,465, 4468,68, 5541,41, 5565,65, 5574,74, 584,584, 718,718, tthemeheme 114141 oorderrder 11219219 724, 85851,1, 8863,63, 8876,76, 8879,79, 11098,098, 11100,100, tthesishesis 734 CClimaxlimax 11211,211, 11213213 11118,118, 1121,1121, 1156,1156, 1163,1163, 11193,193, 11198,198, 11314,314, ttoneone 43437,7, 931,931, 13171317 CClusteringlustering R30 11317,317, 1328,1328, 1330,1330, 1356,1356, 13591359 wworkshoporkshop wwritingriting mmodelodel 222–223, CCMS-citationMS-citation sstyletyle R4R400 TThesaurushesaurus 483, 678–679,678–679, 892–893,892–893, 1014–1015,1014–1015, CComicomic devices,devices, analyzinganalyzing 11198198 ddictionaryictionary stylestyle 554141 11212–1213,212–1213, 11368–1369368–1369 CComparing/contrastingomparing/contrasting ttraditionalraditional stylestyle 554141 AAPA-citationPA-citation stylestyle R4R411 ccharactersharacters 11294294 AAppealsppeals

INDEX OF SKILLS R93

R085-R099 EMSKILLS-845482.indd 93 2/6/07 11:20:10 AM iideasdeas 661010 DDirectirect quotationsquotations 485, 48489,9, 11011,011, 1017,1017, GGenreenre eelements,lements, analyzinganalyzing 1150,50, 2217,17, iimagerymagery 779898 11366,366, 1369,1369, R37R37 26264,4, 5540,40, 6669,69, 7778,78, 11092,092, 11325325 mmotifsotifs 331313 DDocumentingocumenting ssourcesources 48487,7, R36, GGraphicraphic organizerorganizer ppoemsoems 11109109 R38–R4R38–R411 ccharthart 53, 1192,92, 221,221, 26264,4, 3313,13, 43437,7, 4479,79, pprofirofi lesles 11266266 DDraftingrafting 222–223, 483–48483–486,6, 6678–679,78–679, 6669,69, 7716,16, 724, 828, 992,992, 11311,311, 11354354 sstyletyle 656577 8892–893,92–893, 11014–1015,014–1015, 11212–1213,212–1213, cclusterluster diagramdiagram 484811 tthemeheme 423, 724, 759759 11368–1369,368–1369, R31R31 cconceptoncept webweb 93937,7, 11371137 tthemeheme andand tonetone 11207207 DDrawraw conclusionsconclusions 11013013 ddiagramiagram 11294294 ttoneone 26269,9, 4468,68, 724 EEditingditing 225, 48489,9, 6681,81, 895,895, 1017,1017, 1215,1215, ddouble-entryouble-entry jjournalournal 998585 INDEX OF SKILLS CConclusiononclusion 220, 48486,6, 8893,93, 11012,012, 11015,015, 11371,371, R32 pprewritingrewriting 53, 20206,6, 53531,1, 5540,40, 6677,77, 11366,366, 11369369 EElaborationlaboration 11013013 734, 1325,1325, 13391339 ddrawraw andand elaborateelaborate 11013013 wwithith aanecdotesnecdotes 220 VVennenn diagramdiagram 661010 CConflonfl ictict wwithith ddescriptiveescriptive ddetailsetails 222, 224 HHeadingeading R34 ccreatingreating andand resolvingresolving 11208–1215208–1215 EEmotionalmotional appealappeal 6675,75, 6677,77, 667979 HHistoricalistorical iinvestigationnvestigation 48480–4890–489 rrespondingesponding toto 11164164 EEssayssay 282844 HHumor,umor, analyzinganalyzing 11198198 CConnecting,onnecting, toto thesisthesis 11369369 ddescriptiveescriptive 2218–22418–224 IIdeasdeas R33 CContemporaryontemporary relevance,relevance, ppersuasiveersuasive 6674–68174–681 ccompare/contrastompare/contrast 661010 eevaluatingvaluating 20206,6, 519,519, 828 rreflefl ectiveective 8888–89588–895 ddescribingescribing 222211 CConventionsonventions R34 EEthicalthical appealappeal 6676,76, 667777 eexploringxploring 48481,1, 891891 CConversationalonversational tonetone 223, 890,890, 13651365 EEvaluatingvaluating fi ndingnding 22221,1, 11212212 CCounterargumentsounterarguments 6676,76, 679679 aargumentrgument 443 IImagerymagery 27274,4, 437,437, 562,562, 798798 CCreativereative writingwriting aauthor’suthor’s craftcraft 336, 35351,1, 4479,79, 5574,74, 585,585, aanalyzingnalyzing 11147147 bblanklank verseverse 440505 6601,01, 628, 864,864, 879,879, 977,977, 11116,116, 11155,155, ccomparisonomparison 888787 cclassifilassifi eedd advertisementadvertisement 11311311 11245,245, 1275,1275, 13541354 IImpressionmpression ddialogueialogue 222–223, 562,562, 1209,1209, 12121212 ccontemporaryontemporary relevancerelevance 20206,6, 5519,19, cclarifyinglarifying 222211 ddiaryiary entryentry 752 828 ddominantominant 223 eepitaphpitaph 448 a lliteraryiterary wworkork ((criticalcritical rreview)eview) IInformation,nformation, ssearchingearching fforor R36 mmemoemo 827 11364–1371364–1371 IIntroductionntroduction 2219,19, 1365,1365, 13681368 oodede 887474 rrhetoricalhetorical ddevicesevices 282899 IInversionnversion 331313 sscriptedcripted versionversion ofof poemspoems 282 ssoundound ddevicesevices 454511 IIssues,ssues, exploringexploring 667777 sshorthort storystory 11208–1215,208–1215, 12561256 ssourcesources 48481,1, 487,487, R37R37 JJobob applicationapplication R44 ssonnetsonnets 994242 EEvidencevidence. See SupporSupportingting evidence.evidence. JJournal,ournal, ddouble-entryouble-entry 998585 CCriticalritical eevidence,vidence, iidentifyingdentifying 11367367 EExamples,xamples, inin criticalcritical reviewreview 11368368 JJournalists’ournalists’ QQuestionsuestions 484811 CCriticalritical rrevieweview 11364–1371364–1371 EExploringxploring author’sauthor’s purposepurpose 1115,15, 170,170, LLetteretter 661010 CCulturalultural context,context, analysisanalysis 446363 7765,65, 11009,009, 11087087 LLetteretter ofof applicationapplication R42 DDescribingescribing EExpositoryxpository wwritingriting 53, 170,170, 192,192, 206,206, LLiteraryiterary aanalysisnalysis 11010–1017010–1017 ccharacterharacter 11210210 2217,17, 218,218, 224, 264,264, 274,274, 300, 423, 437,437, LLiteraryiterary criticismcriticism 26264,4, 29297,7, 4405,05, 443, ssettingetting 11210210 443, 45451,1, 45458,8, 4468,68, 4479,79, 48480–489,0–489, 5519,19, 734, 8803,03, 8840,40, 8870,70, 9997,97, 11085,085, 11191191 DDescriptiveescriptive detailsdetails 220, 221,221, 222, 223, 5585,85, 5592,92, 6601,01, 610,610, 620, 628, 657,657, 669,669, LLiteraryiterary elementselements 11012,012, 1014,1014, 11015015 224, 890,890, 893893 724, 7765,65, 785,785, 794,794, 8879,79, 8887,87, 937,937, 977,977, LLiteraryiterary iinterpretationnterpretation 8889,89, 892892 DDescriptiveescriptive essayessay 2218–22518–225 9992,92, 11009,009, 11087,087, 11100,100, 11116,116, 11137,137, 11147,147, LLiteraryiterary ppresentresent ttenseense 11013,013, 11371371 DDescriptiveescriptive writingwriting 880,0, 520, 5560,60, 5562,62, 11183,183, 1191,1191, 1198,1198, 1256,1256, 1303,1303, 1354,1354, LLiteraryiterary rresearchesearch ppaper,aper, hhistoricalistorical R35 11364–1371,364–1371, R35 iinvestigationnvestigation 48480–4890–489 DDetailsetails FFictionalictional eelements,lements, ddescribingescribing 11210210 LLogicalogical aappealppeal 6675,75, 667777 ddescriptiveescriptive 220, 222, 223, 890,890, 893893 FFigurativeigurative language,language, analyzinganalyzing 11303303 MMainain ideaidea 253, 284284 oorganizingrganizing 22221,1, 891891 FFirst-personirst-person ppointoint ooff vviewiew 8889,89, 892892 MMainain ppointoint 11015015 ssummarizingummarizing withwith 551717 FFlexibilitylexibility 11368368 MManuscriptanuscript gguidelinesuidelines 225, 489,489, 681,681, DDialogueialogue 222–223, 562,562, 1209,1209, 12121212 FForm,orm, applyingapplying 752, 874,874, 942942 8895,95, 11017,017, 11215,215, 11371,371, R34 ppunctuatingunctuating 11215,215, 11311311 FFreewritingreewriting R30 MMarginsargins R34

R94 INDEX OF SKILLS

R085-R099 EMSKILLS-845482.indd 94 2/5/07 4:14:52 PM MMemoemo R45 PProfessionalrofessional wwritingriting mmodel,odel, RRubricsubrics 2218,18, 224, 480,480, 488,488, 674,674, 680,680, OF SKILLS INDEX wwritingriting 827 aanalyzingnalyzing 2219–220,19–220, 675–676,675–676, 8888,88, 8894,94, 11010,010, 11016,016, 11208,208, 11214,214, 11364,364, MMLA-citationLA-citation sstyletyle R39 8889–890,89–890, 11011–1012,011–1012, 1209–1211,1209–1211, 11370370 MMoodood 11365–1366365–1366 SSatiricatiric writingwriting 5574,74, 777878 aanalyzingnalyzing 272788 PProofreadingroofreading 225, 48489,9, 6681,81, 8895,95, 11017,017, SSecondaryecondary ssourcesources 485, R36 rrespondingesponding toto 880,0, 11282282 11215,215, 11371,371, R32 SSelecting,electing, ppoemoem fforor lliteraryiterary NNarrationarration 11208–1215208–1215 PProofreadingroofreading symbolssymbols R32 aanalysisnalysis 11013013 NNarrativearrative writingwriting R35 PPublishingublishing R32 SSentenceentence fl uencyuency R34 NNoteote cardscards 482, R37R37 PPunctuating,unctuating, titlestitles 11371371 SSentenceentence fragmentsfragments 11215215 NNoteote takingtaking. See Research paper.paper. PPurposeurpose 2219,19, 481,481, 675,675, 889,889, 1011,1011, 1209,1209, SSentencesentences NNumberingumbering R34 11365365 ccompoundompound 11199199 OOpposingpposing pointpoint ofof viewview 11366,366, 11369369 QQuickwriteuickwrite 557,7, 459,459, 462,462, 638, 6642,42, 8881,81, rrun-onun-on 11199199 OOrganizationrganization 223, 443, 484,484, 677,677, 679,679, 8886,86, 945,945, 1058,1058, 12651265 sshort,hort, choppychoppy 225 8891,91, 8892,92, 8893,93, 11012,012, 11013,013, 11015,015, 11369,369, QQuotationsuotations wwordyordy 11016016 R33 ddirectirect 485, 48489,9, 11011,011, 1017,1017, 1366,1366, SSentenceentence structure,structure, varyingvarying 889494 OOutliningutlining 1170,70, 289,289, 443, 482, 891,891, 1164,1164, 11369,369, R37R37 SSettingetting 11367,367, R37–R38R37–R38 lliteraryiterary 484844 aanalyzingnalyzing 53, 531531 PPaceace ofof storystory 11212212 llongong 11017017 ddescribingescribing 11210210 PParagraphsaragraphs 11212212 QQuotinguoting sourcessources 482 rrespondingesponding toto 771616 oorganizationrganization 661010 ppunctuatingunctuating 48489,9, 1017,1017, R37R37 SShorthort storystory 11208–1215208–1215 sstructuretructure 484844 RReflefl ectionection 889191 SSoundound devicesdevices ttransitionsransitions 48488–4898–489 RReflefl eectivective essayessay 8888–89588–895 aanalyzingnalyzing 1192,92, 454588 PParaphrasingaraphrasing 2217,17, 482, 656,656, R37R37 RResearchesearch paperpaper 48480–489,0–489, 992,992, R36–R41R36–R41 eevaluatingvaluating 454511 PPassiveassive voicevoice 889595 RResolutionesolution 11211,211, 11213213 SSourcesources PPeereer reviewreview 224, 48488,8, 8894,94, R3R311 RRespondingesponding ddocumentingocumenting 48487,7, R36, R38–R41R38–R41 PPersonalersonal analysisanalysis 888989 ttoo argumentargument 363688 eevaluatingvaluating 48481,1, 487,487, R37R37 PPersonalersonal opinions,opinions, forfor criticalcritical ttoo aauthor’suthor’s ccraftraft 884747 IInternetnternet 65657,7, 724, 11121,121, 11294294 rrevieweview 11367367 ttoo ccharacterharacter 620 pparaphrasingaraphrasing 482, R37R37 PPersuasiveersuasive writingwriting 427, 6674–681,74–681, 6683,83, ttoo conflconfl ictict 11164164 pprimaryrimary 485 11364–1371,364–1371, R35 ttoo imageryimagery 27274,4, 437,437, 562562 ppunctuatingunctuating qquotationsuotations 48489,9, R37R37 PPlagiarismlagiarism 482, R37R37 ttoo moodmood 880,0, 11282282 qquotinguoting 482, 489,489, R37R37 PPlotlot ttoo pplotlot 363688 ssecondaryecondary 485 aanalyzingnalyzing 11183183 ttoo settingsetting 771616 ssummarizingummarizing 482, R37R37 pplanninglanning 11212212 ttoo themetheme 448, 592,592, 937,937, 1191,1191, 1261,1261, uusingsing varietyvariety ofof 48481,1, 487487 rrespondingesponding toto 363688 11311311 SSpacingpacing R34 PPlotlot summarysummary 11365,365, 11368368 ttoo ttitleitle 11100100 SStyletyle R33 PPoems,oems, comparing/contrastingcomparing/contrasting 11109109 ttoo tonetone 7785,85, 10021002 aanalysisnalysis 664343 PPointoint ofof viewview 11209,209, 11212,212, 11213213 RResponseesponse essayessay 11191191 aapplyingpplying 11256256 aaddingdding evidenceevidence toto supportsupport 11370370 RRésuméésumé R43 ccomparing/contrastingomparing/contrasting 656577 fi rst-personrst-person 8889,89, 892892 RRevieweview 11245245 SSubjectubject 2219,19, 222 oopposingpposing 11366,366, 11369369 RRevisingevising 553,3, 1141,41, 1170,70, 1192,92, 224,224, 289,289, 3313,13, cchoosinghoosing 222211 PPresentationresentation R34 4443,43, 4488–489,88–489, 531,531, 5540,40, 5585,85, 6601,01, 6669,69, SSummarizingummarizing 734, 977,977, 11641164 PPresentingresenting 225, 48489,9, 6681,81, 8895,95, 11017,017, 6680,80, 765,765, 778,778, 794,794, 864,864, 894,894, 937,937, 977,977, iinformationnformation 48484,4, 517517 11215,215, 11371,371, R32 9992,92, 11016,016, 11087,087, 11116,116, 11191,191, 11207,207, 11214,214, pplotlot 11365,365, 11368368 PPresentresent tensetense 11013013 11256,256, 1294,1294, 1311,1311, 1325,1325, 1354,1354, 1370,1370, R31R31 ssourcesources 482, R37R37 PPrewritingrewriting 22221,1, 481–482,481–482, 677,677, 891,891, 1013,1013, RRhetoricalhetorical ddevicesevices 6676,76, 667979 SSupportingupporting evidenceevidence 6679,79, 890,890, 892,892, 11212,212, 11367,367, R30 eevaluatingvaluating 282899 11011,011, 1012,1012, 1014,1014, 1015,1015, 13671367 PPrimaryrimary sourcessources 485, 7792,92, 1162,1162, 11254,254, RRisingising actionaction 11211,211, 11213213 aaddingdding 11370370 R36 ddetailsetails 483, 676676 qquotationsuotations 48484,4, 485, R3R377

