THE PINK PAGES—MRS. CHEN
(2019-2020- everything you always wanted to know about AP English Lit., but were afraid to ask!) Adapted from Yellow Pages of Elizabeth Davis, Westwood High School

Table of Contents
Topic	Page

Tone: Positive (happiness, pleasure, friendliness/courtesy, animation, romance, tranquility 2 Tone: Neutral (general, rational/logical, self-control, apathy)	3 Tone: Humor/Irony/Sarcasm	3 Tone: Negative (general, sadness, pain)	4
Tone: Negative (unfriendliness, anger, passion, arrogance/ self-importance, sorrow/fear/	4 worry submission/timidity)
Verbs: for literary analysis	5

Verbs: to incorporate instead of exemplifies	5 Adjectives for Literary/Rhetorical Discussion: Describing the author	6 Adjectives for Literary/Rhetorical Discussion: Describing the style/content	6 Adjectives for Literary/Rhetorical Discussion: Describing the diction	6 Adjectives for Literary/Rhetorical Discussion: Describing the syntax	6
Adjectives for Literary/Rhetorical Discussion: Describing the organization/structure/point 7 of view

Adjectives for Literary/Rhetorical Discussion: Describing the imagery	7

Adjectives for Use in Literary/Rhetorical Discussion: Describing the characters (mental	7 qualities)
Adjectives for Use in Literary/Rhetorical Discussion: Describing the characters (moral	7 qualities)
Adjectives for Use in Literary/Rhetorical Discussion: Describing the characters (spiritual	7 qualities)
Adjectives for Use in Literary/Rhetorical Discussion: Describing the characters (social	7 qualities)
Nouns for Use in Literary/Rhetorical Discussion (analyzing characters, structure/	8 organization/point of view, syntax, genre/purpose, sound devices)
The Language of Argument	9

Transition Words	9 Theme (vocabulary and identifying theme)	10, 11
Developing an Analytical Voice	12 How to Connect Rhetorical Choices to Meaning (diction, syntax, imagery)	13 How to Connect Rhetorical Choices to Meaning (imagery, metaphor, simile,	14
personification)
How to Connect Rhetorical Choices to Meaning (hyperbole, symbol, detail)	15 How to Connect Rhetorical Choices to Meaning (allusion)	16 Aristotle and the Appeals of Rhetoric	17 General Rubric (9 point scale)	18 Poetry Focus Statements	19 Editing Symbols	20

AVOCABULARY FOR DESCRIBING LANGUAGE

TONE

cheery enthusiastic

contented* exuberant*

ecstatic joyful

elevated* jubilant*

TONE (POSITIVE)
Happiness amiable* elevated* sprightly*

pleasant

Pleasure cheerful satisfied

enraptured* amused

peaceful appreciative

playful whimsical*

comforting forgiving obliging* soothing

compassionate gracious* pitying sympathetic

Friendliness, Courtesy accommodating* confiding
helpful polite tender

approving cordial* indulgent* sociable tolerant

caressing courteous kindly solicitous* trusting

Animation ardent* excited feverish* lively

breathless earnest* hasty passionate

brisk ecstatic hearty rapturous*

crisp energetic hopeful vigorous*

eager exalted* inspired
impassioned*

fanciful*

ideal*

Romance affectionate lustful

amorous* sensual*

erotic* tender

serene

Tranquility calm relaxed

hopeful soothing

meditative* spiritual

optimistic dreamy

Personal Record Chart--MC Practice and Timed Writings	21, 22 Other Handouts (to be handed out throughout the year)

detached* learned reminiscent*

TONE (NEUTRAL)
General authoritative* disbelieving matter-of-fact restrained*

baffled* factual nostalgic* sentimental*

ceremonial formal objective* shocked

clinical* informative questioning urgent

coaxing doubting innocent persuasive studied*

critical explanatory insinuating* pleading thoughtful

Rational/Logical admonitory* curious
frank* instructive preoccupied* uncertain

argumentative deliberate incredulous* oracular* puzzled unequivocal*

candid* didactic* indignant* pensive* sincere probing*

simple nonchalant*

mild cool

Self-Control solemn* gentle
wary*

serious temperate* cautious

serene imperturbable* prudent*

dispassionate* hopeless resigned*

Apathy blasé* dry*
indifferent* sluggish*

bored dull inert* stoical*

colorless feeble* languid* sophisticated*

defeated helpless monotonous* vacant*

TONE (HUMOR/IRONY/SARCASM)

caustic* disdainful* humorous malicious* pompous* sardonic* taunting haughty*

comical droll* insolent* mock-heroic* quizzical* satiric* teasing insulting

amused condescending* facetious* ironic* mocking ribald* scornful* whimsical* playful

bantering* contemptuous* flippant* irreverent* mock-serious* ridiculing sharp
wry* hilarious

