Circumlocution
Classicism
Cliche
Sunday, January 20, 2013
Lit Terms 6-13
Analogy
Analysis
Anaphora
Anecdote
Antagonist
Antithesis
Aphorism
Apostrophe
Argument
Assumption
Audience
Characterization
Analysis
Anaphora
Anecdote
Antagonist
Antithesis
Aphorism
Apostrophe
Argument
Assumption
Audience
Characterization
Saturday, January 19, 2013
Poetry Analysis
She Walks in Beauty
by Lord Byron
She walks in beauty, like the night
Of cloudless climes and starry skies,
And all that's best of dark and bright
Meets in her aspect and her eyes;
Thus mellow'd to that tender light
Which Heaven to gaudy day denies.
One shade the more, one ray the less,
Had half impair'd the nameless grace
Which waves in every raven tress
Or softly lightens o'er her face,
Where thoughts serenely sweet express
How pure, how dear their dwelling-place.
And on that cheek and o'er that brow
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,—
A mind at peace with all below,
A heart whose love is innocent
Ode to Autumn
by John Keats
Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eaves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease;
For Summer has o'erbrimm'd their clammy cells.
Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reap'd furrow sound asleep,
Drowsed with the fume of poppies, while thy hook
Spares the next swath and all its twinèd flowers:
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cyder-press, with patient look,
Thou watchest the last oozings, hours by hours.
Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,—
While barrèd clouds bloom the soft-dying day
And touch the stubble-plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river-sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The redbreast whistles from a garden-croft;
And gathering swallows twitter in the skies.
If
by Rudyard kipling
If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or being lied about, don't deal in lies,
Or being hated, don't give way to hating,
And yet don't look too good, nor talk too wise:
If you can dream - and not make dreams your master;
If you can think - and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build 'em up with worn-out tools:
If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breathe a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: 'Hold on!'
If you can talk with crowds and keep your virtue,
' Or walk with Kings - nor lose the common touch,
if neither foes nor loving friends can hurt you,
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds' worth of distance run,
Yours is the Earth and everything that's in it,
And - which is more - you'll be a Man, my son!
Sonnet 18
by William Shakespeare
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance, or nature's changing course, untrimm'd;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wander'st in his shade,
When in eternal lines to time thou growest;
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
How Do I Love Thee?
by Elizabeth Barrett Browning (1806–1861)
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of everyday’s
Most quiet need, by sun and candle-light.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love thee with the passion put to use
In my old griefs, and with my childhood’s faith.
I love thee with a love I seemed to lose
With my lost saints,—I love thee with the breath,
Smiles, tears, of all my life!—and, if God choose,
I shall but love thee better after death.
http://classicpoetryaloud.podomatic.com/entry/2007-08-23T11_59_55-07_00
by Lord Byron
She walks in beauty, like the night
Of cloudless climes and starry skies,
And all that's best of dark and bright
Meets in her aspect and her eyes;
Thus mellow'd to that tender light
Which Heaven to gaudy day denies.
One shade the more, one ray the less,
Had half impair'd the nameless grace
Which waves in every raven tress
Or softly lightens o'er her face,
Where thoughts serenely sweet express
How pure, how dear their dwelling-place.
And on that cheek and o'er that brow
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,—
A mind at peace with all below,
A heart whose love is innocent
Ode to Autumn
by John Keats
Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eaves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease;
For Summer has o'erbrimm'd their clammy cells.
Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reap'd furrow sound asleep,
Drowsed with the fume of poppies, while thy hook
Spares the next swath and all its twinèd flowers:
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cyder-press, with patient look,
Thou watchest the last oozings, hours by hours.
Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,—
While barrèd clouds bloom the soft-dying day
And touch the stubble-plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river-sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The redbreast whistles from a garden-croft;
And gathering swallows twitter in the skies.
If
by Rudyard kipling
If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or being lied about, don't deal in lies,
Or being hated, don't give way to hating,
And yet don't look too good, nor talk too wise:
If you can dream - and not make dreams your master;
If you can think - and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build 'em up with worn-out tools:
If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breathe a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: 'Hold on!'
If you can talk with crowds and keep your virtue,
' Or walk with Kings - nor lose the common touch,
if neither foes nor loving friends can hurt you,
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds' worth of distance run,
Yours is the Earth and everything that's in it,
And - which is more - you'll be a Man, my son!
Sonnet 18
by William Shakespeare
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance, or nature's changing course, untrimm'd;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wander'st in his shade,
When in eternal lines to time thou growest;
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
How Do I Love Thee?
by Elizabeth Barrett Browning (1806–1861)
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of everyday’s
Most quiet need, by sun and candle-light.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love thee with the passion put to use
In my old griefs, and with my childhood’s faith.
I love thee with a love I seemed to lose
With my lost saints,—I love thee with the breath,
Smiles, tears, of all my life!—and, if God choose,
I shall but love thee better after death.
http://classicpoetryaloud.podomatic.com/entry/2007-08-23T11_59_55-07_00
Wednesday, January 16, 2013
Saturday, January 12, 2013
Spring Semester Plan 1
This semester I plan to focus a lot more time on passing the AP Exam than last semester. My goal for this semester is to write at least one essay every week from past AP Exams. I plan to have my cousin grade it using the AP rubric. This is going to take some time out of my day but I am going to try to do it.