INDEX OF SKILLS R95

R085-R099 EMSKILLS-845482.indd 95 2/5/07 4:15:23 PM TThemeheme 11261,261, 1275,1275, 1282,1282, 1294,1294, 1303,1303, 1311,1311, iindirectndirect objectobject R4R477 aanalyzingnalyzing 1141,41, 947947 11317,317, 1325,1325, 1339,1339, 13541354 oobjectbject complementcomplement R4R477 aapplyingpplying 752 WWritingriting processprocess R30–R4R30–R411 ppredicateredicate aadjectivedjective R4R477 ccomparing/contrastingomparing/contrasting 423, 724, ppredicateredicate nnominativeominative R4R477 75759,9, 12071207 Grammar ssubjectubject complementcomplement R4R477 rrespondingesponding toto 448, 592,592, 937,937, 1191,1191, CCompoundompound words,words, formingforming R5R599 11261,261, 11311311 AAbbreviationsbbreviations R5R577 CConjunctiononjunction TThesishesis 482, 483, 6675,75, 677,677, 6678,78, 11011,011, AActivective voicevoice 889595 ccoordinatingoordinating 11088,088, 11116,116, 11199,199, R4R477 11014,014, 13681368 See also VVoice.oice. ccorrelativeorrelative 443, R47R47 INDEX OF SKILLS aanalyzingnalyzing 734 AAdjectivedjective 1170,70, 562,562, R46R46 ssubordinatingubordinating 9978,78, 11116,116, R4R477 cconnectingonnecting toto 11369369 ccomparativeomparative ddegreeegree 11354,354, R46R46 CConjunctiveonjunctive aadverbdverb R4R477 ddevelopingeveloping 11367367 ppositiveositive degreedegree 11354,354, R46R46 CConnotationonnotation 27271,1, 274,274, 611,611, 1173,1173, R4, R20 nnarrowingarrowing 11013013 ppredicateredicate R4R466 CCoordinatingoordinating cconjunctiononjunction 11116,116, R4R477 TThesishesis statementstatement R38 pproperroper R4R466 uusingsing ccommasommas wwithith 11088,088, 11199199 TTitleitle R34 ssuperlativeuperlative degreedegree 11354,354, R46R46 DDanglingangling modifimodifi eersrs 753 ccitingiting 11371371 AAdverbdverb 5562,62, R46R46 DDashash 11087,087, R55 ppunctuatingunctuating 11371371 ccomparativeomparative ddegreeegree R4R466 DDegreesegrees ooff ccomparisonomparison 11354,354, R46R46 rrespondingesponding toto 11100100 cconjunctiveonjunctive R4R477 DDenotationenotation 27271,1, 274,274, 611,611, 1173,1173, R4, R20 TToneone R33 ssuperlativeuperlative degreedegree R4R466 DDialogue,ialogue, ppunctuatingunctuating 11311311 ccomparing/contrastingomparing/contrasting 26269,9, 468,468, AAdverbdverb clauseclause 997878 DDictioniction 4405,05, 585585 724, 12071207 See also Clause. DDirectirect objectobject. See Complement. cconversationalonversational 223, 890,890, 13651365 AAgreementgreement DDoublingoubling fi nnalal consonantconsonant R5R599 rrespondingesponding toto 7785,85, 10021002 ppronoun-antecedentronoun-antecedent 656588 EEllipsisllipsis ppointsoints R5R566 uusingsing appropriateappropriate 668080 ssubject-verbubject-verb 292900 EExclamationxclamation pointpoint 8864,64, R54R54 TTopicopic AAntecedentntecedent 656588 GGerunderund 11164,164, 1325,1325, R48 fi ndingnding 484811 See also Pronoun. HHyphenyphen R5R577 nnarrowingarrowing 484811 AApostrophepostrophe R5R56–R576–R57 IIndirectndirect objectobject. See Complement. sselectingelecting R36 AAppositivesppositives R4R466 IInfinfi nitivenitive R48 TTraitsraits ofof StrongStrong WritingWriting 224, 48488,8, 6680,80, AArticlesrticles ssplitplit 556262 8894,94, 11016,016, 1214,1214, 1370,1370, R33–R34 ddefiefi nitenite R4R466 IInterjectionnterjection 9992,92, R48 TTransitionsransitions 48488–4898–489 iindefindefi nitenite R4R466 IInvertednverted orderorder R48 VVerberb tensetense 11371371 BBracketsrackets R55 IItalicstalics 734, R56R56 VVoiceoice 8890,90, R33 CCapitalizationapitalization R53 fforor titlestitles 11371371 WWordord choicechoice 5585,85, R24, R33 iinn poetrypoetry 939377 LLiteraryiterary ppresentresent ttenseense 11371371 WWordyordy sentencessentences 11016016 CClauselause MModifiodifi eers,rs, danglingdangling 753 WWorks-citedorks-cited listlist 482, 487,487, 489,489, R38 aadjectivedjective R4R477 MMoodood ofof verbverb WWorkshoporkshop model,model, analyzinganalyzing 222–223, aadverbdverb R4R477 iimperativemperative moodmood R48 483, 678–679,678–679, 892–893,892–893, 1014–1015,1014–1015, mmainain R4R466 iindicativendicative moodmood R48 11213,213, 11368–1369368–1369 nnounoun R4R477 ssubjunctiveubjunctive mmoodood R48 WWritingriting aboutabout literatureliterature 53, 880,0, 1115,15, ssubordinateubordinate R4R46,6, R47R47 NNonessentialonessential elementselements 11326326 1141,41, 150,150, 170,170, 192,192, 206,206, 217,217, 264,264, 269,269, CColonolon 9977,77, 1191,1191, 1256,1256, R54R54 NNounoun 5562,62, R48 27274,4, 278,278, 28289,9, 300, 3313,13, 35351,1, 36368,8, 4404,04, CCommaomma R5R54–R554–R55 aabstractbstract R48 423, 427, 437,437, 443, 448, 451,451, 458,458, 468,468, wwithith coordinatingcoordinating ccollectiveollective R48 4479,79, 519,519, 531,531, 540,540, 562,562, 574,574, 5584,84, 5592,92, cconjunctionsonjunctions 11088,088, 11199199 ccommonommon R48 6601,01, 610,610, 620, 628, 657,657, 669,669, 7716,16, 724, wwithith nnonessentialonessential eelementslements 11326326 ccompoundompound R48 734, 752, 759,759, 765,765, 778,778, 785,785, 794,794, 798,798, sserialerial 554040 nnounoun ooff ddirectirect aaddressddress R48 828, 8847,47, 864,864, 874,874, 879,879, 930, 937,937, 942,942, CCommaomma splicesplice 225 ppossessiveossessive R48 9977,77, 992,992, 1002,1002, 1009,1009, 11087,087, 1092,1092, 1100,1100, CComparativeomparative ddegreeegree 11354,354, R46R46 pproperroper R48 11109,109, 11116,116, 11137,137, 11147,147, 11155,155, 11164,164, CComplementomplement NNounoun cclauselause. See Clause. 11183,183, 1191,1191, 1198,1198, 1207,1207, 1245,1245, 1256,1256, ddirectirect objectobject R4R477 NNumberumber R49

R96 INDEX OF SKILLS

R085-R099 EMSKILLS-845482.indd 96 2/5/07 4:15:58 PM OObjectbject complementcomplement. See Complement. ooff dialoguedialogue 11215,215, 11311311 eemphaticmphatic formform R52 OF SKILLS INDEX PParallelismarallelism (parallel(parallel structure)structure) 6601,01, 681,681, ooff quotationsquotations fromfrom sourcessources 48489,9, R37R37 ffutureuture R5R511 776565 ooff ttitlesitles 11371371 ooff irregularirregular verbverb 1151,51, R5R511 PParenthesesarentheses R55 QQuestionuestion markmark R5R544 ppastast R5R511 PParentheticalarenthetical expressionsexpressions 666969 QQuotationuotation marksmarks R5R566 pperfecterfect R5R511 PParticiplearticiple 11325,325, R49 fforor aauthor’suthor’s wordswords R3R377 ppresentresent R5R511 PPartsarts ofof speechspeech iinn ttitlesitles 11371371 pprogressiverogressive formform R5R511 aadjectivesdjectives 1170,70, 562,562, R46R46 RRun-onun-on ssentencesentences 11199199 ooff regularregular verbverb 1151,51, R5R511 aadverbsdverbs 5562,62, R46R46 SSemicolonemicolon 225, 289,289, R54R54 VVoiceoice (of(of verb)verb) nnounsouns 5562,62, R48 SSentenceentence aactivective voicevoice R52 ppronounsronouns 53, R49 ccomplexomplex R5R50–R510–R51 ppassiveassive vvoiceoice 8895,95, R52 vverbserbs 93, 1151,51, 1192,92, 5562,62, R5R511 ccompoundompound 11199,199, R5R500 WWordord choicechoice 5585,85, R24 PPerioderiod R5R544 ccompound-complexompound-complex R5R511 WWordord comparisoncomparison 11294294 PPhrasehrase ddeclarativeeclarative R5R500 WWordyordy sentencessentences 11016016 aabsolutebsolute R49 eexclamatoryxclamatory R5R500 aappositiveppositive R49 iimperativemperative R5R500 Speaking, Listening, ggerunderund R49 iinterrogativenterrogative R5R500 iinfinfi nitivenitive 5562,62, R49 rrun-onun-on 11199199 and Viewing pparticipialarticipial 11325,325, R49 sshort,hort, choppychoppy 225 AActivective llisteningistening 8897,97, 955 pprepositionalrepositional R49 ssimpleimple R5R500 AAdvertisingdvertising ccampaignampaign 282899 vverberb R49 wwordyordy 11016016 AAudience,udience, fforor ooralral ppresentationresentation 11217,217, PPlurals,lurals, formingforming R5R588 SSentenceentence fragmentsfragments 11215215 11373373 PPositiveositive degreedegree 11354,354, R46R46 SSentenceentence sstructuretructure 8894,94, 11199,199, 1294,1294, BBrainstormingrainstorming 11216216 PPossessiveossessive 53 R5R50–R510–R51 BBuildinguilding backgroundbackground 63, 406406 PPossessiveossessive nounnoun. See Noun. SSerialerial commascommas 554040 CCompare/contrast,ompare/contrast, valuevalue systemssystems 770606 PPredicateredicate 93 SSimpleimple llanguageanguage 779494 CCriticalritical rreview,eview, ddeliveringelivering 11372–1373372–1373 ccompleteomplete R49 SSpelling,pelling, rrules,ules, examples,examples, andand CCriticalritical vviewingiewing 1168,68, 190,190, 250,250, 406,406, 409,409, ccompoundompound R49 eexceptionsxceptions fforor R5R58–R608–R60 529, 5560,60, 5585,85, 6667,67, 767,767, 776,776, 935, ssimpleimple R49 SSplitplit infiinfi nnitiveitive 556262 11205,205, 1292,1292, 13231323 PPrefirefi xesxes SSubjectubject DDebateebate 25250,0, 540,540, 920 fformingorming R5R599 ccompleteomplete R5R511 DDiscussioniscussion StarterStarter 661,1, 67,67, 460,460, 634, 883,883, PPrepositionreposition ccompoundompound R5R511 9943,43, 9946,46, 11056,056, 11060,060, 12631263 ccompoundompound R49 ssimpleimple 93, R51R51 EEffectiveffective listeninglistening 11019019 PPrepositionalrepositional phrasephrase. See Phrase. SSubject-verbubject-verb aagreementgreement 292900 EExpositoryxpository ppresentationresentation 226–227 PPresentresent tensetense 11013013 See also VerbVerb tense. SSubjunctiveubjunctive mmoodood. See Mood of verb. GGraphicraphic organizerorganizer lliteraryiterary 11371371 SSuffiuffi xesxes ccharthart 11114,114, 11189189 PPronounronoun 65658,8, R49 aandnd fi nalnal y R5R599 cconceptoncept mapmap 282877 aantecedentntecedent R49 aandnd ssilentilent e R5R599 sstoryboardtoryboard 5511 ddemonstrativeemonstrative R49 SSuperlativeuperlative degreedegree 11354,354, R46R46 ttextext diagramdiagram 331111 iindefindefi nitenite 1141,41, R49–R50R49–R50 VVerberb 93, R51R51 VVennenn diagramdiagram 11352352 iintensiventensive R5R500 aactionction 1192,92, 11214,214, R5R511 GGrouproup ddiscussioniscussion 118,8, 51,51, 52, 61,61, 67,67, 68,68, iinterrogativenterrogative R5R500 aagreement,greement, ssubject-verbubject-verb 292900 779,9, 190,190, 250,250, 287,287, 3311,11, 436, 460,460, 4463,63, nnominativeominative R5R500 aauxiliaryuxiliary R5R511 49491,1, 514,514, 540,540, 573,573, 583,583, 584,584, 609,609, 706,706, oobjectivebjective R5R500 iintransitiventransitive 1192,92, R5R511 7715,15, 716,716, 777,777, 887,887, 920, 947,947, 1018,1018, ppersonalersonal R5R500 iirregularrregular 1151,51, R5R511 11019,019, 11042,042, 11061,061, 11114,114, 11240240 ppossessiveossessive 53, R50R50 llinkinginking R5R511 LListeningistening 8897,97, 955, 10191019 rreflefl exiveexive R5R500 rregularegular R5R511 LLiteraryiterary criticismcriticism 118,8, 123,123, 441,441, 5583,83, 6669,69, rrelativeelative R5R500 ttransitiveransitive 1192,92, R5R511 853, 8862,62, 9990,90, 11085,085, 11147,147, 11372–1373372–1373 PPronoun-antecedentronoun-antecedent agreementagreement 656588 VVerbalerbal R5R511 LLiteratureiterature groupsgroups 1141,41, 479,479, 551,551, 592,592, PPunctuationunctuation R5R54–R574–R57 VVerberb tensetense 11371371 8864,64, 93937,7, 1137,1137, 1339,1339, 13541354

INDEX OF SKILLS R97

R085-R099 EMSKILLS-845482.indd 97 2/5/07 4:17:00 PM MMultimediaultimedia presentationpresentation 49490–4910–491 iinn multimediamultimedia presentationspresentations 3313,13, 352, 369,369, 387,387, 38388,8, 4405,05, 4406,06, 4410,10, NNonverbalonverbal techniquestechniques 227, 491,491, 683,683, ((exhibits)exhibits) 49490,0, 491491 4415,15, 425, 431,431, 43437,7, 438, 44446,6, 45451,1, 456,456, 8897,97, 11019,019, 11217,217, 11373373 iinn ooralral researchresearch reportsreports 53531,1, 724 4465,65, 4475,75, 4479,79, 5517,17, 53531,1, 533, 5540,40, 5543,43, OOralral presentationpresentation iinn ppresentationsresentations 118,8, 226, 227, 289,289, 5547,47, 553, 561,561, 565,565, 591,591, 600,600, 603,603, 623, aadvertisingdvertising ccampaignampaign 282899 5514,14, 11240240 65656,6, 6669,69, 6670,70, 709,709, 716,716, 718,718, 724, 726, ooff ccriticalritical rrevieweview 11372–1373372–1373 VVisualisual displaydisplay 736, 7743,43, 7777,77, 7796,96, 827, 8843,43, 8876,76, 9977,77, lliteraryiterary ccriticismriticism 118,8, 558383 ooff artisticartistic treatmentstreatments ofof literaryliterary 11004,004, 1008,1008, 1018,1018, 1087,1087, 1339,1339, 13541354 mmovieovie reviewreview 558585 wworksorks 920 cchecklisthecklist 1154,54, 333377 oonn naturenature writingwriting traditiontradition 888787 iinn ccharacterizationharacterization 252500 cclusterluster diagramdiagram 484811 INDEX OF SKILLS ooralral interpretationinterpretation ofof shortshort ccollageollage 770606 ccompare-contrastompare-contrast ccharthart 282800 sstorytory 11216–1217216–1217 cconceptoncept 282877 cconceptoncept mapmap 282877 ooralral responseresponse toto literatureliterature 11018–1019018–1019 iinn cculturalultural comparisonscomparisons 668,8, cconceptoncept webweb 4404,04, 539, 923, 93931,1, 9940,40, ppersuasiveersuasive speechspeech 6682–68382–683 4406–409,06–409, 1061,1061, 12661266 11086,086, 1137,1137, 1305,1305, R22 pphoto-essayhoto-essay 226–227 mmultimediaultimedia 11042042 ccontinuumontinuum 111616 rreaderseaders theatertheater 11325325 VVisualisual mediamedia ddiagramiagram 52, 260,260, 1243,1243, 12941294 rreflefl eectivective presentationpresentation 8896–89796–897 fforor oraloral interpretationinterpretation 11217217 ddouble-entryouble-entry jjournalournal 998585 ooff satiricalsatirical proposalproposal 557474 fforor persuasivepersuasive speechspeech 668383 eetymologytymology chartchart 999393 sscriptedcripted versionversion ofof poemspoems 282 fforor reflrefl eectivective presentationpresentation 889797 eevaluationvaluation chartchart 11101101 ooff Shakespeare’sShakespeare’s songssongs 282899 fi gguresures ooff sspeechpeech chartchart 11201201 ooff songsong 454511 Research, Test-Taking, fl owchartowchart R2R211 vvisualisual aidsaids 28289,9, 12401240 FFoldablesoldables 118,8, 250,250, 514,514, 706,706, 920, OOralral researchresearch reportreport 6643,43, 9947,47, 12941294 and Study Skills 11042,042, 1240,1240, R26–R29 wwithith visualvisual aidsaids 118,8, 531,531, 724 AACTCT R62 mmainain ideaidea webweb 28284,4, R22 PPanelanel discussiondiscussion 7706,06, 11240240 AAPA-citationPA-citation stylestyle R4R411 mmoodood graphicgraphic 116969 PPerformingerforming BBibliography,ibliography, workingworking R36–R3R36–R37,7, R40R40 ooutlineutline chartchart 734 ddialogueialogue 53, 1170,70, 562,562, 778,778, 11325325 BBibliographyibliography cardcard R36 fforor poetrypoetry detailsdetails 11114114 ddramaticramatic readingreading 889,9, 983,983, 1207,1207, 12701270 CCMS-citationMS-citation sstyletyle R4R400 rresponse-evidenceesponse-evidence chartchart 221010 mmultimediaultimedia performanceperformance 959599 DDocumentingocumenting ssourcesources 48487,7, R36, ssemanticemantic chartchart 6611,11, R2R211 ppantomimeantomime 6601,01, 11164164 R38–R4R38–R411 ssequenceequence chartchart 11319319 sscriptedcripted versionversion ofof poemspoems 282 EEssayssay teststests R6R61,1, R63 sstoryboardtoryboard 5511 SShakespeare’shakespeare’s songssongs 303044 See also WWritingriting tests. ttextext diagramdiagram 331111 ssongong 454511 EEvaluatingvaluating ssourcesources 48481,1, 487,487, R24, R37R37 tthree-columnhree-column chartchart 828, 9980,80, 9999,99, PPlanninglanning FFill-inill-in ttestsests R6R611 11069,069, 1139,1139, 1189,1189, 1268,1268, 1279,1279, 13281328 ccriticalritical reviewreview 11372372 GGrammarrammar teststests tthree-pockethree-pocket bookbook 11042042 mmultimediaultimedia presentationpresentation 494911 pparagrapharagraph improvementimprovement 234–235, tthree-tabhree-tab bookbook 920 ooralral interpretationinterpretation 889797 49498–499,8–499, 6690–691,90–691, 904–905,904–905, ttimelineimeline 6–7, 238–239, 5502–503,02–503, rreflefl eectivective presentationpresentation 889797 11026–1027,026–1027, 1224–1225,1224–1225, 1380–13811380–1381 6694–695,94–695, 9908–909,08–909, 11030–1031,030–1031, RReaderseaders theatertheater 11325325 GGraphicraphic organizersorganizers 6644,44, 6677,77, 866,866, 991,991, 11228–1229228–1229 RReadingeading aloudaloud 955 11191,191, 1255,1255, 1311,1311, 1325,1325, 1353,1353, R21R21 ttwo-columnwo-column chartchart 829, 832, 936, RRehearsingehearsing 53, 889,9, 1170,70, 227, 49491,1, 6683,83, aanalogy/relationshipnalogy/relationship ccharthart 444 9948,48, 952, 9976,76, 9992,92, 9995,95, 11046,046, 11078,078, 8897,97, 12171217 bboundound bookbook 25250,0, 706706 11092,092, 11107,107, 11118,118, 11123,123, 11167,167, 11175,175, RRoleole playingplaying 7716,16, 11087087 ccause-and-effectause-and-effect chartchart 880000 11193,193, 1247,1247, 1256,1256, 1259,1259, 1296,1296, 1332,1332, TTechnologyechnology sskills,kills, fforor rrecordingecording ccause-and-effectause-and-effect diagramdiagram 996060 11338,338, 1340,1340, 1345,1345, 13601360 ppresentationresentation 11373373 ccause-and-effectause-and-effect organizerorganizer 1146,46, 1150,50, VVennenn diagramdiagram 6610,10, 668,668, 755, 1314,1314, TTimeime limitslimits 11019019 383888 11352352 TToneone (of(of voice)voice) 303011 cchangehange frameframe R2R211 wwebeb diagramsdiagrams 1191,91, 288,288, 584,584, 609,609, VVerbalerbal techniquestechniques 227, 49491,1, 6683,83, 8897,97, ccharacterharacter analysisanalysis webweb 7769,69, R22 7781,81, 1272,1272, R22 11019,019, 1217,1217, 13731373 cchartsharts 23, 53, 669,9, 73, 774,4, 83, 1124,24, 1140,40, wwordord webweb 272711 VVisualisual aidsaids 1141,41, 142,142, 172,172, 192,192, 193,193, 197,197, 205, 206,206, IInformation,nformation, ssearchingearching fforor R36 255, 263, 264,264, 266,266, 276,276, 294,294, 305,