bitter cynical* giddy* joking patronizing* sarcastic silly belittling uproarious

arrogant brash* condemnatory disappointed furious inflammatory* quarrelsome

agitated* belligerent* coarse* critical disinterested hurtful manipulative* surly*

angry bitter cold desperate passive
indignant* obnoxious* testy*

TONE(NEGATIVE)
General accusing artificial childish condescending disgruntled* harsh
insulting shameful threatening

aggravated* audacious* choleric* contradictory disgusted hateful irritated superficial uninterested

bleak

Sadness despairing melancholy*

despondent* maudlin*

foreboding* regretful

gloomy tragic

crushed irritable querulous* sullen”

disappointed miserable sore troubled

Pain annoyed disgusted mournful sorrowful uneasy*

biter dismal* pathetic sour vexed*

bored fretful* plaintive* sulky worried

Unfriendliness accusing disparaging* severe

belittling impudent* spiteful

boorish* pitiless suspicious

cutting reproving* unsociable

derisive* scolding reproachful*

livid*

wrathful*

savage

Anger belligerent* indignant*

furious enraged

greedy impulsive*

voracious* jealous

hysterical nervous

Passion fierce insane reckless

frantic* impetuous* wild

pretentious* bombastic* dignified smug* proud

Arrogance/Self-Importance boastful	bold
pompous*	supercilious* self-righteous*	assured domineering	egotistical knowing	lofty resolute*	sententious*

condescending pedantic* confident imperious* peremptory* stiff

contemptuous didactic* defiant impressive profound* saucy*

apprehensive* embarrassing nervous poignant*

concerned fearful numb remorseful*

Sorrow/Fear/Worry aggravated
confused grave* ominous* serious

anxious depressed hollow* paranoid* staid*

apologetic* disturbed morose* pessimistic enigmatic*

astounded fawning* obedient] servile* terrified

Submission/Timidity aghast*
awed groveling* obsequious* shy
timid

alarmed contrite* ingratiating* resigned submissive* tremulous*

ashamed
self-deprecatory* meek*
respectful surprised unpretentious*

astonished docile* modest* reverent* sycophantic* willing

(

VERBS
These verbs will be especially effective when the subject is the author or a character. They are excellent replacements for “be” verbs and instrumental in the formulation of thesis and theme statements. Careful use of these verbs can result in precise identification of an author’s purpose. Follow your teacher’s directions to categorize the verbs as transitive, intransitive, positive, negative, or neutral.

advocates* alters* assesses* avoids characterizes compares condescends contends* convinces describes develops disappoints disrupts* elevates enriches expands extrapolates* functions hints illuminates indicates interrupts laments* manages notes outlines persuades presents proposes reasons recounts rejects satirizes* speculates* supplies traces

VERBS FOR LITERARYANALYSIS accentuates	accepts affects	alleviates analyzes	approaches assumes	attacks bases	believes chooses	chronicles compels*	completes conducts	conforms contests*	contrasts defines	defies delineates*	despises
deviates*	differentiates* discovers	discusses distinguishes	distorts* elicits*	emphasizes enumerates*	envisions experiences	explains fantasizes	focuses generalizes*	guides
holds	honors imagines	impels* infers*	inspires inundates*	justifies lampoons*	lists manipulates	minimizes observes	opposes patronizes*	performs ponders*	portrays presumes	produces provides	qualifies* recalls	recites reflects	refers represents	results seems	sees
states	strives* supports	suppresses* understands	vacillates*

achieves allows argues attempts challenges claims concerns confronts* contributes demonstrates details differs displays downplays encounters evokes expresses forces heightens identifies implies* intends juxtaposes* maintains moralizes* organizes permits postulates* projects questions recollects regards reveals selects suggests symbolizes values

adopts alludes* ascertains* attributes* changes comments concludes considers conveys depicts* determines directs disputes dramatizes enhances excludes extends foreshadows highlights illustrates includes interprets lambasts” makes muses* overstates personifies* prepares promotes rationalizes records regrets ridicules specifies summarizes sympathizes verifies*

certifies demonstrates endorses* exposes ratifies* typifies*

confirms denotes* establishes intimates* relates upholds

VERBS TO INCORPORATE INSTEAD OF USES
appears	asserts	attests to connotes*	corroborates*	defines depicts	discloses*	elucidates* evinces*	exhibits	expounds* manifests*	points to	proves shows	substantiates*	suggests validates*

ADJECTIVES FOR USE IN LITERARY/RHETORICAL DISCUSSION

DESCRIBING THE AUTHOR

sagacious* imaginative broad-minded* sympathetic conservative* unprejudiced bigoted provincial*

cultured sensible perceptive idealistic* sophisticated* liberal* realistic* opinionated* narrow-minded*

intellectual rational visionary* spiritual original progressive* romantic* intolerant sentimental

erudite* philosophic* prophetic* orthodox* whimsical* radical* shallow hypocritical* skeptical*

well-read analytical optimistic unorthodox* humorous reactionary* superficial fanatical* cynical*