Thursday, January 10, 2013
AP Prep Post 1: Siddhartha
A)
1.Siddhartha features substantial activity and narrative action. At the same time, it is about one man’s largely internal spiritual quest. What is the relationship between the internal and exterior worlds of Siddhartha? How does Siddhartha negotiate these worlds?
2. Discuss the ways Siddhartha attempts to attain spiritual enlightenment. Which approaches are successful? Which ones are not successful, and which ones have limited effectiveness? How does Siddhartha progress from one?
3.Consider Siddhartha’s relationship with Govinda. How are they similar, and how are they different? What are the narrative functions of Govinda’s reappearance throughout the novel? How does their relationship impact the novel’s ending?
http://www.sparknotes.com/lit/siddhartha/study.html
4. How does his father show both patience and wisdom in dealing with his son?
5.Describe the Samanas that Govinda and Siddhartha meet close to the end of Chapter 1.
http://www.studymode.com/essays/Siddhartha-Reading-Questions-641015.html
B)
1.Siddhartha is driven to extremes by his desire for spiritual enlightenment and understanding. While he embraces the extremes of physicality in this novel, the initial spark of desire comes from within him. Siddhartha’s initial project is to negate the Self.
2.When Siddhartha leaves his boyhood village, he is armed only with the desire to understand himself and reach enlightenment. He has no concrete, long-term plan for himself other than to seek spiritual fulfillment, and he follows many different paths to reach his goal.
3.Govinda is Siddhartha’s childhood friend and becomes his partner as a spiritual pilgrim. He serves a variety of functions in the novel, both to further the plot and to reveal aspects of Siddhartha we might not otherwise see. Govinda often provides a sounding board for Siddhartha’s ideas
4.At first, Siddhartha’s father shows dissatisfaction and displeasure with his son’s desire to become a Samana. Despite his objection, Siddhartha waits in his room for his father’s approval. His father, although disagreeing, allows his son to leave. His patience and wisdom is tested by his son but even the father understands that his son is a grown man, capable of making wise decisions.
5.The Samanas are warriors who practice self-denial, the loss of need and desire, in order to live a perfect life. They teach Siddhartha about their exercises to extinguish thyself and give birth a new self, one who is connected to everything, nature and animals.
C)
The questions tell me that I have to understand the reading beyond just the text.
1.Siddhartha features substantial activity and narrative action. At the same time, it is about one man’s largely internal spiritual quest. What is the relationship between the internal and exterior worlds of Siddhartha? How does Siddhartha negotiate these worlds?
2. Discuss the ways Siddhartha attempts to attain spiritual enlightenment. Which approaches are successful? Which ones are not successful, and which ones have limited effectiveness? How does Siddhartha progress from one?
3.Consider Siddhartha’s relationship with Govinda. How are they similar, and how are they different? What are the narrative functions of Govinda’s reappearance throughout the novel? How does their relationship impact the novel’s ending?
http://www.sparknotes.com/lit/siddhartha/study.html
4. How does his father show both patience and wisdom in dealing with his son?
5.Describe the Samanas that Govinda and Siddhartha meet close to the end of Chapter 1.
http://www.studymode.com/essays/Siddhartha-Reading-Questions-641015.html
B)
1.Siddhartha is driven to extremes by his desire for spiritual enlightenment and understanding. While he embraces the extremes of physicality in this novel, the initial spark of desire comes from within him. Siddhartha’s initial project is to negate the Self.
2.When Siddhartha leaves his boyhood village, he is armed only with the desire to understand himself and reach enlightenment. He has no concrete, long-term plan for himself other than to seek spiritual fulfillment, and he follows many different paths to reach his goal.
3.Govinda is Siddhartha’s childhood friend and becomes his partner as a spiritual pilgrim. He serves a variety of functions in the novel, both to further the plot and to reveal aspects of Siddhartha we might not otherwise see. Govinda often provides a sounding board for Siddhartha’s ideas
4.At first, Siddhartha’s father shows dissatisfaction and displeasure with his son’s desire to become a Samana. Despite his objection, Siddhartha waits in his room for his father’s approval. His father, although disagreeing, allows his son to leave. His patience and wisdom is tested by his son but even the father understands that his son is a grown man, capable of making wise decisions.
5.The Samanas are warriors who practice self-denial, the loss of need and desire, in order to live a perfect life. They teach Siddhartha about their exercises to extinguish thyself and give birth a new self, one who is connected to everything, nature and animals.
C)
The questions tell me that I have to understand the reading beyond just the text.