R98 INDEX OF SKILLS

R085-R099 EMSKILLS-845482.indd 98 2/5/07 4:17:27 PM IInternetnternet researchresearch 880,0, 1192,92, 313,313, 473,473, 545,545, lliteraryiterary 484844 6686–688,86–688, 900–902,900–902, 1022–1024,1022–1024, OF SKILLS INDEX 65657,7, 724, 977,977, 11096,096, 11121,121, 1266,1266, 12941294 llongong 11017017 11220–1222,220–1222, 1376–13781376–1378 IInternetnternet sourcessources 65657,7, 724, 1096,1096, 11266266 QQuotinguoting sourcessources 482 vvocabularyocabulary 233, 496,496, 689,689, 903,903, 1025,1025, KKeywordeyword searchsearch 880,0, 3313,13, 11121121 ppunctuationunctuation 48489,9, R37R37 11223,223, 13791379 MMatchingatching teststests R6R611 RReadingeading comprehensioncomprehension questionsquestions R63 wwritingriting 235, 49499,9, 6691,91, 905,905, 1027,1027, MMLA-citationLA-citation sstyletyle R39 RReadingeading teststests 11225,225, 13811381 MMultiple-choiceultiple-choice teststests R6R611 eessayssay 11220–1222220–1222 TTest-takingest-taking tipstips 73, 151,151, 207,207, 290,290, 444, NNoteote cardscards 482, R37R37 fi ctionction 6686–688,86–688, 1022–10241022–1024 5541,41, 611,611, 658,658, 677,677, 735, 753, 978,978, 993,993, NNoteote takingtaking 118,8, 23, 51,51, 52, 53, 669,9, 73, 774,4, nnonfionfi ctionction 230–232, 494–496,494–496, 11013,013, 11088,088, 11148,148, 11173,173, 11199,199, 11312,312, 83, 1116,16, 124,124, 1140,40, 1141,41, 142,142, 150,150, 154,154, 9900–90200–902 11326326 1169,69, 172,172, 191,191, 1192,92, 193,193, 197,197, 205, 25250,0, ppoetryoetry 11376–1378376–1378 TThesishesis 482, 483 255, 26260,0, 263, 26264,4, 26266,6, 27271,1, 276,276, 284,284, RReferenceseferences listslists R4R411 TThesishesis sstatementtatement R38 28287,7, 288,288, 294,294, 305, 311,311, 313,313, 337,337, 352, RResearchesearch rreportseports 48480–489,0–489, 992,992, TTopicopic 36369,9, 387,387, 38388,8, 4404,04, 4405,05, 4406,06, 4410,10, 4415,15, R36–R4R36–R411 fi ndingnding 484811 425, 43431,1, 43437,7, 438, 444, 44446,6, 45451,1, 45456,6, IInternetnternet 3313,13, 473,473, 545,545, 724, 977,977, nnarrowingarrowing 484811 4465,65, 4475,75, 4479,79, 48481,1, 482, 5514,14, 5517,17, 53531,1, 11096,096, 11121,121, 11294294 sselectingelecting R36 533, 539, 5540,40, 5543,43, 5547,47, 553, 5561,61, 5565,65, ooralral 888787 TTrue/falserue/false teststests R6R611 5584,84, 5591,91, 600,600, 603,603, 609,609, 611,611, 623, 644,644, wwithith visualvisual aidsaids 535311 VVocabularyocabulary ttests,ests, ssentenceentence 65656,6, 660,660, 6668,68, 6669,69, 6670,70, 6677,77, 7706,06, SSATAT R62–R63 ccompletionompletion 233, 49496,6, 6689,89, 9903,03, 11025,025, 7709,09, 716,716, 718,718, 724, 726, 734, 736, 743,743, SSecondaryecondary ssourcesources 485, R36 11223,223, 13791379 755, 7769,69, 777,777, 781,781, 796,796, 800,800, 827, 828, SSentenceentence ccompletionompletion iitemstems R62–R63 WWorks-citedorks-cited listlist 482, 48487,7, 48489,9, R38, R39 832, 843,843, 851,851, 866,866, 876,876, 920, 923, 948,948, SShort-answerhort-answer ttestsests R6R611 WWritingriting teststests 952, 9960,60, 9967,67, 977,977, 980,980, 985,985, 991,991, 992,992, SSourcesources ccriticalritical rrevieweview 11381381 9993,93, 9995,95, 9999,99, 11004,004, 11008,008, 11018,018, 11042,042, ddocumentingocumenting 48487,7, R36, R38–R41R38–R41 ddescriptiveescriptive essayessay 235 11046,046, 11069,069, 11078,078, 11087,087, 11090,090, 11101,101, eevaluatingvaluating 48481,1, 487,487, R24, R37R37 eexpositoryxpository essayessay 494999 11107,107, 1110,1110, 1118,1118, 1123,1123, 11137,137, 11139,139, 11167,167, IInternetnternet 65657,7, 724, 1096,1096, 11121,121, 1266,1266, lliteraryiterary analysisanalysis 11027027 11189,189, 1193,1193, 1243,1243, 11247,247, 11256,256, 11259,259, 11294294 ppersuasiveersuasive essayessay 669191 11272,272, 1279,1279, 1294,1294, 1296,1296, 1305,1305, 1311,1311, pparaphrasingaraphrasing 43437,7, 482 rreflefl eectivective essayessay 990505 11314,314, 1319,1319, 1325,1325, 1328,1328, 1332,1332, 1338,1338, pprimaryrimary 485 sshorthort eessayssay 11225225 11339,339, 1340,1340, 1345,1345, 1352,1352, 1353,1353, 1354,1354, ppunctuationunctuation fforor qquotationsuotations 48489,9, R37R37 11360,360, R21–R22R21–R22 qquotinguoting 482, 489,489, R37R37 Interdisciplinary Activities OObjectivebjective teststests R6R611 ssecondaryecondary 485 See also Grammar tests; Reading tests; ssummarizingummarizing 482, 517,517, R37R37 AAnthropologynthropology 535311 VVocabularyocabulary tests. vvarietyariety 48481,1, 487487 AArtrt 25258,8, 765,765, 13301330 OObservationbservation 11256256 SStandardizedtandardized ttestsests R62–R63 DDailyaily llifeife aandnd ccultureulture 1139,39, 403,403, 538, PParaphrasingaraphrasing sourcessources 482, R37R37 SSubjectiveubjective ((essay)essay) ttestsests. See EssEssayay tests. 5599,99, 732, 7763,63, 9975,75, 11309309 PPlagiarismlagiarism 482, R37R37 SSummarizingummarizing sourcessources 482, R37R37 HHistoryistory 1192,92, 473,473, 993,993, 13031303 PPrimaryrimary sourcessources 485, 7792,92, 1162,1162, 11254,254, TTestest practicepractice 8891,91, R61–R63R61–R63 MMathath 11053,053, 11148148 R36 ggrammarrammar 234–235, 49498–499,8–499, MMusicusic 303044 PPSATSAT R62–R63 6690–691,90–691, 904–905,904–905, 1026–1027,1026–1027, PPoliticalolitical ssciencecience 999393 QQuotationsuotations 11224–1225,224–1225, 1380–13811380–1381 PPsychologysychology 202066 ddirectirect 485, R37R37 rreadingeading 230–232, 494–496,494–496, SSciencecience 11148148 SSociologyociology 535311

INDEX OF SKILLS R99

R085-R099 EMSKILLS-845482.indd 99 2/5/07 4:19:14 PM INDEX OF AUTHORS AND TITLES

A BroBrowning,wning, Elizabeth Barrett 939 Defoe, Daniel 622 BroBrowning,wning, RoberRobertt 9 97979 Demon in the Freezer, The, from 629 Achebe, Chinua 13041304 Bunyan, John 532 Demon Lover,Lover, The 11174174 Addison, Joseph 614614 BurneBurney,y, FannyFanny 742742 DesDesai,ai, Anita 1 1344344 ““Ah,Ah, AreAre YouYou DiggingDigging onon MyMy Grave?”Grave?” 11003003 Burns, RobertRobert 717717 DiarDiaryy of FannyFanny Burney, The, from 7 74242 AAllll thethe world’sworld’s a stage,stage, from As YouYou Byron, George Gordon, Lord 842842 DiarDiaryy of Samuel Pepys,Pepys, The, from 552 Like It 305 Dickens, Charles 917,917, 984,984, 10221022 ArArabyaby 11138138 DictionarDictionaryy of the English Language,Language, A, Areopagitica, from 509509 C from 648648 Arnold, MatthewMatthew 994994 CCamus,amus, AlbertAlbert 639 Dillard, Annie 884884 At the Pitt-Rivers 12461246 CanterburCanterburyy TTales,ales, The, from 9 91,1, 92, 116,116, Distant Mirror, A, from 1 19393 Atwood, Margaret 1 1355355 112424 Do Not Go GentleGentle into That Good Auden, W. H. 11841184 CCarlyle,arlyle, Thomas 915915 Night 12001200 Auld LangLang Syne 717717 Carpe Diem 459459 Donne, John 249, 430, 438 Austen, Jane 768768 CCarroll,arroll, LeLewiswis 95 9566 Dover Beach 999494 Autumn 888080 Catﬁ sh Row, TrinidadTrinidad, from 1 1365365 Down and Out in Europe 11062062 Chatwin, Bruce 829 Dreamers 11093093 B Chaucer, GeoffreyGeoffrey 91,91, 92, 116,116, 124124 DrDryden,yden, John 546546 Childe Harold’s Pilgrimage, from 842842 B. WordsworthWordsworth 13311331 Dulce et Decorum EstEst 11097097 Chimney Sweeper, The, from Songs of Bacon, Sir FrancisFrancis 283, 494494 EExperiencexperience 760760 Basho¯, Matsuo 880880 Chimney Sweeper, The, from Songs of E Bate, Walter Jackson 670670 Innocence 760760 Ecclesiastical HistoryHistory of the English Batter my heart,heart, three-personed God 249 Chu, Jeff 1 142,42, 736 People, The, from 82, 230 Battle of Maldon, The, from 1 133 Churchill, Winston 6 675,75, 11166166 Elegy for the Giant TTortoisesortoises 13551355 Battle of the Books, The, from 686686 Coleman, Wanda 960960 Elegy WWrittenritten in a CountryCountry Battle of the Pelennor Fields, The, Coleridge, SamuelSamuel TaylorTaylor 799799 Churchyard 708708 from The LordLord of the Rings: Collected Beowulf, The, from 62 Eliot, TT.. S. 11171117 The Return of the King, Composed Upon WWestminsterestminster Bridge, Elizabeth I 254254 from 5858 September 3, 18021802 780780 EpigrEpigramsams 586586 Be YeYe Men of ValorValor 11166166 Constant Lover,Lover, The 446464 Essay of DramaticDramatic Poesy, An, from 5 54646 Beauvoir, Simone de 944944 Creation of Adam and Eve, The, from 1 155 Essay on Man, An, from 5 58686 Becker, Robin 889889 Crossing the Bar 922 EverEverymanyman, from 1 15454 Bede, The VenerableVenerable 82, 230 Cullen, Countee 882882 Eve’s Apology, from Salve Deus RexRex Behn, Aphra 542542 Cup of Tea,Tea, A 11045045 Judaeorum 424 Beowulf, from 22 Blake, William 701,701, 754,754, 760,760, 766–767766–767 Blow, Blow, Thou Winter Wind 301301 D F Boland, Eavan 12781278 Darkling Thrush, The 11003003 FFarley,arley, Christopher John 1 1360360 Bonny BarbaraBarbara Allan 210210 Dead Men’s Path 13041304 Fear No More the Heat o’ the Sun 301301 Book of MargeryMargery Kempe,Kempe, The, from 1 14545 Death Be Not Proud 430 FFernern Hill 12001200 Boswell, James 659659 Death by Mosquito 664444 Follower 12581258 BoBowen,wen, Elizabeth 11741174 Death of Humbaba, The, from FFrame,rame, Janet 13181318 Brief HistoryHistory of Heroes, A 6699 Gilgamesh 55 FrFrankensteinankenstein, from the IntroductionIntroduction Brittain, VeraVera 10371037 Defence of Poesie, A, from 245 to 833 Brontë, Charlotte 966966 Defense of Poetry,Poetry, A, from 7 70505 FFussell,ussell, Paul 11011101 Brooke, RupertRupert 10891089

R100 INDEX OF AUTHORS AND TITLES

R100-R103 EMATI-845482.indd 100 2/5/07 4:24:57 PM G J M TITLES OF AUTHORS AND INDEX Games at TwilightTwilight 13441344 JabberJabberwockywocky (C(Carroll)arroll) 956956 Macbeth, The TragedyTragedy of 316316 Genesis, from the King James VersionVersion of JabberJabberwockywocky (Coleman) 9 96060 MalorMalory,y, Sir Thomas 1 17,7, 196196 the Bible, from 414414 Jane Eyre, from 966966 Man He Killed, The 11003003 George Orwell’sOrwell’s WartimeWartime Diary,Diary, John Anderson, My Jo 717717 Mansﬁ eld, Katherine 1 1045045 from 10411041 Johnson, SamuelSamuel 648648 MarloMarlowe,we, Christopher 275 Get Up and Bar the Door 210210 Jonson, Ben 445, 449 MarMarvell,vell, AndrewAndrew 4 47474 Ghosh, Aparisim 10621062 Journal of the Plague Year,Year, A, from 622 McCMcCartney,artney, Paul 946946 Gilgamesh, from 55 Journals of Dorothy Wordsworth,Wordsworth, The, Meditation 1717 438 Gordimer, Nadine 1 1295295 from 795795 Midnight’s ChildChildrenren, from 1 1239239 Gorman, Christine 644644 Joyce, James 11381138 Midsummer Night’s Spectacle 410410 Gray, Paul 9 94848 Mild Attack of Locusts,Locusts, A 12841284 Millay, Edna St. VinVincentcent 9 94343 Gray, Thomas 708708 K Great WarWar and Modern Memory,Memory, The, Milton, John 5 509,09, 5516,16, 520 from 11011101 Keats, John 8 865,65, 8871,71, 887676 Miss Youghal’sYoughal’s SSaisais 10681068 Greene, Graham 11921192 Kempe, MargeryMargery 145145 Mnemonic 12621262 Gulliver’s TravelsTravels, from 575575 Khayyám, Omar 461461 Modest Proposal, A 564564 King James VVersionersion of the Bible, Montagu, Lady MaryMary WortleyWortley 602602 from 414,414, 10571057 Mrs. Dalloway, from 11561156 H Kipling, Rudyard 10681068 Musée des Beaux ArtsArts 11184184 Haiku for Four Seasons 888080 Kubla Khan 799799 Music Goes GlobalGlobal 13601360 Hard Times, from 917917 My HeartHeart LeapsLeaps Up 780780 Hardy, Thomas 919,919, 10031003 L My LastLast Duchess 979979 Hardy and the PoetryPoetry of Isolation, LLaa Belle Dame sans Merci 886565 from 10111011 N Head, Bessie 10541054 LLakeake Isle of Innisfree, TheThe 11106106 HeaneHeaney,y, Seamus 12581258 Lanyer, Aemilia 424 Naipaul, V. S. 13311331 HenrHenry,y, William A., IIIIII 4 41010 LLamb,amb, The 754754 Narayan, R. K. 12091209 Herrick, RobertRobert 455 Larkin, Philip 12371237 NeNeww Railway, The, from 1 1022022 Hinds, GarethGareth 62 Lawrence, D. H. 11221122 Not WWavingaving but DrowningDrowning 12421242 Nymph’s Reply to the Shepherd, The 279279 HistorHistoryy of the Peloponnesian WarWar, LLee MorteMorte d’Arthurd’Arthur, from 1 17,7, 196196 from 635 Lee, Li-YoungLi-Young 12621262 Homage to a Government 12371237 Lennon, John 946946 O Lessing, Doris 12841284 Homer 513513 Ode on a Grecian UrnUrn 871871 LLetteretter to Her Daughter 660202 Hopkins, Gerard ManleyManley 951951 Ode to the WWestest Wind 854854 LLetteretter to LordLord Chesterﬁ eld 664848 Horace 459459 OdyOdyssey,ssey, from 513513 LLetteretter to Nelson Algren 994444 House Unlocked, A, from 219219 Of Cunning, from 494494 Life of Samuel Johnson, The, from 659659 Housman, A. E. 998998 Of Studies 283 Lines Composed a FewFew Miles Above How Soon Hath Time 516516 Old Mrs. Grey 12201220 Tintern Abbey 786786 Hughes, TedTed 1235,1235, 12671267 Oliver TTwistwist, from 9 98484 Lively, PenelopePenelope 219,219, 12461246 Hunt, TristramTristram 6969 On Her LovingLoving TwoTwo Equally 554242 LLondonondon 760760 On Monsieur’s DepartureDeparture 254254 LLordord of the Rings, The, from 5 588 On My First Son 445 I LLoveove Is Not All: It IsIs Not Meat nor Ondaatje, Michael 12641264 ImaginarImaginaryy Homelands, from 13401340 Drink 994343 OrOrwell,well, George 1041,1041, 10771077 In Memoriam A. H. H., from 922 Lovelace, Richard 469469 OrOrwell’swell’s WartimeWartime DiaryDiary, from 1 1041041 In My Life 994646 LLoverover Showeth How He Is Forsaken,Forsaken, Our revels now are endedended,, from The In Patagonia, from 829 The 259259 TTempestempest 305 It Is a Beauteous Evening, Calm and LLyricalyrical Ballads, from the Preface ttoo 7 70303 OOwen,wen, Wilfred 1 1097097 Free 780780 Ozymandias 850850

INDEX OF AUTHORS AND TITLES R101

R100-R103 EMATI-845482.indd 101 2/5/07 4:25:09 PM P S T ParParableable of LazarusLazarus and the Rich Man, Sailing to Byzantium 11110110 TTalesales of the IslandsIslands, from 1 1327327 The, from the King James VersionVersion of Salve Deus RexRex Judaeorum, from 424 TTears,ears, Idle TearsTears 922 the Bible 11057057 Samuel Johnson, from 6 67070 TTelephoneelephone Conversation 13131313 ParParadiseadise LostLost, from 520 SSassoon,assoon, SiegSiegfriedfried 1 1093093 TTennyson,ennyson, Alfred, LoLordrd 922, 939311 Pardoner’s TTale,ale, The, from 1 11616 Satire Against Mankind, A, from 511511 TTestamentestament of YouthYouth, from 1 1037037 PPassionateassionate ShepherdShepherd toto HisHis Love,Love, TheThe 275275 SeafSeafarer,arer, The 7744 That’s All 12711271 Past and Present, from 915915 Second Coming, The 11110110 Thistles 12351235 PPepys,epys, SamuelSamuel 552 Shakespeare, William 247,247, 292, 298,298, 301,301, Thomas, Dylan 12001200 PPerkins,erkins, David 10111011 305, 316316 Throne of Blood, from Shakespeare on PPetrarchetrarch 253 Shakespeare on Screen, from 406406 Screen 406406 PhotogrPhotograph,aph, from Running in the She WalksWalks in BeautyBeauty 884242 ThucThucydidesydides 635 FFamilyamily 12641264 ShelleShelley,y, MaryMary 833 TToo a Mouse 717717 Pied BeautyBeauty 951951 ShelleShelley,y, PercyPercy Bysshe 705,705, 850,850, 854854 TToo a Skylark 854854 Pilgrim at Tinker Creek, from 884884 Shocking Accident, A 11192192 TToo Althea, from PrisonPrison 446969 Pilgrim’s Progress, The, from 532 Shooting an Elephant 11077077 To an Athlete DyinDyingg YYoungoung 999898