DESCRIBING STYLE/CONTENT

precise pithy* metaphorical homespun* sonorous* smooth extravagant obscure* ponderous* awkward artificial
impressionistic* plausible* improbable*

lucid* exact piquant* poetic pure fluent polished* rhetorical* vague ungraceful
unpolished utilitarian* subjective* credible* absurd

graphic* concise* aphoristic* prosaic* vigorous* glib* classical turgid* diffuse* harsh crude* humanistic*
melodramatic* recondite* trivial

intelligible* succinct* syllogistic* plain forceful natural artistic pompous* verbose* abrupt* vulgar* pragmatic* fanciful* controversial
commonplace

explicit* condensed* allusive* simple eloquent* restrained* bombastic* grandiose* pedantic* labored* formal naturalistic* authentic* mystical* heretical*

DESCRIBING DICTION

precise simple literal* sensuous* idiomatic* obscure* jargon* scholarly

exact homespun figurative* literary neologistic* pedantic* emotional insipid*

high or formal concrete esoteric* connotative* provincial* inexact bombastic* obtuse* proper

low or informal abstract* learned symbolic colloquial* euphemistic* grotesque moralistic* pretentious*

neutral plain cultured
picturesque* slang*
trite* vulgar* ordinary
old-fashioned

DESCRIBING SYNTAX
loose sentence compound* imperative* euphonic* rambling spare obfuscating* musical

periodic* complex* exclamatory* rhythmical tortuous austere* journalistic* lilting*

balanced* compound-complex* telegraphic* epigrammatic*
jerky unadorned* terse* lyrical*

interrupted declarative* antithetic* emphatic cacophonic* jumbled laconic* elegant

simple* interrogative* inverted* incoherent
monotonous chaotic mellifluous* solid

DESCRIBING ORGANIZATION/STRUCTURE/POINT OF VIEW

flashback subjective* clinical*

flash forward* nostalgic* impersonal*

in media res* reminiscent dramatic*

spatial* step-by-step
contemplative* omniscient*

chronological objective* reflective* limited*

DESCRIBING IMAGERY (Substitute these precise adjectives for less precise ones such as vivid, colorful, and powerful.)

bucolic* kinetic* auditory*

pastoral* kinesthetic* religious

gustatory* sensual* animal

olfactory* sacred war/military

tactile* sexual
chaotic

DESCRIBING CHARACTERS (Substitutions for pretty and ugly!)

Physical Qualities manly
strapping* fair graceful ravishing* adept* lively sickly effeminate* unkempt* graceless repellent*

virile* stalwart* comely* elegant dapper* skillful spirited* frail unwomanly slovenly* bizarre* repugnant*

robust* muscular handsome shapely immaculate agile* vivacious* decrepit* hideous awkward grotesque repulsive

hardy* brawny* dainty attractive adroit* nimble* weak emaciated* homely* clumsy incongruous* odious*

sturdy lovely delicate winsome*
dexterous* active feeble* cadaverous* course* ungainly* ghastly invidious*

Mental Qualities (Substitutions for smart and stupid! Which comments would you like to see on your papers?) educated	erudite*	scholarly	wise	astute* intellectual	precocious*	capable	competent	gifted apt*	rational	reasonable	sensible	shrewd* prudent*	observant	clever	ingenious*	inventive
subtle*	cunning*	crafty*	wily*	unintelligent unschooled*	unlettered*	ignorant	illiterate*	inane* irrational	puerile*	foolish	fatuous*	vacuous* simple	thick-skulled*	idiotic	imbecilic*	witless* deranged*	demented*	articulate*	eloquent*

Moral Qualities (Substitutions for good and bad!) idealistic*	innocent
guileless*	upright* undefiled*	temperate* puritanical*	truthful decent	respectable notorious*	vicious immoral*	unprincipled* ribald*	vulgar* deceitful	dishonest vile*	foul*

virtuous* exemplary abstentious* honorable wicked incorrigible* reprobate* intemperate* unscrupulous* recalcitrant*

faultless chaste* austere* trustworthy corrupt* dissembling* depraved* sensual* dishonorable* philandering*

righteous* pure ascetic*
straightforward* degenerate* infamous* indecent* dissolute*
base* opportunistic*