Sunday, December 9, 2012
Literature Analysis #5
Of Mice and Men by John
Steinbeck
1. Two friends, George and Lennie, travel together from farm to farm in order to find work. George takes care of Lennie, who has some sort of mental disability. They come across a farm in California where they are planning to work after getting chased away from their last job. They get hired and meet the staff: Candy, who is an old-time employee with an elderly dog, and Curley, the boss's strict, mean son. Curley is also newly married to a girl who flirts around with all the employees behind Curley's back, making him constantly jealous and angry with her. In order to avoid trouble, George tells Lennie to keep his distance from the woman and if he gets into any kind of trouble, he should run off to their secret hideaway just to keep safe. George and Lennie go on to meet Slim, a respected mule-driver, and Carlson, a ranch hand. We later find out how George and Lennie got chased away from their last job; Lennie was accused of rape after constantly stroking a woman's dress. In the meantime, Carlson keeps pushing for Candy to kill his old bag of a dog to the point where Candy actually gives in and lets Carlson shoot him. George and Lennie continue to try to keep their plans of owning some land a secret until Candy finds out and wants in. With a bit of consideration, they allow Candy to join them on their pipe dream. At the same time, Curley is going mad over the fact that he can never keep track of his wife and takes out his frustration on Lennie. George then tells Lennie to fight back and he ends up crushing Curley's hand. The next day, Lennie meets Crooks, an African American employee, and they strike up a friendship. The day after, Curley's wife comes to talk to Lennie about how disappointing her life has been since marrying Curley. She ends up letting Lennie touch her hair and when she tells him to stop, he panics and ends up breaking her neck, killing her. Lennie then flees to the secret hideaway while the men find out about the murder of Curley's wife. When George comes to find and console Lennie, he begins to talk about the dream farm as he shoots Lennie in the back of the head. George is left distraught and emotional; the other men don't understand why he feels so horrible and leave him in confusion.
2. The main theme of the novel is the fraternal bond of two men and how important a male friendship can be. This message ties into their dream of owning a farm due to the fact that this dream keeps them together until George realizes the fact that in reality, it may never happen for them. Despite George killing Lennie in the end, he still feels a tight bond to Lennie and realizes the tragic end to their brotherhood.
3. The tone of the novel is very sentimental and at the most important moments, slightly tragic. The mood it portrays gives a feeling of compassion for these two optimistic dreamers who lack a sense of reality.
Lit. Techniques
1. Two friends, George and Lennie, travel together from farm to farm in order to find work. George takes care of Lennie, who has some sort of mental disability. They come across a farm in California where they are planning to work after getting chased away from their last job. They get hired and meet the staff: Candy, who is an old-time employee with an elderly dog, and Curley, the boss's strict, mean son. Curley is also newly married to a girl who flirts around with all the employees behind Curley's back, making him constantly jealous and angry with her. In order to avoid trouble, George tells Lennie to keep his distance from the woman and if he gets into any kind of trouble, he should run off to their secret hideaway just to keep safe. George and Lennie go on to meet Slim, a respected mule-driver, and Carlson, a ranch hand. We later find out how George and Lennie got chased away from their last job; Lennie was accused of rape after constantly stroking a woman's dress. In the meantime, Carlson keeps pushing for Candy to kill his old bag of a dog to the point where Candy actually gives in and lets Carlson shoot him. George and Lennie continue to try to keep their plans of owning some land a secret until Candy finds out and wants in. With a bit of consideration, they allow Candy to join them on their pipe dream. At the same time, Curley is going mad over the fact that he can never keep track of his wife and takes out his frustration on Lennie. George then tells Lennie to fight back and he ends up crushing Curley's hand. The next day, Lennie meets Crooks, an African American employee, and they strike up a friendship. The day after, Curley's wife comes to talk to Lennie about how disappointing her life has been since marrying Curley. She ends up letting Lennie touch her hair and when she tells him to stop, he panics and ends up breaking her neck, killing her. Lennie then flees to the secret hideaway while the men find out about the murder of Curley's wife. When George comes to find and console Lennie, he begins to talk about the dream farm as he shoots Lennie in the back of the head. George is left distraught and emotional; the other men don't understand why he feels so horrible and leave him in confusion.
2. The main theme of the novel is the fraternal bond of two men and how important a male friendship can be. This message ties into their dream of owning a farm due to the fact that this dream keeps them together until George realizes the fact that in reality, it may never happen for them. Despite George killing Lennie in the end, he still feels a tight bond to Lennie and realizes the tragic end to their brotherhood.
3. The tone of the novel is very sentimental and at the most important moments, slightly tragic. The mood it portrays gives a feeling of compassion for these two optimistic dreamers who lack a sense of reality.
Lit. Techniques
Simile
-" At about ten o'clock in the mornig the sun threw a bright dust-laden bar through one of the side windows, and in and out of the beam flies shot like rushing stars"
Diction
-"We could live offa the fatta the lan"
Imagery
"Evening
of a hot day started the little wind to moving among the leaves. The shade climbed up the
hills toward the top. On the sand banks the rabbits sat as quietly as little gray, sculptured
stones."
Foreshadowing
-"I ought to of shot that dog myself, George. I shouldn't ought to
of let no stranger shoot my dog."
Characterization:
1.
The author uses indirect characterization as he reveals what the
characters’ are feeling through his actions.
2.
The diction and syntax changes as the author talks about different
characters’. For example the rich and the poor, the blacks and the whites.
3.
The protagonist is both dynamic and round because he changes and
matures over time.
4.
I definitely feel like I met a person because I felt like I was in
the story .
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