INDEX OF AUTHORS AND TITLES Pinter, Harold 12711271 SidneSidney,y, Sir Philip 245, 270270 TToo Autumn 876876 Plague, The, from 639 Simone de Beauvoir to NelsonNelson TToo Be, or Not to Be, from Hamlet 305 Poison Tree,Tree, A 754754 Algren 994444 TToo Hélène 446060 PPope,ope, AlexanderAlexander 5 513,13, 586,586, 593593 Sir Gawain and the Green KniKnightght, TToo His Coy Mistress 447474 Preludes 11117117 from 172172 TToo John Keats,Keats, Poet, At SpringtimeSpringtime 888282 Preston, Richard 629 Sir Patrick Spens 210210 TToo Lucasta, GoingGoing to the WarsWars 446969 Pride and Prejudice, from 7 76868 Smith, SteStevievie 1 1242242 TToo the Virgins, toto Make Much of Prologue, The, from 92 Snake in the Grass,Grass, A 12091209 Time 455 Proverbs of Hell from The Marriage of Soldier, The 11089089 TTolkien,olkien, J. R. R. 5 588 Heaven and Hell, from 701701 Song 430 TTragedyragedy of Macbeth, The 331616 Psalm 23 from the King James VersionVersion of Song: ToTo Celia 449 TTrainrain from Rhodesia,Rhodesia, The 12951295 the Bible 414414 Sonnet XIIXII (P(Petrarch)etrarch) 253 TTuchman,uchman, Barbara 193193 Sonnet 29 (Shakespeare) 298298 TTwowo Sheep 13181318 Q Sonnet 30 (Spenser) 265 TTyger,yger, The 754754 Sonnet 3131 (Sidne(Sidney)y) 270270 Qur’an, from the 10591059 Sonnet 39 (Sidne(Sidney)y) 27 2700 U Sonnet 43 (Bro(Browning)wning) 939 R Sonnet 73 (Shakespeare) 298298 UlyUlyssessses (T(Tennyson)ennyson) 931931 Sonnet 75 (Spenser) 265 UlyUlyssessses, from (Joyce) 1 1039039 Raising Their VoicesVoices 736 Unknown Citizen, The 11184184 RRaleigh,aleigh, Sir Walter 279279 Sonnet 116116 (Shakespeare) 292 Sonnet 130130 (Shakespeare) 292 UntUntyingying the Knot, from Pilgrim at Tinker Rape of the Lock,Lock, The, from 593593 Creek 888484 Richard IIIIII, from 247247 SoyinkSoyinka,a, WoleWole 13131313 Rime of the Ancient Mariner, The 799799 Spectator, The, from 6 61414 Roads Now TTaken,aken, The 114242 Speech to the TTroopsroops at TilburyTilbury 254254 V Rocking-Horse Winner, The 11122122 Spenser, Edmund 265 VValediction:alediction: ForbiddingForbidding Mourning, A 430 Rodman, Selden 1 1365365 Spring 888080 Village People 11054054 RonsRonsard,ard, Pierre de 460460 Spring and Fall:Fall: ToTo a YoungYoung Child 951951 Vindication of the Rights of Woman,Woman, A, Room of One’s Own,Own, A, from 1 1149149 Steele, Sir Richard 614614 from 725, 990000 Rosenthal, Daniel 406406 Subalterns, The 919919 VVoyageoyage to Brobdingnag,Brobdingnag, A, from Gulliver’s Rubáiyát, from the 461461 Suckling, Sir John 464464 TTravels,ravels, from 580580 Rushdie, SalmanSalman 1239,1239, 13401340 Summer 888080 VVoyageoyage to Lilliput,Lilliput, A, from Gulliver’s Swift, Jonathan 5 564,64, 5575,75, 668686 TTravels,ravels, from 575575

R102 INDEX OF AUTHORS AND TITLES

R100-R103 EMATI-845482.indd 102 2/5/07 4:25:22 PM W When YouYou Are Old 11106106 WWordsworthordsworth, from 8 88989 TITLES OF AUTHORS AND INDEX Whoso List to Hunt 259259 WWordsworth,ordsworth, Dorothy 795795 Walcott, Derek 1 1327,327, 11376376 Why So Pale and Wan,Wan, Fond Lover?Lover? 446464 WWordsworth,ordsworth, William 7 703,03, 7780,80, 7783,83, 7784,84, WWarar Speech, September 3, 19391939 675675 Wife of Bath’s TTale,ale, The 124124 778686 What Is Love?Love? 994848 Wilmot, John 511511 WWorldorld Is TooToo Much with Us,Us, The 780780 What WeWe LostLost 12781278 Wind 12671267 Wyatt, Sir Thomas 262 When I Consider How My Light Is Winding Up 13761376 Spent 516516 Winter 888080 When I Have Fears That I May Cease Y WWollstonecraft,ollstonecraft, MaryMary 725, 990000 to Be 886565 WWoolf,oolf, Virginia 1149,1149, 1156,1156, 12201220 YYeats,eats, William ButlerButler 1106,1106, 1108,1108, 1110,1110, When I WasWas One-and-One-and-TwentyTwenty 999898 11112112

INDEX OF AUTHORS AND TITLES R103

R100-R103 EMATI-845482.indd 103 2/5/07 4:25:41 PM INDEX OF ART AND ARTISTS

A Blake, William, The Chimney Sweeper, CCarpaccio,arpaccio, Vittore, Saint Ursula dreadreamsms of Plate 7 761761 her coming martyrdom,martyrdom, announced Adam, Joseph Denovan, Droving the Blake, William, The Chimney Sweeper, by an angel 435 Hills 719719 Plate 37 762762 CCarrick,arrick, JJohnohn MMulcaster,ulcaster, TThehe DDeatheath ooff Allan, Sir William, LLordord Byron reposing BBlake,lake, William,William, TThehe LordLord AnsweringAnswering JobJob outout AArthurrthur 203203 in the house of a ﬁ sherman having ooff a WhirlwindWhirlwind 767767 CCarrington,arrington, Dora, Baroque Harmony in swum the Hellespont 884949 Blake, William, The Shepherd 757757 the Ice Off the LabradorLabrador Coast 7777 Angelico, Fra,Fra, Annunciation (detail) 424 Blake, William, The TygerTyger 758758 CCattermole,attermole, George, Macbeth instructiinstructingng Angelico, Fra,Fra, Heaven from the LastLast the murderers employed to kill Judgement (detail) 116767 BBlake,lake, William,William, WWinterinter 303303 Banquo 357357 Anstice, Penelope,Penelope, Little Indian Girl with a BBloemaert,loemaert, Abraham,Abraham, SShepherdhepherd andand CChristus,hristus, Petrus,Petrus, TThehe LastLast JudgmentJudgment 157157 LLeafeaf 13471347 SShepherdesshepherdess 281281 CClark,lark, Joseph,Joseph, WWaifsaifs andand StraysStrays 566566 Anstice, Penelope,Penelope, Indian Girl 11073073 BoddingBoddington,ton, Henry,Henry, A LakesideLakeside Gathering 11109109 Coburn, Alvin LangdoLangdon,n, TTowerower Armﬁ eld, Maxwell Ashby,Ashby, PorPortraittrait of KeithKeith Bridge 11119119 Henderson in a Black Hood 12501250 Bordone, Paris, TTwowo LoversLovers 449 CCollier,ollier, Edwaert,Edwaert, SStilltill LifeLife withwith InkstandInkstand andand AAudubon,udubon, JohnJohn James,James, TawnyTawny ThrushThrush 11005005 BBosch,osch, Hieronymus,Hieronymus, TThehe ShipShip ofof FoolsFools 558558 BBotticelli,otticelli, Sandro,Sandro, Flora,Flora, detaildetail fromfrom thethe BBooksooks 286286 B PPrimaverarimavera 457457 CCollier,ollier, Edwaert,Edwaert, TrompeTrompe l’oeill’oeil withwith WritingWriting BBoucher,oucher, Francois,Francois, MMadameadame dede MMaterialsaterials 650650 Bailly, David, VVanitasanitas 249 PPompadourompadour 596596 CConstable,onstable, John,John, CCloudloud Study,Study, HorizonHorizon ofof BBarker,arker, JohnJohn Joseph,Joseph, IIrishrish EmigrantsEmigrants 571571 BBoucher,oucher, Francois,Francois, SShepherdhepherd PipingPiping toto a TTreesrees 703703 BarBarton,ton, Rose Maynard, Piccadilly in SShepherdesshepherdess 276276 CConstable,onstable, John,John, FlatfordFlatford MillMill 697697 June 11157157 BoBower,wer, Edward, A Cavalier 452 CConstable,onstable, John,John, TThehe HayHay WainWain 692—693692—693 BashkirBashkirtseff,tseff, Maria, A Meeting 11143143 BoBowler,wler, HenryHenry Alexander,Alexander, The Doubt: CConstable,onstable, John,John, HHoveove BeachBeach withwith FishingFishing Bastien-Lepage, Jules, At HarvestHarvest “Can These DryingDrying Bones Live?” 919919 BBoatsoats 928928 Time 213213 Braun, Georg, and FranzFranz Hogenberg, CCope,ope, CharlesCharles West,West, TThehe PilgrimPilgrim Fathers:Fathers: Bastien-Lepage, Jules, Juliette Bird’s eye viewview of CanterburyCanterbury 9999 DDepartureeparture ofof a PuritanPuritan FamilyFamily forfor NewNew Drouet 11107107 Breu the Elder, Joerg, Saint Bernard EEnglandngland 506506 BBeale,eale, Mary,Mary, PPortraitortrait ooff AAphraphra BehnBehn 542542 eexorcisingxorcising an evil spispirit;rit; Death of Saint CCopeland,opeland, Mark,Mark, TThehe LightLight ProgrammeProgramme BeardsleBeardsley,y, AubreAubreyy Vincent, Front cover Bernard of ClairvauxClairvaux 114747 11226226 of the prospectus for ‘The YellowYellow BBridges,ridges, Fidelia,Fidelia, UntitledUntitled 875875 CCopping,opping, Harold,Harold, OliverOliver AsksAsks forfor MoreMore 989989 Book’ 11067067 Broderick, Muriel, The Beginnings ofof the CCouder,ouder, Louis-CharlesLouis-Charles Auguste,Auguste, SSiegeiege ofof BeardsleBeardsley,y, AubreAubreyy Vincent, How Morgan Christmas Play 152152 YYorktown,orktown, OctoberOctober 17th,17th, 18361836 694694 LLeFayeFay Gave a Shield to Sir TristamTristam 119696 BBrown,rown, FordFord MMadox,adox, CChaucerhaucer atat thethe CourtCourt CCox,ox, David,David, A SeasideSeaside ViewView 995995 BBeardsley,eardsley, Aubrey,Aubrey, TThehe BattleBattle ofof thethe BeauxBeaux ooff EdwardEdward IIIIII 136136 CCragg,ragg, Tony,Tony, BBritainritain SeenSeen fromfrom thethe aandnd thethe BellesBelles 594594 BBrown,rown, FordFord MMadox,adox, MManfredanfred ofof thethe NNorthorth 12391239 Bell, Vanessa,Vanessa, Conversation Piece 11066066 JJungfrauungfrau 848848 Crane, Walter, LLaa Belle Dame Sans BBell,ell, Vanessa,Vanessa, InteriorInterior withwith TableTable 11028028 BroBrown,wn, FordFord Madox, The LastLast of Merci 886767 Bell, Vanessa,Vanessa, Virginia WoolfWoolf in a England 911911 CCreti,reti, Donato,Donato, AAstronomicalstronomical Observation:Observation: Deckchair 11162162 BBrowne,rowne, Henriette,Henriette, A GirlGirl WritingWriting 968968 VVenusenus 272272 Bindon, Francis,Francis, PorPortraittrait of Jonathan Brueghel the Elder, Pieter, The FallFall of CCrook,rook, P.P. J.,J., 5 O’ClockO’Clock CowboyCowboy 11131131 Swift 584584 Icarus 11186186 CCrook,rook, PP.. JJ.,., LLaa GareGare 11144144 Blake, William, A Poison TreeTree 756756 Bundy, Edgar, The Bridge PartyParty 774949 CCropsey,ropsey, JJasperasper FFrancis,rancis, SStoketoke PPogesoges Blake, William, Elohim Creating Burgh, LydiaLydia de, PorPortraittrait of Queen CChurchhurch 710710 Adam 416416 Elizabeth IIII wearing coronacoronationtion robes CCruikshank,ruikshank, George,George, TheThe ArtfulArtful DodgerDodger BBlake,lake, William,William, InfantInfant JoyJoy 767767 and the Imperial State Crown 12361236 ppickingicking a pocketpocket toto thethe amazementamazement ofof Blake, William, Judgement of Adam and OOliverliver TwistTwist 964964 Eve 523 C BBlake,lake, William,William, NNebuchadnezzarebuchadnezzar 766766 CCarmontelle,armontelle, LouisLouis Carrogis,Carrogis, LLaurenceaurence D Blake, William, Satan in his Original SSterneterne 685685 DDanckerts,anckerts, HHendrick,endrick, JJohnohn RRoseose PPresentingresenting GlorGloryy 524 tthehe FFirstirst EEnglish-Grownnglish-Grown PPineappleineapple ttoo BBlake,lake, William,William, TThehe AncientAncient ofof DaysDays 701701 CCharlesharles IIII 511511

R104 INDEX OF ART AND ARTISTS

R104-R106 EMAI-845482.indd 104 2/5/07 4:30:13 PM DDecamps,ecamps, AlexandreAlexandre Gabriel,Gabriel, TThehe WitchesWitches FFildes,ildes, SirSir Luke,Luke, AApplicantspplicants forfor AdmissionAdmission toto Hilliard, NicholNicholas,as, A YoungYoung Man LeaningLeaning ARTISTS OF ART AND INDEX iinn MacbethMacbeth 322322 a CasualCasual WardWard 568568 Against a TreeTree Among Roses 261261 DDee Morgan,Morgan, William,William, TThreehree ceramicceramic tilestiles Fleming, Ian, Marion McLeanMcLean 12801280 HHilliard,illiard, Nicolas,Nicolas, HenryHenry Percy,Percy, 9th9th EarlEarl ofof ddepictingepicting a shipship sailingsailing atat sunsetsunset 7575 FFolingsby,olingsby, GeorgeGeorge Frederick,Frederick, JJohnohn BunyanBunyan NNorthumberlandorthumberland 252252 Detmold, Edward Julius, TTownown Mouse and iinn PrisonPrison 532532 Hilton, WilliamWilliam,, John KeatsKeats 886565 the CountryCountry Mouse 720 FForbes,orbes, ElizabethElizabeth Sophia,Sophia, AAnn IndianIndian Hiroshige, Ando, Evening Snow at Asuka-Asuka- DeDewing,wing, Maria Oakey,Oakey, Garden in EElephantlephant andand HisHis MahoutMahout 11079079 yama 888181 May 888383 FFragonard,ragonard, Jean-Honore,Jean-Honore, TThehe StolenStolen HHockney,ockney, David,David, MMyy ParentsParents 12351235 ddii Brera,Brera, Pinacoteca,Pinacoteca, TTwowo LoversLovers 449449 KKississ 476476 Hoefnage, Joris, A Fete at DDighton,ighton, Richard,Richard, TThreehree GentlemenGentlemen FFrampton,rampton, Meredith,Meredith, MMargueritearguerite Bermondsey 241241 GGreetingreeting EachEach OtherOther 772772 KKelseyelsey 11047047 HHogarth,ogarth, William,William, DDavidavid GarrickGarrick asas RichardRichard DitDitz,z, The Apple-TubApple-Tub 11194194 FFranckenrancken the Younger,Younger, Frans,Frans, The ParableParable IIIIII 247247 Doré, Gustave, Albatross is shot by arrow of the Rich Man 11057057 HHogarth,ogarth, William,William, FFamilyamily PartyParty 505505 (detail) 810810 FFrith,rith, WilliamWilliam Powell,Powell, SSirir RRogeroger ddee CCoverlyoverly HogarHogarth,th, William, The Marriage Doré, Gustave, Angels remove the aandnd AAddisonddison wwithith ““TheThe SSaracen’saracen’s Settlement 776776 curse 820 HHead”ead” 616616 HHogarth,ogarth, William,William, OO’’ TheThe RoastRoast BeefBeef ofof Doré, Gustave, Cursed ship is sent to the FFry,ry, Roger,Roger, RRoomoom iinn tthehe ssecondecond PPost-ost- OOldelde EnglandEngland 536536 equator where crewcrew perish 812812 IImpressionistmpressionist EExhibitionxhibition iinn 11912912 sshowinghowing HHogarth,ogarth, William,William, SSouthwarkouthwark FairFair 538538 Doré, Gustave, Death and Life play dice tthehe wworksorks ooff HHenrienri MMatisseatisse 11039039 Holbein the Younger,Younger, Hans, LLadyady in a on skeleton ship 815815 FFuseli,useli, Henry,Henry, LLadyady MacbethMacbeth SleepwalkingSleepwalking White Cap 446363 Doré, Gustave, Death on a Pale 339191 HHolmes,olmes, MabelleMabelle Linnea,Linnea, TThehe ComingComing ofof Horse 624 FFuseli,useli, Henry,Henry, PProsperorospero 312312 tthehe NorsemenNorsemen inin 10001000 ADAD 7878 Doré, Gustave, Hermit saves the FFuseli,useli, Henry,Henry, TThreehree WitchesWitches 324324 Holst, Theodore M. von, A Mariner 823 FFuseli,useli, Henry,Henry, LLadyady MacbethMacbeth SeizingSeizing thethe Nightmare 837837 Doré, Gustave, LLondonondon TrafﬁTrafﬁ c Jam 559559 DDaggersaggers 341341 Hooch, Pieter de, A Maid with a Pail in the Doré, Gustave, Mariner recounts storystory to Backyard 11153153 wedding guest 880707 G Hopper, Edward, ComparCompartmenttment C, Doré, Gustave, Satan’s Flight Through GGardiner,ardiner, Clive, Motor Manufacturing—Manufacturing— Car 293 12991299 Chaos 529 Empire buying makes busy HHoward,oward, Henry,Henry, TThehe FlorentineFlorentine GirlGirl (The(The DDoré,oré, Gustave,Gustave, SSatanatan SmittenSmitten byby Michael,Michael, ffactoriesactories 11187187 AArtist’srtist’s Daughter)Daughter) 844844 ffromrom BookBook IVIV ofof ParadiseParadise LostLost 502502 GGiorgioneiorgione (Da(Da Castelfranco,Castelfranco, Giorgio),Giorgio), Hugo, Victor, Castle 836 DDroeshout,roeshout, Martin,Martin, DetailDetail ofof a PortraitPortrait ofof DDoubleouble PortraitPortrait 299299 HHumphrey,umphrey, Ozias,Ozias, PPortraitortrait ofof JaneJane WWilliamilliam ShakespeareShakespeare 291291 GirGirtin,tin, Thomas, Interior of Tintern AAustenusten 768768 Drummond, Malcolm, In the Park (St. Abbey 787787 James’s Park) 11161161 GreGreve,ve, Gerrit, # 4949 12621262 I DDouglas,ouglas, WilliamWilliam Fettes,Fettes, TThehe Bibliophilist’sBibliophilist’s Grimshaw, John AtkinsoAtkinson,n, St. Paul’s Ingalls, Pam, Museum Arch IIII 12521252 HHauntaunt oror Creech’sCreech’s BookshopBookshop 750750 CathedrCathedralal from Ludgate Circus,Circus, IIngres,ngres, JeanJean AugusteAuguste Dominique,Dominique, PPaoloaolo Dyke, Anthony van, Charles I of LLondon,ondon, England 11179179 aandnd FrancescaFrancesca 268268 England 453 H J E Hammershøi, Vilhelm, The Music Room, JJackson,ackson, Helen,Helen, SShehe isis WittyWitty ttoo TalkTalk EEardley,ardley, Joan,Joan, A GlasgowGlasgow CloseClose 11140140 30 StrandgadeStrandgade 11151151 WWithith 974974 Easton, Bella, Pushkar Blues (2) 11070070 HHarden,arden, John,John, DDorothyorothy WordsworthWordsworth inin a JJerichau,erichau, Holger,Holger, A ViewView ofof BenaresBenares 11070070 EEmmerson,mmerson, HenryHenry Hetherington,Hetherington, FFourour WWheelchairheelchair 795795 JerJervas,vas, Charles, Jonathan Swift 564564 GGirlsirls andand a DogDog onon a BridgeBridge OverOver thethe HHaydon,aydon, BenjaminBenjamin Robert,Robert, PortraitPortrait ofof Johnson, Edward KiKillingworth,llingworth, The Bird’s DDebdonebdon BurnBurn 971971 WWilliamilliam WordsworthWordsworth 780780 Nest 11158158 Eves, Reginald-Grenville,Reginald-Grenville, Thomas HHayman,ayman, Francis,Francis, RRobertobert LovelaceLovelace Joy, George William, The BayswaterBayswater Hardy 11003003 ppreparingreparing toto abductabduct ClarissaClarissa HarloweHarlowe Omnibus 906906 550303 Juon, Konstantin FiodorFiodorvich,vich, The NewNew F Heere, Lucas de, The FamilyFamily of HenryHenry Planet 11112112 FFaed,aed, John,John, SShakespearehakespeare aandnd HHisis VIVIII:II: An AllegoryAllegory of the TudorTudor FFriendsriends 549549 Succession 236 K HHepple,epple, Norman,Norman, FFirelightirelight 11050050 FFerry,erry, JeanJean Georges,Georges, TTwowo WomenWomen ReadingReading KKay,ay, Dorothy,Dorothy, CCookieookie, AAnniennie MavataMavata 11055055 iinn anan InteriorInterior 775775 HHerkomer,erkomer, SirSir HubertHubert von,von, OOnn StrikeStrike 963963