Spiritual Qualities (Substitutions for good and bad!) religious	reverent	pious* charitable	holy	saintly
agnostic*	atheistic*	irreligious* profane*	sacrilegious*	materialistic diabolic*	fiendlike*	blasphemous*

devout* angelic impious* carnal* unregenerate*

faithful skeptical* irreverent* godless altruistic*

Social Qualities (Substitutions for nice and mean!) civil*	amicable*
tactful*	courteous hospitable*	gracious* convivial*	jovial*
anti-social*	acrimonious* discourteous	impudent*
ill-mannered                       unrefined brusque*                             churlish*

contentious* cooperative amiable* jolly quarrelsome impolite rustic* fawning*

unpolished* genial* cordial* urbane* antagonistic* insolent* provincial* obsequious*

sullen* affable* congenial* suave* misanthropic* ill-bred boorish* sniveling*

peevish* gregarious*

petulant* garrulous

grumpy	fractious*	crusty* waspish*	taciturn*	reticent* NOUNS FOR USE IN LITERARY/RHETORICAL DISCUSSION

ANALYZING CHARACTERS foil*	nemesis*
confidante*	doppelganger*

adversary*	protagonist*	antagonist* narrator (unknown, reliable, naïve)

shifts definition classification

ANALYZING STRUCTURE/ORGANIZATION/POINT OF VIEW
foreshadowing	epiphany*	analogy*	extended metaphor* parallel structure	comparison/contrast	transition	sequence juxtaposition*	anecdote*	frame story*	arrangement categorization	placement	person (first, second, third)*
perspective (chronological, geographic, emotional, political)*

asyndeton* direct object* participle*
subordinate clause* appositive* rhetorical question* common noun* apostrophe* inversion*
passive voice*

polysyndeton* indirect object* gerund* preposition* emphatic noun*
collective noun* chiasmus*
antecedent* tense

ANALYZING SYNTAX repetition
subject* phrase* modifier* conjunction* appositive* comma abstract noun*
parenthetical expression hyphen*
catalogue*

parallelism	anaphora* predicate*	object* clause*	infinitive*
dependent clause*	independent clause* interjection*	deliberate fragment* semicolon*	colon*
pronoun*	proper noun* concrete noun*	dialogue*
footnote	capitalization for effect dash*	active voice* compound nouns/adjectives

memoir* treatise*
personal narrative polemic*
tirade* parody* portrayal

biography abstract* journey commentary* review allegory* archetype*

IDENTIFYING GENRE/PURPOSE novel	novella* letter	sermon précis*	synopsis travelogue	essay* farce*	conceit* assessment	eulogy* apology	soliloquy* fable*	argument

autobiography* speech critique* diatribe* editorial* elegy* monologue* verse

consonance* masculine rhyme*

repetition* meter*

rhyme* slant rhyme*

IDENTIFYING SOUND DEVICES alliteration*	assonance*
end rhyme*	feminine rhyme* incremental rhyme*

THE LANGUAGE OFARGUMENT

charge qualify confirm
agree/disagree generalize

claim counter affirm* verify specify

propose repudiate* argue resolve debate

defend allege* assume concede* dispute

VERBS attack challenge validate answer grant* assert

proposal accountability ethos* deduction* speaker testimonial* bandwagon* rhetoric*
red herring*

NOUNS warrant solution vested interest logos* induction* audience rebuttal* refutation invective* qualifier*

validity resolution
conflict of interests counterargument fallacy*
purpose antithesis* slippery slope* proponent*
begging the question*

plausibility* bias enthymeme* premise*
ad hominem message
non sequitur* anecdote* assertion justification

practicality credibility pathos* syllogism* exigence* precedent*
circular reasoning* advocacy* adherent* cause/effect

TRANSITION WORDS and PHRASES

Transition list from Crafting Expository Argument by Michael Degen

Time	Place	Idea	 Extending elaboration
by comparing

Extending elaboration by contrasting

Extending elaboration by emphasizing/

Extending elaboration by adding another

after, afterward, at first, as
before, finally, immediately, later, next, now, previously, soon, then

above, ahead,	first, second,	as, at the same among,	third,	time, by beyond, down, similarly, as, in comparison, elsewhere,	the same way,	equally, in the farther, here, in for instance,	same manner, front of, in the likewise,	likewise, background,	however	similarly
near, nearby, next to, there

clarifying although, and	especially, for yet, as, as	instance, in though, at the	fact, indeed, same time, but, that is, in other in contrast,	words conversely,
even so, unlike, even though, however, in spite of, instead of, neither, nevertheless, on the one hand, on the other hand, provided that, though, unfortunately, whereas, yet

example moreover, most important, now, so , additionally again, also, especially, in addition, in fact, last, again, also, besides, equally important, furthermore, similarly, in contrast

THEME VOCABULARY

Brendan Kenny’s List of Abstract Ideas for Forming Theme Statements:

IDENTIFYING and EXPRESSING THEME

MethodA (sample from Writing Essays about Literature by Kelley Griffith):

Subject
1.	What is the work about? Provide a one to three word answer. See “Theme Vocabulary” above.