INDEX OF ART AND ARTISTS R105

R104-R106 EMAI-845482.indd 105 2/5/07 4:30:22 PM KKersting,ersting, GeorgGeorg Friedrich,Friedrich, YYoungoung WomanWoman Morrice, James Wilson, LLandscape,andscape, Pierre, Christian, The TemptressTemptress 426 SSewingewing byby LamplightLamplight 733733 TTrinidadrinidad 13331333 PPond,ond, Arthur,Arthur, PPortraitortrait ooff TThomashomas GGrayray 708708 KKillingbeck,illingbeck, Benjamin,Benjamin, EEarlarl andand CountessCountess ofof Morris, Sir Cedric, Llanmadoc HillHill,, Gower OOssoryssory andand TheirTheir ChildrenChildren atat AmpthillAmpthill Peninsula 12051205 R PParkark 505505 Munnings, Alfred, Their Majesties’ RetReturnurn RRaven,aven, JohnJohn Samuel,Samuel, CCareggaregg CennenCennen KinleKinley,y, Peter,Peter, FFantaiseantaise 13571357 from Ascot 11160160 CCastleastle 382382 KnyKnyff,ff, Leonard, The Southeast Prospect of RRedoute,edoute, PierrePierre Joseph,Joseph, CCamelliaamellia Hampton CourtCourt 241241 N JJaponicaaponica 277277 KKoch,och, JosephJoseph Anton,Anton, MMacbethacbeth andand thethe Nash, Joseph, Queen Victoria OpeninOpeningg Reibisch, FriedrichFriedrich MartinMartin von, IllustrIllustrationation WWitchesitches 374374 the 18621862 ExhibitionExhibition after CrystalCrystal Palace of a Knight anandd Horse in Armor 130130 Kropp, SteSteve,ve, Horse Race 11124124 moved to Sydenham 915915 Reibisch, FriedrichFriedrich MartinMartin von, TTwowo KKuehl,uehl, Gottardt,Gottardt, LLoversovers inin a CaféCafé 11001001 NNasmyth,asmyth, Alexander,Alexander, TTantallonantallon CastleCastle withwith Knights Fighting with Swords 119393 tthehe BassBass RockRock 211211 ReReynolds,ynolds, Sir JoshuJoshua,a, PorPortraittrait of FrancisFrancis L NNebot,ebot, Balthazar,Balthazar, CCoventovent GardenGarden Russell, the MarpuMarpuessess of TTavistockavistock 446767 LLamb,amb, Henry,Henry, IIt’st’s a Long,Long, LongLong WayWay 11165165 MMarketarket 513513 RReynolds,eynolds, SirSir Joshua,Joshua, PPortraitortrait ofof SamuelSamuel LLawrence,awrence, SirSir Thomas,Thomas, TThehe DuchessDuchess ofof NNevinson,evinson, CChristopherhristopher RRichardichard WWynne,ynne, JJohnsonohnson 667667 INDEX OF ART AND ARTISTS BBerrierri 981981 A GGrouproup ooff SSoldiersoldiers 11091091 RRichardson,ichardson, Jonathan,Jonathan, AlexanderAlexander PopePope 586586 Le Testu,Testu, Guillaume, Map of the Magellan NNevinson,evinson, CChristopherhristopher RRichardichard WWynne,ynne, RRichardson,ichardson, Jonathan,Jonathan, SSirir RichardRichard StrStraitsaits 831831 LLaa MMitrailleuseitrailleuse 11043043 SSteeleteele 614614 LLeal,eal, JuanJuan dede Valdes,Valdes, AAllegoryllegory ofof DeathDeath (In(In NNevinson,evinson, CChristopherhristopher RRichardichard WWynne,ynne, RRiesener,iesener, HenriHenri Francois,Francois, BBabetabet andand HisHis IIctuctu Oculi)Oculi) 116262 LLondonondon TwilightTwilight from the AdelphiAdelphi 924 SSonon 447447 LLeighton,eighton, LordLord Frederic,Frederic, TThehe Painter’sPainter’s NNevinson,evinson, CChristopherhristopher RRichardichard WWynne,ynne, TThehe Ring, Laurits AndersAndersen,en, Old Man WalkingWalking HHoneymoononeymoon 941941 AArrivalrrival 11105105 in a Rye Field 12041204 LLongoni,ongoni, Emilio,Emilio, AAlonelone 945945 NNevinson,evinson, CChristopherhristopher RRichardichard WWynne,ynne, TThehe RRodin,odin, Auguste,Auguste, TThehe ThinkerThinker 590590 Longoni, Emilio, Thoughts of a HungryHungry FFoodood QQueueueue 11037037 Roerich, Nikolai, Visitors from Man 11061061 NNevinson,evinson, CChristopherhristopher RRichardichard WWynne,ynne, The OOverseasverseas 5500 LLudovici,udovici, Albert,Albert, TTreasuredreasured PetsPets 11007007 StrStrandand by Night 11182182 RRoederstein,oederstein, OttilieOttilie Wilhelmina,Wilhelmina, TThehe VictorVictor NNicholls,icholls, Joseph,Joseph, A ViewView ofof WestminsterWestminster 11000000 M wwithith thethe RoyalRoyal BargeBarge andand OtherOther RRomney,omney, George,George, MMacbethacbeth andand thethe SShippinghipping 784784 Macara, Andrew,Andrew, Girl on a Swing 13461346 WWitchesitches 372372 NNicholson,icholson, William,William, SirSir WalterWalter ScottScott 899899 MMaclise,aclise, Daniel,Daniel, TThehe BanquetBanquet SceneScene fromfrom RRoseland,oseland, HHenryenry HHerman,erman, BBuddingudding MMacbethacbeth 361361 SScholarcholar 960960 Mann, Alexander,Alexander, PorPortraittrait of Helen 0 Ross, Thomas, The CitCityy WWeir,eir, Bath, Gow 731731 Oliver, Alfred, The Wild WoodWood 954954 looking towards WalcotWalcot 127127 MMara,ara, Tim,Tim, UntitledUntitled 12411241 OOliver,liver, Isaac,Isaac, EEdwarddward Herbert,Herbert, 1st1st BaronBaron Rossetti, Dante CharlesCharles Gabriel,Gabriel, The Death MMartin,artin, John,John, TThehe BardBard 779779 HHerberterbert ofof CherburyCherbury 245245 of LadyLady Macbeth 397397 MarMartin,tin, John, The FallenFallen Angels Entering OOliver,liver, Issac,Issac, PortraitPortrait ofof FrancesFrances Howard,Howard, RoRowlandson,wlandson, Thomas, Customers in the Pandemonium 527 CCountessountess ofof EssexEssex andand SomersetSomerset 252252 coffee house in SalisburySalisbury Market- Place 617617 MMasteraster ooff SSaintaint SSeverin,everin, TThehe EExorcismxorcism ooff OOpie,pie, John,John, MaryMary WollstonecraftWollstonecraft (Mrs.(Mrs. tthehe DDemonemon 114545 WWilliamilliam Godwin)Godwin) 725725 RRowlandson,owlandson, Thomas,Thomas, LLondon’sondon’s RoyalRoyal EExchangexchange 697697 MMcDonald,cDonald, James,James, TThehe Children’sChildren’s EEncyclopediancyclopedia 961961 P RRowlandson,owlandson, Thomas,Thomas, YYoungoung Ladies’Ladies’ FFinishinginishing SchoolSchool 613613 McIntosh, Robert,Robert, Horse Race # 1414 11128128 PPalmer,almer, Samuel,Samuel, TTinternintern AbbeyAbbey 890890 Ruskin, John, Study of a dragon’sdragon’s head McIntosh, Robert,Robert, Horse Race # 5 11132132 Panchal, Shanti, Children’s Play after Michelangelo 44 Mij, Hieronymus van der, A Girl at (detail) 13511351 a Window holding a Bunch of PPeake,eake, Robert,Robert, QQueenueen EElizabethlizabeth I BBeingeing GrGrapesapes 296296 CCarriedarried iinn PProcessionrocession 225151 S Mileham, Harry,Harry, Chaucer, the Knight PPereda,ereda, AAntonio,ntonio, AAllegoryllegory ooff FFleetingleeting SSaar,aar, Betye, WWatchingatching 13361336 and the Squire from ‘The Pardoner’s TTimeime 413413 SSargent,argent, JohnJohn Singer,Singer, EEllenllen TerryTerry asas LadyLady Prologue’ of ‘The CanterburyCanterbury PPeto,eto, John Frederick,Frederick, Rack Picture for MMacbethacbeth 331331 TTales’ales’ 111919 William Malcolm Bunn 12791279 SSargent,argent, JohnJohn Singer,Singer, TwoTwo SoldiersSoldiers ofof MMillais,illais, SSirir JJohnohn EEverett,verett, AAutumnutumn PPettie,ettie, John,John, TTwowo StringsStrings ttoo hherer BBowow 544544 AArrasrras 11006006 LLeaveseaves 707707 Phillips, Thomas, LLordord Byron 884242 SScott,cott, SirSir PPeter,eter, MMan’san’s NNaturalatural WWorldorld 12831283 MMoore,oore, Henry,Henry, SShelterershelterers inin thethe TubeTube 11041041 Phillips, Thomas, William Blake 754754 Seligman, Lincoln, Man and WomanWoman in an ArArtt GalleryGallery 12481248

R106 INDEX OF ART AND ARTISTS

R104-R106 EMAI-845482.indd 106 2/5/07 4:30:34 PM SSevern,evern, Joseph,Joseph, PPercyercy ByssheBysshe ShelleyShelley 705705 TTurner,urner, Joseph Mallord William,William, Snow Wall, Lou, AbstrAbstractact Day 13491349 ARTISTS OF ART AND INDEX SShannon,hannon, SirSir JamesJames Jebusa,Jebusa, OOnn thethe DunesDunes Storm at Sea 856856 WWallis,allis, Henry,Henry, DDr.r. JohnsonJohnson atat Cave’sCave’s thethe ((LadyLady ShannonShannon andand Kitty)Kitty) 744744 TTurner,urner, Joseph Mallord William,William, Tintern PPublisherublisher 500500 SShepherd,hepherd, George,George, HungerfordHungerford StairsStairs 697697 Abbey 790790 Wallis, Henry,Henry, The Room in Which SSmith,mith, CarltonCarlton Alfred,Alfred, RRecallingecalling thethe Shakespeare WasWas Born 293 PPastast 929929 U WWard,ard, EdwardEdward Matthew,Matthew, Dr.Dr. JohnsonJohnson inin thethe Smith, Nancy,Nancy, Ploughing 12601260 UnknoUnknown,wn, Artist,Artist, Anne Boleyn 262 AAnteroomnteroom ofof LordLord ChesterfiChesterfi eld,eld, WaitingWaiting SSmith,mith, OOrford,rford, TThehe HHeroero ooff tthehe UnknoUnknown,wn, Artist,Artist, Elizabeth I 256256 fforor anan AudienceAudience 654654 TTrafalgarrafalgar 698698 UnknoUnknown,wn, Artist,Artist, Promenading NoblemNoblemenen WWaterhouse,aterhouse, JohnJohn William,William, LLaa BelleBelle DameDame Steen, Jan, The dissolute household 782782 (detail) 295 SSansans MerciMerci 841841 SStiepanoff,tiepanoff, Alexei,Alexei, TThehe LoveLove SongSong 466466 UnknoUnknown,wn, Artist,Artist, The TriumphTriumph of WWaterhouse,aterhouse, JohnJohn William,William, TheThe SoulSoul ofof thethe SStokes,tokes, Adrian,Adrian, YYoungoung GirlGirl andand thethe AngelAngel ofof Death 155155 RRoseose 273273 DDeatheath 116161 WWay,ay, AndrewAndrew JohnJohn Henry,Henry, TThehe WealthWealth ofof Stone, Henry,Henry, TTripleriple portraitportrait of King V AAutumnutumn 875875 WWeight,eight, Carel,Carel, Bitter Wind 12691269 Charles I 515515 VValdésaldés Leal, Juan de, AllegorAllegoryy of Death (In WWest,est, Benjamin,Benjamin, CCromwellromwell DDissolvingissolving tthehe StoreStorey,y, George Aldolphus, Orphans 975975 Ictu Oculi) 446262 LLongong ParliamentParliament 509509 Stothard, Thomas, The Pilgrimage to VValkenborch,alkenborch, FrederickFrederick van, A Market WWillis,illis, TTilly,illy, UUndernder tthehe AAcaciacacia TTreeree 12901290 CanterburCanterburyy 9966 Scene with Fruit and VegetableVegetable Strasser, Benjamin, WWoundedounded at the Sellers 432 Willison, George, James Boswell 659659 Roadside 11095095 VVanan Gogh,Gogh, Vincent,Vincent, TThehe SSowerower 953953 WWilson,ilson, Richard,Richard, OOnn HounslowHounslow HeathHeath 869869 Stroop, Dirck, Charles II’sII’s entryentry into VVanan Gogh,Gogh, Vincent,Vincent, WWheatfiheatfi eeldld wwithith WWingfiingfi eld,eld, JamesJames D.,D., AAnn InteriorInterior atat LLondonondon on the day before his LLarkark 858858 HHamptonampton CourtCourt 607607 Coronation in 16611661 554554 VVarley,arley, John,John, CConwayonway CastleCastle 349349 WWootton,ootton, John, Macbeth and the Three Witches 317317 SStubbs,tubbs, George,George, TThehe HarvestHarvest WagonWagon 713713 VVroom,room, HendrikHendrik Cornelisz,Cornelisz, SSeaea BattleBattle BBetweenetween thethe SpanishSpanish ArmadaArmada andand WWrightright of Derby, Joseph,Joseph, The Old Man T EEnglishnglish NavalNaval ForcesForces 242242 and Death 116868 TTaylor,aylor, Leonard Campbell,Campbell, The WWright,right, JosephJoseph ofof Derby,Derby, TThehe OrreryOrrery 563563 GallerGalleryy 11176176 W Z TTenniel,enniel, John,John, TThehe JJabberwockyabberwocky 995858 WWagstaff,agstaff, CharlesCharles Edward,Edward, PPortraitortrait ofof JohnJohn TTenniel,enniel, John, The Mad TeaTea PartyParty 909909 DDrydenryden 546546 Zaman, Farida,Farida, Online Romance 994747 Tissot, James Jacques Joseph, The WomanWoman WWaite,aite, EdwardEdward W.,W., AAnn AutumnAutumn LaneLane 877877 ZZincke,incke, ChristianChristian Friedrich,Friedrich, MMiniatureiniature ofof of FashionFashion 728 Walden, Lionel, The Docks at CardiffCardiff 917917 JJosephoseph AddisonAddison 614614 TTroyon,royon, Constant-Emile,Constant-Emile, PPromenaderomenade 770770 WWalker,alker, Frederick,Frederick, PPhiliphilip inin ChurchChurch 965965

INDEX OF ART AND ARTISTS R107

R104-R106 EMAI-845482.indd 107 2/5/07 4:30:46 PM ACKNOWLEDGMENTS

Unit 1 Unit 3

“The Battle of Maldon” from An Anthology of Old English Poetry, edited by Excerpt from The History of the Peloponnesian War by Thucydides, translated Charles W. Kennedy, translated by Charles W. Kennedy, copyright © 1960 by by Rex Warner, with an introduction and notes by M. I. Finley (Penguin Classics Oxford University Press, Inc. Used by permission of Oxford University Press, Inc. 1954, Revised edition 1972). Translation copyright © Rex Warner, 1954. Introduction and Appendices copyright © M. I. Finley, 1972. Reprinted by From “The Creation of Adam and Eve” from Everyman and Medieval Miracle permission of Penguin Group (UK) and The Random House Group Ltd. Plays, edited by A. C. Cawley. Reprinted by permission of Everyman’s Library, Northburgh House, 10 Northburgh Street, London EC1V 0AT. From The Plague by Albert Camus, translated by Stuart Gilbert, copyright 1948 by Stuart Gilbert. Used by permission of Alfred A. Knopf, a division of Random From Beowulf, translated by Burton Raffel, copyright © 1963 renewed © 1991 House, Inc. by Burton Raffel. Used by permission of Dutton Signet, a division of Penguin Group (USA) Inc. Excerpt from Samuel Johnson by Walter Jackson Bate. Copyright © 1975, 1977 by Walter Jackson Bate. Reprinted by permission of William B. Goodman. Excerpt from Gilgamesh: A Verse Narrative by Herbert Mason. Copyright © 1970 by Herbert Mason. Reprinted by permission of Houghton Mifﬂ in Company. All rights reserved. Unit 4

Excerpt from “The Battle of the Pelennor Fields” from The Lord of the Rings by Abridged from In Patagonia by Bruce Chatwin. Copyright © 1977 by Bruce J. R. R. Tolkien, edited by Christopher Tolkien. Copyright © 1954, 1955, 1965, Chatwin. Used by permission of Simon & Schuster Adult Publishing Group. 1966 by J. R. R. Tolkien. Copyright © renewed 1982, 1983 by Christopher R. “To John Keats Poet at Springtime” from On These I Stand by Countee Cullen. Tolkien, Michael H. R. Tolkien, John F. R. Tolkien and Priscilla M. A. R. Tolkien. Copyrights held by Amistad Research Center, Tulane University, administered Copyright © renewed 1993, 1994 by Christopher R. Tolkien, John F. R. Tolkien by Thompson and Thompson, Brooklyn, NY. and Priscilla M. A. R. Tolkien. Reprinted by permission of Houghton Mifﬂ in Company. All rights reserved. “Untying the Knot” from Pilgrim at Tinker Creek by Annie Dillard. Copyright © 1974 by Annie Dillard. Reprinted by permission of HarperCollins Publishers. “The Seafarer” from Poems and Prose from the Old English, translated by Burton Raffel. Edited by Alexandra H. Olsen and Burton Raffel. Copyright © “On Wordsworth,” by Robin Becker, from First Loves: Poets Introduce the 1998 by Yale University. Reprinted by permission of Yale University Press. Essential Poems That Captivated and Inspired Them. Reprinted by permission of Robin Becker. From The Canterbury Tales by Geoffrey Chaucer, translated by Neville Coghill. Reproduced with permission of Curtis Brown Group Ltd, London on behalf of the Estate of Neville Coghill. Copyright © Neville Coghill 1952. Unit 5

From The Book of Margery Kempe, translated by Tony D. Triggs. Reprinted by “Sonnet XXX” of Fatal Interview by Edna St. Vincent Millay. From Collected permission of the Continuum International Publishing Group. Poems, HarperCollins. Copyright © 1931, 1958 by Edna St. Vincent Millay and Norma Millay Ellis. All rights reserved. Used by permission of Elizabeth From The Complete Works of the Gawain Poet by John Gardner. Copyright Barnett, literary executor. © 1965 by The University of Chicago. Reprinted by permission of The University of Chicago Press. “In My Life” © 1965 Sony/ATV Tunes LLC. All rights administered by Sony/ATV Music Publishing, 8 Music Square West, Nashville, TN 37203. All rights Excerpt from Sir Gawain and the Green Knight, translated with an introduction reserved. Used by permission by Brian Stone (Penguin Classics, 1959). Copyright © Brian Stone, 1959, 1964, 1974. Reprinted by permission of Penguin Group (UK). “The Darkling Thrush,” “The Man He Killed” and “Ah, Are You Digging on My Grave?” reprinted with the permission of Scribner, an imprint of Simon & From A Distant Mirror by Barbara W. Tuchman, copyright © 1978 by Barbara Schuster Adult Publishing Group, from The Complete Poems of Thomas Hardy, W. Tuchman. Used by permission of Alfred A. Knopf, a division of Random edited by James Gibson. Copyright © 1978 by Macmillan London Ltd. House, Inc. From Perkins, David. “Hardy and the Poetry of Isolation” ELH 26:2 (1959), Reprinted with the permission of Scribner, an imprint of Simon & Schuster 253–270. Copyright © The Johns Hopkins University Press. Reprinted with the Adult Publishing Group, from Le Morte d’Arthur by Sir Thomas Malory, edited permission of The Johns Hopkins University Press. by R. M. Lumiansky. Copyright © 1982 by R. M. Lumiansky.