Theme
2.	What is the author’s message with regard to #1 as it pertains to the human condition? In other words, what	comment does the work make on human nature, the human condition, human motivation, or human ambition?
3.	In identifying and stating theme, be sure that the observation
(a) is not too terse to express the complexity of the human experience (b) avoids moralizing words such as should and ought
(c) avoids specific reference to plot and characters
(d) avoids absolute words such as anyone, all, none, everything, and everyone
4.	Using both dependent and independent clauses, write a complex sentence which fulfills the requirements above and which explains one of the major themes of the work.

Sample for Anna Karenina:

Subject: sacred versus profane love

Theme:Although people can, through no fault of their own, become entrapped in long-lasting and destructive relationships, “sacred” commitments, like marriage and parenthood, take precedence over extramarital “loves,” no matter how passionate and deeply felt they may be.

alienation ambition
appearance v. reality betrayal bureaucracy chance/fate/luck children courage/cowardice cruelty/violence custom/tradition defeat/failure
despair/discontent/disillusionment domination/suppression
dreams/fantasies

duty education escape exile
faith/loss of faith falsity/pretense family/parenthood free will/willpower game/contests/sports greed
guilt
heart v. reason heaven/paradise/Utopia
home

identity illusion/innocence initiation
instinct
journey (literal or psychological)
law/justice loneliness/solitude loyalty/disloyalty materialism memory/the past mob psychology music/dance
patriotism

persistence/perseverance poverty
prejudice prophecy repentance
revenge/retribution ritual/ceremony scapegoat/victim social status (class) the supernatural time/eternity
war women/feminism

Method B (adapted from material by Brendan Kenny):

1.	Theme is an abstract idea (See “Theme Vocabulary” above.) coupled with a universal comment or observation which addresses one of the following: (a) human motivation (b) the human condition (c) human ambition.

2.	A strategy for discovering a work’s theme is to apply questions about these areas to the work.

* What image of humankind emerges from the work? If people are good, what good things do they do? If people are “no damned good” (Mark Twain), how and to what extent are they flawed?

*What moral issues are raised in the work? Who serves as the “moral center” of the work? Who is the one person with whom the author vests right action and right thought? What values does the moral center embody?

* Is the society or social scheme portrayed by the author life-enhancing or life-destroying? What causes and perpetuates this society?

* What control over their lives do the characters have?Are there forces beyond their control?

* How do the title, subtitle, epigraph, and names of the characters relate to the theme?

3.	In identifying and stating theme, be sure that the observation
(a) is not too terse to express the complexity of the human experience (b) avoids moralizing words such as should and ought
(c) avoids specific reference to plot and characters
(d) avoids absolute words such as anyone, all, none, everything, and everyone

4.	Sample for “The Most Dangerous Game”:
Men, when they are courageous and lucky, even in a hostile environment, can overcome the odds against their survival.

Sample for The Catcher in the Rye:
In the presence of corruption, escape may provide some hope of preserving our innocence but denies our responsibility to alter, rebel against or sometimes grow to accept what we see as threatening.

Developing an Analytical Voice

Level One: Identify how the situation is created; observe what you see (collecting evidence)
Diction: what types of words are used or repeated?
Imagery: How is the image created? What are its parts? What senses are provoked? Detail: What’s the setting? Who are the characters? What are the facts of the text
that don’t require quoting its language?

Level Two: What abstract associations
emerge from the language of the text?

Fear? Excitement? Violence? Chaos? Order? Arrogance? Submission? Confidence? Confinement? Freedom? Benevolence?

Level Three: Identify the relationships
to the rest of the text:

repetition [similarity, analogy, recurrence, echo, parallelism] contrast [incongruity, antithesis, opposition, tension]
shift [turn, transformation, alteration] juxtaposition [contiguity, adjacency]

© 2008 Michael Degen, Ph.D. (adapted by Jennifer Cullen, Westwood High School)
How to Connect Rhetorical C

This list of “Level Two” words is only a sample list. Any abstract noun that names what the evidence (Level One) conveys may be appropriate. See page 12, (theme vocabulary) for additional ideas or generate your own.

The association may be part of a larger Interpretive Perspective /
CLAIM about: Tone Attitude Voice Atmosphere
Character Thematic idea Ethical appeal Logical appeal
Emotional appeal Aristotle’s Topics: definition,
comparison, consequence

NOTE: In general, a connection of device to meaning should be 3-5 sentences long. The templates below are a starting place; you will eventually learn to vary them to suit your purposes. A connection must articulate the meaning a device suggests and HOW this suggestion is achieved.

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Diction
Identify the grammatical unit (phrase, noun, verb, adjective, adverb, etc.) and provide the context in which it appears in the text. Consider connotation as well as denotation. Do NOT write: The writer uses diction. That’s like saying: The writer uses words.
Connect the diction to the meaning of this text. Avoid generic commentary. Provide an original insight. Pay attention to your own diction. It enhances your analysis.