From A House Unlocked by Penelope Lively, copyright © 2001 by Penelope Unit 6 Lively. Used by permission of Grove/Atlantic, Inc. The extract from Vera Brittain’s Testament of Youth is reproduced by permission of Mark Bostridge and Rebecca Williams, her literary executors. Unit 2 Excerpt from The Collected Essays, Journalism and Letters of George Orwell, From Shakespeare on Screen, reproduced by permission of Curtis Brown Volume II: My Country Right or Left, 1940-1943, copyright © 1968 by Sonia Group Ltd, London on behalf of Daniel Rosenthal. Copyright © Daniel Brownell Orwell and renewed 1996 by Mark Hamilton, reprinted by permission Rosenthal 1957. of Harcourt, Inc. From Rubáiyát of Omar Khayyám translated by Edward FitzGerald, copyright © 1983 by St. Martin’s Press, LLC, and reprinted with permission.

R108 ACKNOWLEDGMENTS

R108-R114 EMACK-845482.indd 108 2/5/07 4:34:03 PM “A Cup of Tea” from The Short Stories of Katherine Mansﬁ eld by Katherine “Do Not Go Gentle into That Good Night” by Dylan Thomas, from The Mansﬁ eld, copyright 1923 by Alfred A. Knopf, a division of Random House, Inc. Poems of Dylan Thomas, copyright © 1952 by Dylan Thomas. Reprinted by ACKNOWLEDGMENTS and renewed 1951 by John Middleton Murry. Used by permission of Alfred A. permission of New Directions Publishing Corp. Knopf, a division of Random House, Inc. “A Snake in the Grass” by R. K. Narayan, from Under the Banyan Tree by “Village People” copyright © Bessie Head, Tales of Tenderness and Power, R. K. Narayan, copyright © 1985 by R. K. Narayan. Used by permission of Ad. Donker 1989. Reprinted by permission of Johnson & Alcock Ltd. Viking Penguin, a division of Penguin Group (USA) Inc.

From The Koran: With a Parallel Arabic Text translated with notes by N. J. “Old Mrs. Grey” from The Death of the Moth and Other Essays by Virginia Dawood (Penguin Books, 1990). Copyright © N. J. Dawood, 1956, 1959, 1966, Woolf, copyright 1942 by Harcourt, Inc. and renewed 1970 by Marjorie T. 1968, 1974, 1990. Reprinted by permission of Penguin Group (UK). Parsons, Executrix, reprinted by permission of the publisher.

“Shooting an Elephant” from Shooting an Elephant and Other Essays by George Orwell, copyright 1950 by Sonia Brownell Orwell and renewed 1978 by Unit 7 Sonia Pitt-Rivers, reprinted by permission of Harcourt, Inc. “Thistles” from Wodwo by Ted Hughes. Copyright © 1961 by Ted Hughes. “Dulce et Decorum Est” by Wilfred Owen, from The Collected Poems of Wilfred Reprinted by permission of HarperCollins Publishers. Owen , copyright © 1963 by Chatto & Windus, Ltd. Reprinted by permission of Excerpts from Midnight’s Children, © 1980 by Salman Rushdie, by permission New Directions Publishing Corp. of The Wylie Agency. The Great War and Modern Memory From by Paul Fussell, copyright © 1975 by “Not Waving, But Drowning” by Stevie Smith, from Collected Poems of Stevie Oxford University Press, Inc. Used by permission of Oxford University Press, Inc. Smith, copyright © 1972 by Stevie Smith. Reprinted by permission of New “The Lake Isle of Innisfree” and “When You Are Old” reprinted with the Directions Publishing Corp. permission of Scribner, an imprint of Simon & Schuster Adult Publishing “At the Pitt-Rivers” from A Pack of Cards and Other Stories by Penelope Lively. The Collected Works of W. B. Yeats, Volume I: The Poems, Group, from Copyright © 1978, 1980, 1981, 1982, 1984, 1985, 1986 by Penelope Lively. Used Revised , edited by Richard J. Finneran (New York: Scribner, 1997) by permission of Grove/Atlantic, Inc.

“Sailing to Byzantium” reprinted with the permission of Scribner, an imprint of “Follower” from Poems 1965–1975 by Seamus Heaney. Copyright © 1980 by The Collected Works of W. B. Simon & Schuster Adult Publishing Group, from Seamus Heaney. Reprinted by permission of Farrar, Straus & Giroux, Inc. Yeats, Volume I: The Poems, Revised, edited by Richard J. Finneran. Copyright © 1928 by The Macmillan Company; copyright renewed © 1956 by Georgie Yeats. “Mnemonic” by Li-Young Lee. Reprinted by permission of BOA Editions and The Permissions Company. “The Second Coming” reprinted with the permission of Scribner, an imprint of Simon & Schuster Adult Publishing Group, from The Collected Works of W. B. “Photograph” “Photo of Parents” from Running in the Family by Michael Yeats, Volume I: The Poems, Revised, edited by Richard J. Finneran. Copyright © Ondaatje. Copyright © 1982 by Michael Ondaatje. Used by permission of 1924 by The Macmillan Company; copyright renewed © 1952 by Georgie Yeats. W. W. Norton & Company, Inc.

“The Rocking-Horse Winner” by D. H. Lawrence, copyright © 1933 by the “Wind” from Selected Poems 1957–1967 by Ted Hughes. Copyright © 1956 by Estate of D. H. Lawrence, renewed © 1961 by Angelo Ravagli and C. M. Ted Hughes. Reprinted by permission of HarperCollins Publishers. Weekley, Executors of the Estate of Frieda Lawrence, from Complete Stories “That’s All” from Complete Plays: Three by Harold Pinter. Copyright © 1978 by of D. H. Lawrence by D. H. Lawrence. Used by permission of Viking Penguin, a H. Pinter Ltd. Used by permission of Grove/Atlantic, Inc. division of Penguin Putnam, Inc. “What We Lost” from Outside History: Selected Poems 1980–1990 by Eavan Excerpt from Mrs. Dalloway by Virginia Woolf, copyright 1925 by Harcourt, Inc. Boland. Copyright © 1990 by Eavan Boland. Used by permission of W. W. and renewed 1953 by Leonard Woolf, reprinted by permission of the publisher. Norton & Company, Inc. Excerpt from A Room of One’s Own by Virginia Woolf, copyright 1929 by “A Mild Attack of Locusts” from The Habit of Loving by Doris Lessing. Harcourt, Inc., and renewed 1957 by Leonard Woolf, reprinted by permission Copyright © 1957 by Doris Lessing. Reprinted by permission of HarperCollins of the publisher. Publishers. “The Demon Lover” from The Collected Stories of Elizabeth Bowen by “The Train from Rhodesia” by Nadine Gordimer, reprinted by the permission Elizabeth Bowen, copyright © 1981 by Curtis Brown, Ltd., Literary Executors of Russell & Volkening, as agents for the author. Copyright © 1950 by Nadine of the Estate of Elizabeth Bowen. Used by permission of Alfred A. Knopf, a Gordimer, renewed 1978 by Nadine Gordimer. division of Random House, Inc. “Dead Men’s Path,” copyright © 1972, 1973 by Chinua Achebe, from Girls at “Musée des Beaux Arts” copyright 1940 & renewed 1968 by W. H. Auden, War and Other Stories by Chinua Achebe. Used by permission of Doubleday, a “The Unknown Citizen” copyright 1940 & renewed 1968 by W. H. Auden, from division of Random House, Inc. Collected Poems by W. H. Auden. Used by permission of Random House, Inc. “Telephone Conversation” copyright © 1962 by Wole Soyinka. Reprinted with “A Shocking Accident,” copyright © 1957 by Graham Greene, from Collected permission by Melanie Jackson Agency, LLC. Stories of Graham Greene, by Graham Greene. Used by permission of Viking Penguin, a division of Penguin Group (USA). “Two Sheep” from Snowman Snowman by Janet Frame. Copyright © 1962, 1963 by Janet Frame. Reprinted by permission of George Braziller, Inc. “Fern Hill” by Dylan Thomas, from The Poems of Dylan Thomas, copyright © 1945 by The Trustees for the Copyrights of Dylan Thomas. Reprinted by Chapter X, “Adieu foulard . . . ” from “Tales of the Islands” from Collected permission of New Directions Publishing Corp. Poems 1948–1984 by Derek Walcott. Copyright © 1986 by Derek Walcott. Reprinted by permission of Farrar, Straus & Giroux Inc.

ACKNOWLEDGMENTS R109

R108-R114 EMACK-845482.indd 109 2/5/07 4:34:11 PM “B. Wordsworth” from Miguel Street by V. S. Naipaul, copyright © 1959 by V. S. Collection; 30 Musee Conde, Chantilly, France,Giraudon/Bridgeman Art Naipaul. Used by permission of Alfred A. Knopf, a division of Random House, Library; 31 akg-images/Werner Forman; 32 British Museum/Michael Holford; Inc. 33 CM Dixon/HIP/The Image Works; 34 Art Resource, NY; 35 Ted Spiegel/ CORBIS; 36 Richard T. Nowitz/CORBIS; 37 2004 Werner Forman/TopFoto/The Excerpts from Imaginary Homelands, © 1991 by Salman Rushdie, by Image Works; 39 Werner forman/CORBIS; 40 Werner Forman Archives; 41 permission of The Wylie Agency. Werner Forman/CORBIS; 42 National Museum of Iceland, Reykjavik, Iceland/ “Games at Twilight” from Games at Twilight and Other Stories by Anita Desai. Bridgeman Art Library; 43 Werner Forman/CORBIS; 44 Abbot Hall Art Gallery, Copyright © 1978 by Anita Desai. Reproduced by permission of the author c/o Kendal, Cumbria, UK/Bridgeman Art Library; 45 The British Museum; 46 Rogers, Coleridge & White, Ltd., 20 Powis Mews, London W11 1JN. Nationalmuseet, Copenhagen/Bridgeman Art Library, London; 47 Archivo Iconograﬁ co, S.A./CORBIS; 48 Erich Lessing/Art Resource, NY; 49 Ted Spiegel/ “Elegy for the Giant Tortoises” reprinted by permission of Margaret Atwood, CORBIS; 50 Scala/Art Resource, NY; 51 Jerry Bingham and George Cox; 54 copyright © 1968, 1976 by Margaret Atwood. Currently available in the US in (t)British Museum, London, UK, Boltin Picture Library/Bridgeman Art Library; Selected Poems, 1965–1975, published by Houghton Mifﬂ in, © 1976. 54 (b)Jerry Bingham and George Cox; 54 (tc)Erich Lessing/Art Resource, NY; 54 (bc)The Collected Beowulf. All Artwork Copyright .c1999-2000 Gareth

ACKNOWLEDGMENTS From “Catfi sh Row, Trinidad” by Selden Rodman. New York Times, May 15, 1960. Copyright © 1960 by The New York Times Co. Reprinted with Hinds. Reproduced by permission of Candlewick Press, Inc.; 55 Michael permission. Holford; 56 Erich Lessing/Art Resource, NY; 57 Ancient Art & Architecture; 58 Hulton Archive/Getty Images; 59–61 THE KOBAL COLLECTION/NEW LINE Reference Section CINEMA; 62–67 The Collected Beowulf. All Artwork Copyright .c1999–2000 Gareth Hinds. Reproduced by permission of Candlewick Press, Inc.; 71 Content from The Academic Word List, developed at the School of Linguistics (tl)CORBIS; 71 (br)Bridgeman Art Library; 71 (tr)Bridgeman Art Library; 71–72 and Applied Language Studies at Victoria University of Welllington, New CORBIS; 72 (b)Getty Images; 75 William De Morgan/The De Morgan Centre, Zealand, is reprinted by permission of Averil Coxhead. London/Bridgeman Art Library; 76 Bibliotheque Nationale, Paris, France/ http://language.massey.ac.nz/staff/awl/index.shtml. Bridgeman Art Library; 77 fi rst printed in The Art of Dora Carrington, Herbert Press, 1994; 78 Mabelle Linnea Holmes/Jamestown-Yorktown Educational Maps Trust, VA/Bridgeman Art Library; 81 British Library, London, UK/Bridgeman Art Library; 82 The Art Archive/British Library; 84 British Library, London/ Mapping Specialists, Inc. Bridgeman Art Library; 86 Kungl. Bernadotte-Biblioteket (The Royal Collection); 87 Ronald Sheridan/Ancient Art & Architecture; 90 Bridgeman Art Photography Library/Getty Images; 91 Getty Images; 92 British Library/akg-images; 94 akg- images; 96–97 Thomas Stothard, Tate Gallery, London/Art Resource, NY; 99 Cover CORBIS; vi THE KOBAL COLLECTION/NEW LINE CINEMA; vii akg-images; 101 By courtesy of The Board of Trustees of the Victoria & Albert Southampton City Art Gallery, Hampshire, UK/Bridgeman Art Library; viii Museum, London/ET Archive, London/SuperStock; 103–104 PrivateCollection/ Musee Conde, Chantilly, France,Giraudon/Bridgeman Art Library; ix Art Bridgeman Art Library; 106–108 Huntington Library and Art Gallery, San Resource, NY; x Lambeth Palace Library, London, UK/Bridgeman Art Library; Marino, CA/Bridgeman Art Library; 111 Jupiter Images; 112 Art Resource, NY; xii AKG Images; xiii Private Collection/Bridgeman Art Library; xix (t)E. T. 114 akg-images/British Library; 117 Archivo Iconografi co, S.A./CORBIS; 118 The Archive; xix (b) Mary Evans Picture Library; xv RÈunion des MusÈes Huntington Library, Art Collections, and Botanical Gardens, San Marino, Nationaux/Art Resource, NY; xvii Neue Pinakothek/AKG Images; xxi Mary California/Bridgeman Art Library; 119 Private Collection/Bridgeman Art Library; Evans Picture Library; xxii Charles Plante Fine Arts English/Bridgeman Art 121 Ronald Sheridan/Ancient Art & Architecture; 122 Private Collection/ Library; xxiv Tretjakov Gallery/Photo: akg-images; xxix Joseph Nicholls/Private Bridgeman Art Library; 125 The Huntington Library, Art Collections, and Collection, Christie’s Images Ltd/Bridgeman Art Library; xxvi Geoffrey Botanical Gardens, San Marino, CA/SuperStock; 127 Thomas Ross/Victoria Art Clements/CORBIS; xxx Museo Nazionale di Villa Giulia, Rome, Italy/ Gallery, Bath and North East Somerset Council/Bridgeman Art Library; 128 Nimatallah/Art Resource, NY; xxxii John Singer Sargent/Tate Gallery, London/ Gianni Dagli Orti/CORBIS; 129 Archivo Iconografi co, S.A./CORBIS; 130 Art Resource, NY; xxxiii Min. Defense - Service Historique de l’Armee de Stapleton Collection/CORBIS; 133 Musee Conde, Chantilly, France/Giraudon/ Terre,France, Giraudon/Bridgeman Art Library; xxxiv Getty Images; xxxv Art Resource, NY; 134 Canterbury Cathedral, Kent, UK/Bridgeman Art Library; (b)Andrew Brookes/CORBIS; xxxv (tr)Getty Images; xxxv (tl)Stockbyte; 136 Tate Gallery, London/Art Resource, NY; 138 Biblioteca Marciana, Venice, 3 Photodisc; 4–5 Musee de la Tapisserie, Bayeux, France, With special Italy/Giraudon/Art Resource, NY; 139 Stapleton Collection/CORBIS; 143 Xurxo authorisation of the city of Bayeux/Bridgeman Art Library; 6 (t)Erich Lessing/ Lobato; 144 (t)Shamil Zhumatov/Reuters; 144 (b)Kent News & Pictures; 145 Art Resource, NY; 6 (c)HIP/Art Resource, NY; 6 (b)Aachen Cathedral Treasury, Scala/Art Resource, NY; 147 Erich Lessing/Art Resource, NY; 149 Bibliotheque Aachen, Germany, Bildarchiv Steffens/Bridgeman Art Library; 7 (tl)Museum of Municipale, Boulogne-sur-Mer, France/Giraudon/Art Resource, NY; 152 Muriel London, UK/Bridgeman Art Library; 7 (cr)Fishmongers’ Hall, London, UK/ Broderick/The Illustrated London News Picture Library, London, UK/Bridgeman Bridgeman Art Library; 7 (cl)Dept. of the Environment, London, UK/Bridgeman Art Library; 153–155 Giraudon/Art Resource, NY; 157 Bildarchiv Preussischer Art Library; 7 (cr)Art Resource, NY; 7 (tr)British Library, London, UK/ Kulturbesitz/Art Resource, NY; 158 Erich Lessing/Art Resource, NY; 161 Bridgeman Art Library; 7 (b)Centre Historique des Archives Nationales, Paris, Giraudon/Art Resource, NY; 162 Scala/Art Resource, NY; 167 Museo di San France, Archives Charmet/Bridgeman Art Library; 9 (tl)HIP/Art Resource, NY; Marco dell’Angelico, Florence, Italy, Giraudon/The Bridgeman Art Library 9 (tr)British Library, London, UK/Bridgeman Art Library; 9 (b)Simon Bening/ International; 168 Wadsworth Atheneum, Hartford. The Ella Gallup Sumner British Library, London, UK/Bridgeman Art Library; 10 The Pierpont Morgan and Mary Catlin Sumner Collection Fund; 171 Archivo Iconografi co,S.A./ Library/Art Resource, NY; 13 British Museum, London, UK/Bridgeman Art CORBIS; 174 Erich Lessing/Art Resource, NY; 176 Ron Sheridan/Ancient Art & Library; 15 Angelo Hornak/CORBIS; 17 HIP/Art Resource, NY; 19 Werner Architecture Collection, Ltd; 177 The Pierpont Morgan Library/Art Resource, Forman/Art Resource, NY; 20 Werner Forman/Art Resource, NY; 21 HIP/Art NY; 178 The British Library; 179 E. T. Archive; 180 British Library, London/ Resource, NY; 22 Werner Forman/Art Resource, NY; 24 Schloss Bridgeman Art Library; 182 The Art Archive/University Library Heidelberg/ Charlottenburg, Berlin/Bridgeman Art Library; 25 Werner Forman/CORBIS; 26 Dagli Orti; 184 A.M. Rosati/Art Resource, NY; 186 North Wind Picture Archives; Bryan and Cherry Alexander; 27 Werner Forman/Art Resource, NY; 28 By 188 AKG Berlin/SuperStock; 190 HIP/Art Resource, NY; 193 Stapleton Permission of The British Library; 29 R. Sheridan/Ancient Art & Architecture Collection/CORBIS; 194 British Library, London, Great Britain/Erich Lessing/Art

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R108-R114 EMACK-845482.indd 110 2/7/07 3:42:30 PM Resource, NY; 196 Archivo Icconografi co,S.A./CORBIS; 198 Lambeth Palace Images Ltd; 391 The Louvre, Paris, France/Scala/Art Resource, NY; 397 Dante Library, London, UK/Bridgeman Art Library; 199 Bridgeman Art Library; 200 Charles Gabriel Rossetti/Ashmolean Museum, University of Oxford, UK/ ACKNOWLEDGMENTS Bibliotheque Nationale, Paris, France/Bridgeman Art Library; 203 Fine Art Bridgeman Art Library; 402 Dagli Orti/The Art Archive; 403 Agnew & Sons, Photographic Library/CORBIS; 208 Ancient Art & Architecture Collection, Ltd; London/Bridgeman Art Library; 406–407 Toho/The Kobal Collection; 408 209 Stapleton Collection/CORBIS; 211 National Gallery of Scotland, Edinburgh, (l)Toho/The Kobal Collection; 408 (r)Leeds Museums and Art Galleries (City Scotland/Bridgeman Art Library; 213 Sotheby’s/AKG Images; 215 Victoria and Museum) UK/Bridgeman Art Library; 409 Toho/The Kobal Collection; 411 Albert Museum, London/Art Resource, NY; 223 (l)Stock Image/SuperStock; David Cooper/TIME; 412 (l)David Blue/TIME; 412 (r)Michael Daniel/TIME; 413 223 (r)Alamy; 226 Huntington Library and Art Gallery, San Marino, CA/ Erich Lessing/Art Resource, NY; 414 AKG Images; 416 Tate Gallery, London/Art Bridgeman Art Library; 228 (r)Musee des Antiquities Nationales, St. Germain- Resource, NY.; 418 AKG Images; 421 The Art Archive/Anagni Cathedral Italy/ en-Laye, France/Bridgeman Art Library; 228 (l)courtesy Professor Bernard J Dagli Orti (A); 424 Fra Angelico/Prado, Madrid, Spain/Bridgeman Art Library; Muir; 229 (l)Galleria Sabauda, Turin, Italy/Scala/Art Resource, NY; 229 File 426 Private Collection of Christian Pierre/SuperStock; 428 Erich Lessing/Art photo; 229 (t)Private Collection, The Stapleton Collection/Bridgeman Art Resource, NY; 429 Private Collection Agnew’s, London, UK/Bridgeman Art Library; 236–237 Lucas de Heere/National Museum and Gallery of Wales, Library; 430 Private Collection/Bridgeman Art Library; 432 Frederick van Cardiff/Bridgeman Art Library; 238 (cl)Ancient Art & Architecture Collection Valkenborch/Private Collection, Rafael Valls Gallery, London, UK/Bridgeman Art Ltd; 238 (t)Ancient Art & Architecture Collection Ltd; 238 (br)Time Life Library; 433 Science Museum, London, Great Britain/HIP/Art Resource, NY; Pictures/Getty Images; 238 (bl)Gianni Dagli Orti/CORBIS; 238 (cr)Nicolas 435 Accademia, Venice, Italy/Erich Lessing/Art Resource, NY; 439 Private Hilliard, British Museum, London, UK/Bridgeman Art Library; 239 (t)Newberry Collection/Bridgeman Art Library; 441 Angelo Hornak/CORBIS; 442 akg- Library/Stock Montage; 239 (bl)Getty Images; 239 (br)Seattle Art Museum/ images/Amelot; 445 National Portrait Gallery of London; 447 Musee des CORBIS; 239 (c)Bildarchiv Preussischer Kulturbesitz/Art Resource, NY; 241 Beaux-Arts, Rouen, France/Erich Lessing/Art Resource, NY; 449 Pinacoteca di (b)Hoefnagel Joris/Hatfi eld House, Hertfordshire, UK/Bridgeman Art Library; Brera, Milan, Italy/Erich Lessing/Art Resource, NY; 452 (l)Edward Bower/ 241 (t)National Portrait Gallery, London, UK/Bridgeman Art Library; 241 Dunster Castle, Somerset, UK, National Trust Photographic Library/John (c)Leonard Knyff/Yale Center for British Art, Paul Mellon Collection/Bridgeman Hammond/Bridgeman Art Library; 453 Scala/Art Resource, NY; 454 (t)Victoria Art Library; 242 Erich Lessing/Art Resource, NY; 245 Isaac Oliver/Powis Castle, & Albert Museum, London/Art Resource, NY; 454 (tc)Erich Lessing/Art Wales, UK/Bridgeman Art Library; 247 William Hogarth/Walker Art Gallery, Resource, NY; 454 (bc)Erich Lessing/Art Resource, NY; 454 (b)Seattle Art National Museums Liverpool/Bridgeman Art Library; 249 Erich Lessing/Art Museum/CORBIS; 455 Hulton Archive/Getty Images; 457 Sandro Botticelli/ Resource, NY; 251 Robert Peake/Private Collection/Bridgeman Art Library; 252 Galleria degli Uffi zi, Florence, Italy/Bridgeman Art Library; 459–460 Erich (r)Victoria & Albert Museum, London/Art Resource, NY; 252 Nicholas Hilliard/ Lessing/Art Resource, NY; 462 Seattle Art Museum/CORBIS; 463 National Rijksmuseum, Amsterdam, Holland/Bridgeman Art Library; 254 Woburn Trust/Art Resource, NY; 464 National Portrait Gallery of London; 466 Fine Art Abbey/Bridgeman Art Library/Christie’s Images Ltd; 256 National Portrait Photographic Library, London/Art Resource, NY; 467 Peter Willi/Bridgeman Art Gallery of London; 259 Francesco Bartolozzi/Private Collection, The Stapleton Library; 469 Getty Images; 471 Private Collection/Bridgeman Art Library; 474 Collection/Bridgeman Art Library; 261 Victoria and Albert Museum, London/Art Private Collection, Ken Welsh/Bridgeman Art Library; 476–478 Erich Lessing/ Resource, NY; 262 National Portrait Gallery of London/SuperStock; 265 Private Art Resource, NY; 486 Foto Marburg/Art Resource, NY; 487 Robbie Jock/ Collection, Philip Mould, Historical Portraits Ltd, London, UK/Bridgeman Art CORBIS; 490 (l)Danny Lehman/CORBIS; 490 (r)Jim Zuckerman/CORBIS; 492 Library; 267 O’Shea Gallery, London/Bridgeman Art Library; 268 RÈunion des (l)Private Collection, The StapletonCollection;/Bridgeman Art Library; 492 MusÈes Nationaux/Art Resource, NY; 270 National Portrait Gallery of London; (r)Private Collection/Bridgeman Art Library; 493 File photo; 493 File photo; 272 Scala/Art Resource, NY; 273 Christie’s Images Ltd; 275 Getty Images; 276 493 File photo; 493 Christie’s Images Ltd; 500–501 Getty Images; 502 (tl) Francois Boucher/Wallace Collection, London, UK/Bridgeman Art Library; 277 Private Collection/Bridgeman Art Library; 502 (bl)The Art Archive/Album/J. Fitzwilliam Museum, University of Cambridge/Bridgeman Art Library; Enrique Molina; 502 (br)Werner Forman/Art Resource, NY; 502 (cr)Time Life 279 Kunsthistorisches Museum, Vienna, Austria/Bridgeman Art Library; 281 Pictures/Getty Images; 502 (tr)Private Collection/Bridgeman Art Library; 502 Abraham Bloemaert/Collection of the Earl of Pembroke, Wilton House, Wilts/ (cl)Royal Society, London, UK/Bridgeman Art Library; 503 (t)Southampton City Bridgeman Art Library; 283 Getty Images; 285 First Image; 286 Edwaert Art Gallery, Hampshire, UK/Bridgeman Art Library; 503 (c)R.R.McIan, City of Collier/Private Collection/Bridgeman Art Library; 291 Nathan Benn/CORBIS; Edinburgh Museums and Art Galleries, Scotland/Bridgeman Art Library; 503 292 Mary Evans Picture Library; 293 Tate Gallery, London/Art Resource, NY; (b)Bildarchiv Preussischer Kulturbesitz/Art Resource, NY; 505 (t)Mary Evans 295 RÈunion des MusÈes Nationaux/Art Resource, NY; 296 Sotheby’s/akg- Picture Library; 505 (b) Benjamin Killingbeck/Private Collection, Ackermann images; 298 Masterfi le; 299 Giorgione, (Giorgio da Castelfranco)/Palazzo and Johnson Ltd, London, UK/Bridgeman Art Library; 505 (c)Christie’s Images Venezia, Rome,Italy/Bridgeman Art Library; 303 William Blake/Tate Gallery/Art Ltd/Bridgeman Art Library; 506 National Gallery of Victoria, Melbourne, Resource, NY; 306 AKG Images; 308 Erich Lessing/Art Resource, NY; 312 Australia/Bridgeman Art Library; 509 Benjamin West/Montclair Art Museum, Henry Fuseli/York Museums Trust (York Art Gallery), UK/Bridgeman Art New Jersey, USA/Bridgeman Art Library; 511 Stapleton Collection/CORBIS; 513 Library; 314 Ancient Art & Architecture Collection Ltd; 315 Hulton-Deutsch Tate Gallery, London/Art Resource, NY; 515 Victoria & Albert Museum, London/ Collection/CORBIS; 317 Rafael Valls Gallery, London/Bridgeman Art Library Art Resource, NY; 516 Image Select/Art Resource, NY; 523 The Huntington (c)PunchStock; 322 Wallace Collection, London, UK/Bridgeman Art Library; Library, Art Collections, and Botanical Gardens, San Marino, California/ 324 Royal Shakespeare Theater Collection, London, Great Britain/Erich SuperStock; 524–527 Tate Gallery, London/Art Resource, NY; 529 Chris Lessing/Art Resource, NY; 326 Gianni Dagli Orti/CORBIS; 331 John Singer Hellier/CORBIS; 532 National Gallery of Victoria, Melbourne, Australia/ Sargent/Tate Gallery, London/Art Resource, NY; 335 Palazzo Ducale, Venice, Bridgeman Art Library; 536 William Hogarth/Tate Gallery, London/Art Italy/Erich Lessing/Art Resource, NY; 341 Tate Gallery, London/Art Resource, Resource, NY; 538 Erich Lessing/Art Resource, NY; 542 St. Hilda’s College, NY; 346 Victoria & Albert Museum, London/Art Resource, NY; 349 Agnew & Oxford, UK/Bridgeman Art Library; 544–549 Bridgeman Art Library; 552 Sons, London/Bridgeman Art Library; 350 © Staatliche Kunstsammlungen National Portrait Gallery of London/SuperStock; 554–555 Museum of London, Dresden, Germany/The Bridgeman Art Library International; 357 Victoria & UK/Bridgeman Art Library; 556 Culver Pictures, Inc.; 557 Guildhall Art Gallery, Albert Museum, London/Bridgeman Art Library; 361 E. T. Archive; 364 Victoria Corporation of London/Bridgeman Art Library; 558 Culver Pictures, Inc.; & Albert Museum, London, UK/Bridgeman Art Library; 372 Folger Shakespeare 559 Snark/Art Resource, NY; 560 Hulton Archive/Getty Images; 563 Derby Library, Washington, DC/Art Resource, NY; 374 Landesmuseum Museum and Art Gallery, UK/Bridgeman Art Library; 564 National Portrait Ferdinandeum, Innsbruck, Austria/Snark/Art Resource, NY; 375 National Gallery of London/SuperStock; 566 Sotheby’s/akg-images; 568 Royal Geographic/Getty Images; 379 Spike Mafford/Getty Images; 382 Christie’s Holloway and Bedford New College, Surrey/Bridgeman Art Library; 569 R.

ACKNOWLEDGMENTS R111

R108-R114 EMACK-845482.indd 111 2/5/07 4:34:29 PM Sheridan/Ancient Art and Architecture; 571 Victoria Art Gallery, Bath and North Portrait Gallery, London/SuperStock; 755 The Art Archive; 756 Fitzwilliam East Somerset Council/Bridgeman Art Library; 577 Mary Evans Picture Library; Museum, University of Cambridge/Bridgeman Art Library; 757–758 The 579 Image Select/Art Resource, NY; 581 Private Collection/Image Select/Art Huntington Library, Art Collections, and Botanical Gardens, San Marino, CA/ Resource, NY; 584 Francis Bindon/Royal Hospital Chelsea, London, UK/ SuperStock; 761 Yale Center for British Art, Paul Mellon Collection, USA/ Bridgeman Art Library; 586 Yale Center for British Art, Paul Mellon Collection, Bridgeman Art Library; 762 Blake, William/Fitzwilliam Museum, University of USA/Bridgeman Art Library; 588 Louvre, Paris, France/Scala/Art Resource, NY; Cambridge, UK/Bridgeman Art LibraryMERCHANDISE; 763 Guildhall Art 590 Réunion des Musées Nationaux/Art Resource, NY; 594 The Barber Gallery, London, Great Britain/HIP/Art Resource, NY; 764 City of Westminster Institute of Fine Arts, University of Birmingham/Bridgeman Art Library; 596 Archive Centre, London, UK/Bridgeman Art Library; 766 Tate Gallery, London/ Louvre, Paris, France/Réunion des Musées Nationaux/Art Resource, NY; 599 Art Resource, NY; 767 (l)William Blake/Fitzwilliam Museum, University of Image Select/Art Resource, NY; 602 Gervase Spencer/Victoria & Albert Cambridge, UK/Bridgeman Art Library; 767 (r)Tate Gallery, London/Art Museum/E. T. Archive; 607 Haynes Fine Art Gallery, Broadway, UK/Fine Art Resource, NY; 768 Ozias Humphrey/Private Collection/Bridgeman Art Library; Photographic Library, London/Art Resource, NY; 612 Archivo Iconografi co, 770 Courtesy of Thomas Brod and Patrick Pilkington/Bridgeman Art Library; S.A./CORBIS; 613 Museum of London UK/Bridgeman art Library; 614 772 Bonhams, London, UK/Bridgeman Art Library; 775 Gavin Graham Gallery, (t)Christian Friedrich Zincke/Lincolnshire County Council, Usher Gallery, London, UK/Bridgeman Art Library; 776 Erich Lessing/Art Resource, NY; 777 ACKNOWLEDGMENTS Lincoln, UK/Bridgeman Art Library; 614 (b)Jonathan Richardson/National Working Title Films/ZUMA/CORBIS; 779 John Martin/Yale Center for British Gallery of Victoria, Melbourne, Australia/Bridgeman Art Library; 616 William Art, Paul Mellon Collection, USA, Paul Mellon Collection/Bridgeman Art Library; Powell Frith/Guildhall Art Gallery, Corporation of London, UK/Bridgeman Art 780 Benjamin Robert Haydon/National Portrait Gallery, London, UK, Library; 617 Mary Evans Picture Library; 619 Bettmann/CORBIS; 621 Giraudon/Bridgeman Art Library; 782 Victoria & Albert Museum, London/Art (t)Frontispiece to ‘London’s Remembrancer’ by John Bell/Private Collection/ Resource, NY; 784 Joseph Nicholls/Private Collection, Christie’s Images Ltd/ Bridgeman Art Library; 621 (b)Gustavo Gilabert/CORBIS; 621 (tc)Mediscan/ Bridgeman Art Library; 787 Thomas Girtin/Private Collection, Agnew’s, CORBIS; 621 (bc)Private Collection, Richard Philp, London/Bridgeman Art London, UK/Bridgeman Art Library; 790 Tate Gallery, London/Bridgeman Art Library; 624 Mary Evans Picture Library; 626 Getty Images; 627 North Wind Library; 793 The Art Archive/Culver Pictures; 795 Abbot Hall Art Gallery, Picture Archives; 629 Karen Kasmauski/CORBIS; 631 CDC/PHIL/CORBIS; 633 Kendal, Cumbria, UK/Bridgeman Art Library; 796 Bryan Reinhart/Masterfi le; Mediscan/CORBIS; 637–640 Bildarchiv Preussischer Kulturbesitz/Art Resource, 799 National Portrait Gallery of London; 800 British Museum, London, UK/ NY; 645 Darlene A. Murawski/Peter Arnold; 646 (t)Mark Edwards/Still Bridgeman Art Library; 801–802 Bibliotheque Nationale, Paris/AKG Images; Pictures/Peter Arnold; 646 (c)Andy Crump/Who/Photo Researchers; 646 805 Christie’s Images Ltd; 807–823 E. T. Archive; 826 Christie’s Images Ltd; (b)Joe Alexander/AFP; 648 Bridgeman Art Library; 650 Victoria & Albert 829 Christie’s Images Ltd/Bridgeman Art Library; 831 Min. Defense - Service Museum, London/Art Resource, NY; 652 John Bethell/Bridgeman Library, Historique de l’Armee de Terre,France, Giraudon/Bridgeman Art Library; 833 London/New York; 654 Edward Matthew Ward/Tate Gallery, London/Art National Portrait Gallery, London/SuperStock; 836 British Museum/E. T. Resource, NY; 659 Scottish National Portrait Gallery, Edinburgh/Bridgeman Art Archive; 837 (r)Private Collection, Christie’s Images Ltd/Bridgeman Art Library; Library; 661 Michael Nicholson/CORBIS; 663 Mary Evans Picture Library; 666 837 The Stapleton Collection/Bridgeman Art Library; 838 Private Collection/ Bettmann/CORBIS; 667 Tate Gallery, London/Art Resource, NY; 670–672 Bridgeman Art Library; 839 Yelagin Island Palace, St. Petersburg, Russia/ Bettmann/CORBIS; 676 Snark/Art Resource, NY; 681 Warren Faldley/CORBIS; Bridgeman Art Library; 841 Hessisches Landesmuseum, Darmstadt, Germany/ 684 (r)Private Collection/Bridgeman Art Library; 684 (l)E. T. Archive; 685 Bridgeman Art Library; 842 National Portrait Gallery, London/SuperStock; 844 (r)fi le photo; 685 Culver Pictures, Inc.; 685 (l)Musee Conde, Chantilly, Tate Gallery, London/Art Resource, NY; 848 Manchester Art Gallery, UK/ France,Giraudon/Bridgeman Art Library; 692–693 National Gallery Collection; Bridgeman Art Library; 849 Sir William Allan/Roy Miles Fine Paintings/ By kind permission of the Trustees of the National Gallery, London/CORBIS; Bridgeman Art Library; 850 Getty Images; 852 Mary Evans Picture Library; 856 694 (t)The Art Archive/British Museum; 694 (bl)The Art Archive/MusÈe du Tate Gallery, London/SuperStock; 858 Rijksmuseum Vincent Van Gogh, Nouveau Monde La Rochelle/Dagli Orti; 694 (c)RÈunion des MusÈes Amsterdam, The Netherlands/Bridgeman Art Library; 861 Academy of Natural Nationaux/Art Resource, NY; 694 (br)Bettmann/CORBIS; 695 (tcr)The Pierpont Sciences of Philadelphia/CORBIS; 863 National Portrait Gallery/akg-images; Morgan Library/Art Resource, NY; 695 (t)Smithsonian American Art Museum, 865 William Hilton/Lincolnshire County Council, Usher Gallery, Lincoln, UK/ Washington, DC/Art Resource, NY; 695 (bcl)Private Collection/Bridgeman Art Bridgeman Art Library; 867 Walter Crane/Bridgeman Art Library; 869 Tate Library; 695 (bcr)The Art Archive/Museo Bolivar Caracas/Dagli Orti ]; 695 The Gallery, London/Art Resource, NY; 872 Museo Nazionale di Villa Giulia, Rome, Art Archive/MusÈe du Ch‚teau de Versailles/Dagli Orti; 695 (tcl)John Keats/ Italy/Nimatallah/Art Resource, NY; 875 (t)Smithsonian American Art Museum, Private Collection/Bridgeman Art Library; 697 (c)Historical Picture Archive/ Washington, DC/Art Resource, NY; 875 (bc)Smithsonian American Art CORBIS; 697 (t) George ShepherdGuildhall Library, Corporation of London, Museum, Washington, DC/Art Resource, NY; 875 (b)Church of Santi Nicola e UK/Bridgeman Art Library; 697 (b)The Art Archive/Tate Gallery London/John Cataldo Lecce, Puglia, Italy/Bridgeman Art Library; 875 (tc)Giraudon/Art Webb; 698 Fine Art Photographic Library/CORBIS; 701 The Pierpont Morgan Resource, NY; 877 Fine Art Photographic Library, London/Art Resource, NY; Library/Art Resource, NY; 703 Royal Academy of Arts, London, UK/Bridgeman 880 Victoria & Albert Museum, London/Bridgeman Art Library; 881 Christie’s Art Library; 705 Joseph Severn/Keats-Shelley Memorial House, Rome, Italy/ Images Ltd/CORBIS; 883 Smithsonian American Art Museum, Washington, DC/ Bridgeman Art Library; 707 Manchester Art Gallery, UK/Bridgeman Art Library; Art Resource, NY; 884 Joe McDonald/CORBIS; 887 Brooklyn Museum of Art/ 708 Arthur Pond/Arthur Fitzwilliam Museum, University of Cambridge, UK/ CORBIS; 890 Victoria and Albert Museum, London/Art Resource, NY; 893 Erich Bridgeman Art Library; 710 Jasper Francis Cropsey/Johnny van Haeften Lessing/Art Resource, NY; 898 (r)Getty Images; 898 (l)Everett Collection; 898 Gallery, London, UK/Bridgeman Art Library; 713 George Stubbs/Roy Miles Fine (r)Aaron Haupt; 899 File photo; 899 (t)Christie’s Images Ltd; 899 (l)William Paintings/Bridgeman Art Library; 717 Mary Evans Picture Library; 719 Nicholson/Scottish National Portrait Gallery, Edinburgh, Scotland/Bridgeman Sotheby’s Transparency Library; 720 Private Collection/Bridgeman Art Library/ Art Library; 906–907 George William Joy/Museum of London, UK/Bridgeman SuperStock; 722 Mary Evans Picture Library; 725 Tate Gallery, London/Art Art Library; 908 (tc)The Art Archive/British Museum/Eileen Tweedy; 908 Resource, NY; 728–731 Bridgeman Art Library; 733 Neue Pinakothek/AKG (t)Mary Evans Picture Library; 908 (b)Bildarchiv Preussischer Kulturbesitz/Art Images; 737 Barry Iverson; 738 Ayman Mroueh; 739 Etienne Boyer/SIPA; 740 Resource, NY; 908 (bc)CORBIS; 909 (cw from top)The Pierpont Morgan Barry Iverson; 742 Mary Evans Picture Library; 744 Smithsonian American Art Library/Art Resource, NY; 909 (cw from top)Giraudon/Art Resource, NY; 909 Museum, Washington, DC/Art Resource, NY; 747 Bridgeman Art Library; 749 (cw from top)Getty Images; 909 (cw from top)Mary Evans Picture Library; 909 Fine Art Photographic Library, London/Art Resource, NY; 750 City of Edinburgh (cw from top)Bettmann/CORBIS; 911 (t)Ford Madox Brown/Birmingham Museums and Art Galleries, Scotland/Bridgeman Art Library; 754 National Museums and Art Gallery/Bridgeman Art Library; 911 (bl)James Hakewill/