Model:
The phrase* ____________________________ describing/identifying __________________________________

conveys _______________________ since / because / in that ___________________________________________

______________. This is significant because _______________________________________________________.

* or the noun, verb, adjective, adverb Example:

The phrase, “a thin beard of ivy,” describing Jay Gatsby’s mansion conveys both intrigue and inexperience. Since the ivy is “thin,” Fitzgerald suggests a wealth without lineage, newly formed and barely veiled; yet, the ivy as a “beard” suggests a worldly desire to conceal. This is significant because through the description of his mansion, Gatsby is portrayed as both ingénue and chameleon, alerting the reader to the protagonist’s dual and perhaps contradictory nature.

Syntax

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Identify the syntactical choice the author has made and provide the context in which it appears in the text. Do NOT write: The writer uses syntax. Since syntax refers to the order and structure of words, phrases, etc, it always exists – even if you do not find it noteworthy.
Connect the syntax to the meaning of this text. Avoid generic commentary. Provide an original insight. Pay attention to your own diction. It enhances your analysis.

Model:
The ________________________________ function(s) to ____________________________________

____________________________________________________________________. This structure supports the author’s

purpose to _________________________________________________________.

Example:

Gatsby’s interrupted sentences dramatize his nervousness and hesitation as he discusses his upcoming meeting with Daisy at Nick’s bungalow. Stuttering, “Why, I thought – why, look here, old sport, you don’t make very much money, do you,” Gatsby reveals his true vulnerability and weakness showing a stark contrast to the “greatness” that has been established in the early chapters of the novel. Fitzgerald continues to reveal chinks in Gatsby’s armor as the novel progresses preparing the reader for protagonist’s ultimate fall.
Helpful hint:
Some other examples of purposeful syntactical choices an author might make: parallelism, anaphora, rhetorical question, appositives, polysyndeton, asyndeton, prepositional phrases, etc. According to Jeff Sommers and Max Morenberg, authors of The Writer’s Options, appositives define, summarize, and clarify. Prepositional phrases may elaborate and clarify by indicating how, where, when, why.

Imagery

·

(word pictures appealing to one of the 6 senses (visual, auditory, gustatory, olfactory, tactile, kinesthetic) – if you can’t identify which one, it isn’t a valid example of imagery)
·	Identify the image and provide the context in which it appears in the text.
Connect the image to the meaning of this text. Avoid generic commentary. Provide an original insight. Pay attention to your own diction. It enhances your analysis.
Model:

The image of ______________________________ depicts a (sense, state, etc.) of __________________________ because

the reader (sees, envisions, realizes) that __________________________. This is significant because _________________.

Example:
The image of an “argument . . . pull[ing]” Nick back to the party “as if with ropes” conveys his helpless struggle to get away from the gathering in Tom and Myrtle’s apartment at the same time that it dramatizes his fascination with the inebriated and adulterous events that are occurring. The reader can see that much as ropes confine, restrain, and render one helpless, Nick, due perhaps to a lack of experience or a flawed moral code, remains discomfited yet seems unable to confront or reject the lies and pretenses of the party guests. This is significant because the reader must question Nick’s declaration that he is tolerant and honest.

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Figurative Language: Metaphor or Simile
Identify the metaphor or simile and provide the context in which it appears in the text.
Connect the metaphor or simile to the meaning of this text. Avoid generic commentary. Provide an original insight. Pay attention to your own diction. It enhances your analysis.

Model:

The subject of (x) ____________ is compared to (y) _______________. This is fitting because (x) ________________ and (y)

___________________ share these characteristics: (a)___________ and (b) __________. This is significant because __________________.

Example:

In his “I Have a Dream” speech, Martin Luther King, Jr. compares the condition of poverty to a “lonely island.” This is a fitting comparison because poverty and a lonely island share these characteristics: (a) isolation and alienation from the “vast ocean of material prosperity” which surrounds them and (b) both are small, singled out, vulnerable, and surrounded by something they don’t possess. This comparison causes the audience to consider the tangible social barriers created by an

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Figurative Language: Personification
(a figure of speech in which animals, abstract ideas, or inanimate things are referred to as if they were human)
Identify the animal, abstract idea, or inanimate thing and provide the context in which it appears in the text. Identify the human characteristic that is ascribed to it.
Connect the effect of the personification to the meaning of this text. Avoid generic commentary. Provide an original insight. Pay attention to your own diction. It enhances your analysis.

Model:

In ________________, ______________is personified as possessing the human characteristic(s) of ____________________ . The author employs personification in order to____________________________________.
Example:

"Today, we begin a new chapter in the history of Louisiana. I've said throughout the campaign that there are two entities that have the most to fear from us winning this election. One is corruption and the other is incompetence. If you happen to see either of them, let them know the party is over."

-- Bobby Jindal, Louisiana Governor-Elect victory Speech (as posted on americanrhetoric.com)

In Bobby Jindal’s victory speech, the abstract ideas of corruption and incompetence are personified as possessing human form and consciousness. The governor-elect suggests that members of his audience might encounter or “see” them and should inform them that their “party” is over. Through this characterization, Jindal simultaneously emphasizes his strength as a leader and sends a strong message, without naming specific perpetrators, that those who may possess those qualities will be driven out of the state’s government.

Figurative Language: Hyperbole
(deliberate exaggeration used to heighten effect or create humor – remember that this is a figure of speech not meant to be interpreted literally – e.g., I’m so hungry I could eat a horse.)

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Identify what is being exaggerated and provide the context in which it appears in the text. Connect the effect of the hyperbole to the meaning of this text. Avoid generic commentary. Provide an original insight. Pay attention to your own diction. It enhances your analysis.

Model:

The deliberate exaggeration of _________________________________ serves to express __________________. Through this heightened image, the reader_________________________.

Example:

From Robert Frost’s poem, “After Apple-Picking”

For I have had too much
Of apple-picking: I am overtired
Of the great harvest I myself desired. There were ten thousand fruit to touch, Cherish in hand, lift sown, and not let fall.

In Frost’s poem, “After Apple-Picking,” the speaker deliberately exaggerates the number of apples in order to emphasize his shift from excitement and desire to his extreme weariness during the harvest. The speaker has had “too much” as a result of the “ten thousand” fruit to touch. Through this image, the reader comes to understand that the speaker is not only weary of body, but is also “overtired” in spirit as well.

[Example taken from A Contemporary Guide to Literary Terms by Edwin J. Barton and GlendaA. Hudson (Houghton Mifflin, 2004)]

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Symbol
Identify both the concrete and abstract meanings of the symbol and provide the context in which it appears in the text. Connect the symbol to specific characters in this text. Avoid generic commentary. Provide an original insight. Pay attention to your own diction. It enhances your analysis.

Model:

The ________________________________ symbolizes ________________________________ concrete	abstract
for __________________ because it represents ______________. Through this symbol, the author _____________________.

Example:

The pearls Daisy Buchanan rescues from the trash and subsequently wears “around her neck” symbolize her ultimate choice of money over love because they represent Tom’s vast wealth (they were “valued at three hundred and fifty thousand dollars”) in contrast to Gatsby’s avowal of love, symbolized by the letter she “wouldn’t let go of.” By highlighting Daisy’s donning of the pearls, Fitzgerald comments on the shallow and misguided values of the 20th Century American, one who pursues the elusive “dream” instead of concrete relationships.

Detail

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Identify the detail and provide the context in which it appears in the text.
Describe the function of the inclusion of that detail in this text. Avoid generic commentary. Provide an original insight. Pay attention to your own diction. It enhances your analysis.

Model:

The detail of ______________________ conveys _____________________________ since/because/in that ________________. The author wants the reader to see ______________________________ because/so that ____________. Example:

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The detail of the string of polo ponies Tom Buchanan brought east with him from Chicago conveys his vast wealth and hedonism. Moving the ponies is expensive and unnecessary, suggesting that Tom does not need to concern himself with cost but does concern himself with appearing more powerful than his peers. Fitzgerald wants the reader to see Tom as spoiled and self-indulgent so that Tom will appear distasteful even before the reader learns of his current affair.
Allusion
Identify the allusion (indirect reference by an author to another text, historical occurrence, or to myths and legends) and provide the context in which it appears in the text.

·	Describe the function of the allusion in this text. Avoid generic commentary. Provide an original insight. Pay attention to your own diction. It enhances your analysis.

Model:

The author or speaker alludes to ________________________________________ in order to ______________________________________________. Through this reference, the reader connects ___________________________ to _________________ and can more fully understands the author’s purpose to _________________________________________.

Example:

“For us, they fought and died, in places like Concord and Gettysburg; Normandy and Khe Sahn.” Barack Obama

Obama’s allusions to Concord, Gettysburg, Normandy, and Khe Sahn offer examples of struggles thatAmericans have faced in the past which parallel the unique strugglesAmericans believe they are currently facing with our economy, environment, and world conflict. Even though the references are meant to show these struggles, the president’s desired effect is to provide hope and resolve to the listener since these battles resulted in victories for America. Citizens are reminded that they can be victorious in our modern struggles.