R112 ACKNOWLEDGMENTS

R108-R114 EMACK-845482.indd 112 2/5/07 4:34:44 PM Private Collection, Christie’s Images Ltd/Bridgeman Art Library; 911 (br)British Kulturbesitz/Art Resource, NY; 1061 Alinari/Art Resource, NY; 1064 Phillip Library, London, UK/Bridgeman Art Library; 913 Rykoff Collection/CORBIS; 915 Hollas/TIME; 1066 Vanessa Bell/University of Hull Art Collection, Humberside, ACKNOWLEDGMENTS Joseph Nash/Private Collection, Bonhams, London, UK/Bridgeman Art Library; UK/Bridgeman Art Library; 1067 Aubrey Beardsley/Private Collection/ 917 RÈunion des MusÈes Nationaux/Art Resource, NY; 919 Tate Gallery, Bridgeman Art Library; 1068 John Collier/Bateman’s, East Sussex, UK, National London/Art Resource, NY; 921 The Art Archive/Dagli Orti; 922 National Portrait Trust Photographic Library/John Hammond/Bridgeman Art Library; 1070 Gallery of London; 924 Christie’s Images Ltd; 928 Victoria & Albert Museum, Private Collection/Bridgeman Art Library; 1072 Robert Maier/Animals, Animals; London/Art Resource, NY; 929 The Stapleton Collection/Bridgeman Art Library; 1073 Private Collection/Bridgeman Art Library; 1077 AKG Images/London; 932 Musee National du Bardo, Tunis, Tunisia/Erich Lessing/Art Resource, NY; 1079 Dreweatt Neate Fine Art Auctioneers, Newbury/Bridgeman Art Library; 933 Underwood & Underwood/CORBIS; 934 Erich Lessing/Art Resource, NY; 1082 Joe McDonald/Animals, Animals; 1084 Hulton-Deutsch Collection/ 935 British Museum, London, Great Britain/Erich Lessing/Art Resource, NY; CORBIS; 1085 Bettmann/CORBIS; 1089 Mary Evans Picture Library; 1091 936 Musee National du Bardo, Tunis, Tunisia/Erich Lessing/Art Resource, NY; Imperial War Museum/E. T. Archive; 1092 Bettmann/CORBIS; 1093 George C. 938 (b)Bettmann/CORBIS; 938 (bc)Tate Gallery, London/Art Resource, NY; Beresford/Beresford/Getty Images; 1095 Erich Lessing/Art Resource, NY; 1097 938 (t)Fine Art Photographic Library, London/Art Resource, NY; 938 (tc)Ricco/ Getty Images; 1101 Colin Woodbridge/Alamy; 1102 Archives Larousse, Paris, Maresca Gallery/Art Resource, NY; 939 John Brett/Private Collection/ France,Giraudon/Bridgeman Art Library; 1103 POPPERFOTO/Alamy; 1104 Bridgeman Art Library; 941 Museum of Fine Arts, Boston, Charles H. Bayley BETTMAN/CORBIS; 1105 Tate Gallery, London/Art Resource, NY; 1106 Getty Picture and Painting Fund; 945 Alinari/Art Resource, NY; 947 Images.com/ Images; 1107 MusÈe Victor Hugo/akg-images; 1109 Fine Art Photographic CORBIS; 949 (t)Sandi Fellman; 949 (b)Jay Dickman; 950 Carol Beckwith/ Library, London/Art Resource, NY; 1111 Hagia Sophia, Istanbul, Turkey/Erich Millennium Tribal Wisdom of the Modern World; 951 Getty Images; 951 Getty Lessing/Art Resource, NY; 1112 Tretjakov Gallery/akg-images; 1115 Paul Images; 953 Erich Lessing/Art Resource, NY; 954 Fine Art Photographic Almasy/CORBIS; 1117 Alfred Eisenstaedt/Time Life Pictures/Getty Images; 1119 Library, London/Art Resource, NY; 956 Christ Church College, Oxford by Private Collection/The Stapleton Collection Bridgeman Art Library; 1122 Getty N. Herkomer/E. T. Archive; 957 Mary Evans Picture Library/The Image Works; Images; 1124 Images.com/CORBIS; 1129 CORBIS; 1131 Private Collection/ 957 Mary Evans Picture Library/The Image Works; 958 Mary Evans Picture Bridgeman Art Library; 1132 CORBIS; 1134 Wernher Krutein/Liaison Library; 960 Private Collection, Christie’s Images Ltd/Bridgeman Art Library; International; 1136 Hulton Getty/Liaison Agency; 1138 UPI/Bettmann/CORBIS; 961 Private Collection, Bourne Gallery, Reigate, Surrey/Bridgeman Art Library; 1140 Hunterian Art Gallery, University of Glasgow; 1143 Musee d’Orsay/Art 963 Sir Hubert von Herkomer/Royal Academy of Arts, London, UK/Bridgeman Resource, NY; 1144 Private Collection/Bridgeman Art Library; 1149 George C. Art Library; 964 Image Select/Art Resource, NY; 965 Erich Lessing/Art Beresford/Getty Images; 1153–1154 akg-images; 1157 Private Collection/Chris Resource, NY; 966 Getty Images; 968 Victoria & Albert Museum, London/Art Beetles/Bridgeman Art Library; 1158 Fine Art Photographic Library, London/Art Resource, NY; 971 Cragside House, Northumberland, UK, National Trust Resource, NY; 1160 Tate Gallery, London/Art Resource, NY; 1161 Southampton Photographic Library/Derrick E. Witty;/Bridgeman Art Library; 974 Private City Art Gallery, Hampshire, UK/Bridgeman Art Library; 1162 Sotheby’s/akg- Collection, The Maas Gallery, London, UK/Bridgeman Art Library; 975 images; 1165 Henry Lamb/South African National Gallery, Cape Town, South Christie’s Images Ltd; 979 National Portrait Gallery, London/SuperStock; 981 Africa/Bridgeman Art Library; 1166 Art Resource, NY; 1168 Archive Photos; Musee Crozatier, Le Puy-en-Velay, France/Bridgeman Art Library; 984 Hulton 1170 Getty Images; 1174 Mary Evans Picture Library/Robin Adler; 1176 Private Archive/Getty Images; 986 Private Collection, Barbara Singer/Bridgeman Art Collection/Bridgeman Art Library; 1177 William Morris Gallery, Walthamstow, Library; 989 Private Collection/Bridgeman Art Library; 991–994 Getty Images; UK/Bridgeman Art Library; 1179 Fine Art Photographic Library/CORBIS; 1181 995 Charles Plante Fine Arts English/Bridgeman Art Library; 998 Hulton- Hulton-Deutsch Collection/CORBIS; 1182 Bradford Art Galleries and Museums, Deutsch Collection/CORBIS; 1000 AKG Images; 1001 Galerie Berko, Brussels, West Yorkshire, UK/Bridgeman Art Library; 1184 Jerry Cooke/Time & Life Belgium/Fine Art Photographic Library, London/Art Resource, NY; 1003 Pictures/Getty Images; 1186 Musee Royaux des Beaux-Arts de Belgique, Reginald-Grenville Eves, Towner Art Gallery, Eastbourne, East Sussex, UK/ Brussels, Belgium/Bridgeman Art Library; 1187 Victoria & Albert Museum, Bridgeman Art Library; 1005 Geoffrey Clements/CORBIS; 1006 Christie’s London/Art Resource, NY; 1192 Bettmann/CORBIS; 1194 Private Collection/ Images Ltd/Bridgeman Art Library; 1007 Fine Art Photographic Library, Bridgeman Art Library; 1200 Getty Images; 1202 Horace Bristol/CORBIS; London/Art Resource, NY; 1017 Musee Crozatier, Le Puy-en-Velay, France/ 1204 Christie’s Images Ltd/SuperStock; 1205 Sir Cedric Morris/Glynn Vivian Bridgeman Art Library; 1020 (r)Aaron Haupt; 1020 Hulton Archive/Getty Art Gallery, Swansea, Wales/Bridgeman Art Library; 1210 ZIGMUND Images; 1021 (l)Getty Images; 1021 (t)The Everett Collection; 1028–1029 Tate LESZCZYNSKI/Animals, Animals; 1213 CORBIS; 1217 Alamy Images; 1218 Gallery, London/Art Resource, NY; 1030 (t)Percy Wyndham Lewis/Stapleton (t)Bettmann/CORBIS; 1218 (br)Aaron Haupt; 1218 (bl)Hulton-Deutsch Collection, UK/Bridgeman Art Library; 1030 (b)The Art Archive/Culver Pictures; Collection/CORBIS; 1219 (t)Christie’s Images Ltd; 1219 (b)ﬁ le photo; 1219 1030 (bc)Scala/Art Resource, NY; 1030 (tc)Snark/Art Resource, NY; 1031 (cl)Mary Evans Picture Library; 1219 (cr)File photo; 1219 (c)File photo; (tl)Sava Botzaris/Private Collection, Bonhams, London, UK/Bridgeman Art 1226–1227 Mark Copelad/Private Collection, Portal Gallery Ltd/Bridgeman Library; 1031 (tc)Vanessa Bell/Private Collection, The Stapleton Collection/ Art Library; 1228 (t)Alexander Moffat/Scottish National Portrait Gallery, Bridgeman Art Library; 1031 (bc)Getty Images; 1031 (b)The Art Archive/Culver Edinburgh, Scotland/Bridgeman Art Library; 1228 (br)Bettmann/CORBIS; Pictures; 1031 (tr) Joy and John Halas & Batchelor Collection Ltd./Bridgeman 1228 (cl)Lydia de Burgh/Government of Northern Ireland, Stormont, N. Art Library; 1033 (tr)Bibliotheque des Arts Decoratifs, Paris, France, Archives Ireland/Bridgeman Art Library; 1228 (cr)Getty Images; 1229 (tl)London, UK, Charmet/Bridgeman Art Library; 1033 (tl)The Art Archive/Domenica del Boltin Picture Library/Bridgeman Art Library; 1229 (b)Wolfgang Kaehler/ Corriere/Dagli Orti; 1033 (b)Snark/Art Resource, NY; 1035 Erich Lessing/Art CORBIS; 1229 (tr)MC PHERSON COLIN/CORBIS SYGMA; 1229 (cr)Benjamin Resource, NY; 1037 The Art Archive/Imperial War Museum; 1039 RÈunion des Lowy/CORBIS; 1229 (cl)Sion Touhig/CORBIS; 1231 (br)Kim Sayer/CORBIS; MusÈes Nationaux/Art Resource, NY; 1041–1043 Tate Gallery, London/Art 1231 (bl)DESMOND BOYLAN/Reuters/CORBIS; 1231 (t)Getty Images; 1233 Resource, NY; 1044 (t)Ignace Henri Jean Fantin-Latour/Fitzwilliam Museum, Bettmann/CORBIS; 1235 Tate Gallery, London/Art Resource, NY; 1237 Werner University of Cambridge, UK/Bridgeman Art Library; 1044 (tc) Bildarchiv Forman/Art Resource, NY; 1239 Tate Gallery, London/Art Resource, NY; 1241 Preussischer Kulturbesitz/Art Resource, NY; 1044 (bc) Scala/Art Resource, NY; Tim Mara/Wolverhampton Art Gallery, West Midlands, UK/Bridgeman Art 1044 (b) Indianapolis Museum of Art, USA, Gift of Mr. and Mrs. Harrison Library; 1242 Getty Images; 1244 Arthur Tress/Photonica; 1246 Getty Images; Eiteljorg/Bridgeman Art Library; 1045 Topical Press Agency/Getty Images; 1248 Private Collection/Bridgeman Art Library; 1250 Collection of Andrew 1047 Tate Gallery, London/Art Resource, NY; 1050 Private Collection/ McIntosh Patrick, UK/Bridgeman Art Library; 1252 Pam Ingalls/CORBIS; Bridgeman Art Library, London; 1055 Pretoria Art Museum, Pretoria, South 1254 Getty Images; 1257 (t)Henry Herbert La Thangue/Oldham Art Gallery, Africa; 1057 Giraudon Art Resource, NY; 1060 Bildarchiv Preussischer Lancashire, UK/Bridgeman Art Library; 1257 (c)Bettmann/CORBIS; 1257

ACKNOWLEDGMENTS R113

R108-R114 EMACK-845482.indd 113 2/5/07 4:34:59 PM (b)Daniel Nevins/SuperStock; 1259 Geray Sweeney/CORBIS; 1260 Stapleton CORBIS; 1322 Shiko Nakano/Photonica; 1323 John Carnemolla/Australian Collection, UK/Bridgeman Art Library; 1262 Gerrit Greve/CORBIS; 1265 From Picture Library/CORBIS; 1327 Pressens Bild/Globe Photos; 1329 Yann Arthus- Running in the Family by Michael Ondaatje.Copyright 1982 by Michael Ondaatje. Bertrand/CORBIS; 1331 MC PHERSON COLIN/CORBIS SYGMA; 1333 (t)Art Used by permission of W.W. Norton & Company, Inc; 1266 Scala/Art Resource, Gallery of Ontario, Toronto, Canada/Bridgeman Art Library; 1333 (b)John N. NY; 1267 Henri Cartier-Bresson/Magnum Photos; 1269 Carel Weight/Private Trager; 1335 Space Telescope Science Institute/CORBIS; 1336 Steve Peck/ Collection/Bridgeman Art Library; 1271 Derek Hudson/Getty Images; 1273 Owen Courtesy of Michael Rosenfeld Gallery, New York City; 1340 Robert Holmes/ Franken/CORBIS; 1276–1277 Robbie Jack/CORBIS; 1278 Kevin Casey; 1279 CORBIS; 1342 Simon Reddy/Alamy; 1344 Sophie Bassouls/CORBIS SYGMA; Smithsonian American Art Museum, Washington, DC/Art Resource, NY; 1280 The 1346–1347 Private Collection/Bridgeman Art Library; 1349 Lou Wall/CORBIS; Fleming-Wyfold Art Foundation/Bridgeman Art Library; 1283 Sir Peter Scott/ 1351 Private Collection/Bridgeman Art Library; 1355 Anthony Loew/Time Life Private Collection/Bridgeman Art Library; 1284 Hulton Getty Images/Tony Stone Pictures/Getty Images; 1357 Private Collection, Bonhams,London,UK/Bridgeman Images; 1286 Ancient Art & Architecture; 1288 Philip Richardson; Gallo Images/ Art Library; 1361 (t)Paulo Fridman/TIME; 1361 (c)Todd France/CORBIS; 1361 CORBIS; 1290 Bridgeman Art Library; 1292 Pierre Holtz/Reuters/CORBIS; 1295 (b)Nick Baratta for Teen People; 1362 (tl)Phil Knott/Camerapress/Retna; 1362 Fay Goodwin/Network/SABA; 1297 Victoria & Albert Museum, London/Art (b)Michael Lavine/CORBIS; 1362 (bc)Michael Halsband/TIME; 1362 (tr)Niels Van Resource, NY; 1298 Hulton Getty/Liaison Agency; 1299 Geoffrey Clements/ Iperenn/Retna; 1362 (tc)Fred Prouser/Reuters; 1363 (l)Michael Halsband/TIME; ACKNOWLEDGMENTS CORBIS; 1300 africanpictures.net; 1304 Miriam Berkley; 1306 Margaret 1363 (c)Robert Delahanty/CORBIS; 1363 (r)Ted Thai/TIME; 1366 Chris Courtney-Clarke/CORBIS; 1306–1308 The Newark Museum/Art Resource, NY; Ballentine/Alamy Images; 1373 Nancy Sheehan/Photo Edit; 1374 Aaron Haupt; 1309 Bowers Museum of Cultural Art/CORBIS; 1310 Christie’s Images Ltd/ 1374 (tl) Thierry Orban/CORBIS SYGMA; 1374 (b) Colin McPherson/CORBIS; CORBIS; 1313 Jacques Langevin/CORBIS SYGMA; 1315 Miguel S. Salmeron/FPG 1375 (cl) BASSOULS SOPHIE/CORBIS SYGMA; 1375 (cr)fi le photo; 1375 International; 1318 Time Life Syndication/Henry Grossman; 1320 Adrian Burke/ (t)Bettmann/CORBIS; 1375 (b)fi le photo; 1375 (c)fi le photo.

R114 ACKNOWLEDGMENTS

R108-R114 EMACK-845482.indd 114 2/5/07 4:35:15 PM