Aristotle and theAppeals of Rhetoric Logos, Ethos, Pathos

LogicalAppeals- (logos)

Logical appeals are the reasons given for supporting a particular argument. Examples of logical appeals include the use of evidence, facts and figures, references to current events, and testimony. Effective logical appeals depend upon the ability of the writer to connect the multiple examples of support to each other in meaningful ways.
! Incorporate inductive or deductive reasoning
! Allude to history, great literature, or mythology ! Provide reputable testimony
! Provide evidence, facts ! Cite authorities
! Quote research or statistics ! Theorize cause and effect
! Argue that something meets a given definition

Example:
We gotta get these nets. They’re coated with an insecticide and cost between $4 and $6. You need about $10, all told, to get them shipped and installed. Some nets can cover a family of four. And they last four years. If we can cut the spread of disease, 10 bucks means a kid might get to live. Make it $20 and more kids are saved.
Taken from Rick Reilly’s “Nothing But Nets” EthicalAppeals- (ethos)

Ethical appeals are attempts by the speaker/writer to make connections to the audience by appearing knowledgeable, reasonable, ethical, etc. A writer is able to make an effective argument only when readers have no reason to doubt the writer’s character on a given topic. Writers who fail to acknowledge other points of view, exaggerate, or assume a tone of disrespect have difficulty making ethical appeals to readers.
! Make the audience believe the writer is trustworthy ! Demonstrate the writer carefully conducted research
! Demonstrate that the writer knows the audience and respects them ! Convince the audience that the writer is reliable and knowledgeable
! Use first person plural pronouns (“we” and “us”) to establish a relationship with the audience

Example:
My Fellow Clergymen:
While confined here in Birmingham city jail, I came across your recent statement calling my present activities unwise and untimely,…since I feel that you are men of genuine good will and that your criticisms are sincerely set forth, I want to answer your statement in what I hope will be patient and reasonable terms.
Taken from Martin Luther King, Jr. -- “Letter from Birmingham Jail” EmotionalAppeals- (pathos)

Emotional appeals reach the reader by activating the reader’s emotions. Often writers make emotional appeals by including sensory details, especially imagery. Calling upon the reader’s pleasant memories, nostalgia, anger, or fear are frequent emotional appeals found in argumentative texts. The presence of “charged words” (references to religious doctrine or patriotic ideas) in an argumentative text represents an attempt at an emotional appeal by the writer.
! Include language that involves the senses and heightens emotional responses ! Reference bias or prejudice
! Include a personal anecdote
! Appeal to the audience’s physical, psychological, or social needs ! Create figurative language
! Experiment with informal language

Example:
Put it this way: Let’s say your little Justin’s Kickin’ Kangaroos have a big youth soccer tournament on Saturday. There are 15 kids on the soccer team, 10 teams in the tourney. And there are 20 of these tournaments going on all over town. Suddenly, every one of these kids gets chills and fever, then starts throwing up and then gets short of breath. And in 10 days, they’re all dead of malaria.
Taken from Rick Reilly’s “Nothing But Nets”

RUBRIC (GENERIC) FORAPASSIGNMENTS

9:	Papers earning a score of 9 meet the criteria for 8 papers and, in addition, are especially full or apt in their analysis, sophisticated in their explanation and argument, or impressive in their control of language.

8:	Papers earning a score of 8 respond to the prompt effectively, answering all parts of the question completely and demonstrating clear understanding of the passage; recognizes complexities of attitude or tone; demonstrates stylistic maturity through an effective command of sentence structure, diction, and organization; insightful thesis clearly linked to the evidence or assertions presented; seamless incorporation of quotations; consistent focus

7:	Papers earning a score of 7 fit the description of 6 papers, but provide a more complete analysis, explanation, or argument OR demonstrate a more mature prose style.

6:	Papers earning a score of 6 respond to the prompt adequately, accurately answering all parts of the question and using appropriate evidence, but they are less fully or effectively developed than essays in the top range;. discussion of techniques used in a passage may be less thorough and less specific; well-written in an appropriate style, but with less maturity than the top papers; demonstrates sufficient control over the elements of writing to present the writer’s ideas clearly; clear, accurate thesis

5:	Papers earning a score of 5 analyze, explain, or argue in response to the prompt, but do so unevenly, inconsistently, or insufficiently. The writing may contain lapses in diction or syntax, but it usually conveys the writer’s ideas. May be simplistic, imprecise, overly general or vague. Organization is attempted, but not fully realized.

4:	Papers earning a score of 4 respond to the prompt inadequately. They may analyze or explain incorrectly, merely paraphrase, or offer little discussion. The prose generally conveys the writer’s ideas but may suggest immature control of writing.     The writer attempts to answer the question, but does so either inaccurately or without the support of specific, persuasive evidence; may misinterpret or misrepresent the passage.

3:	Papers earning a score of 3 meet the criteria for a score of 4, but demonstrate less success in analyzing, explaining, arguing, or providing specific textual evidence. They are less consistent in controlling the elements of writing.

2:	Papers earning a score of 2 demonstrate little success in analyzing, explaining, or arguing. They may misunderstand the prompt or the passage, offer vague generalizations, substitute simpler tasks such as summarizing the passage or simple listing rhetorical strategies. The prose often demonstrates consistent weaknesses in writing.
may be unacceptably brief or poorly written on several counts; response lacks clarity

1:	Papers earning a score of 1 meet the criteria for a 2 but are undeveloped, especially simplistic in their explanation and /or argument, or weak in their control of language.

0:	Indicates an on-topic response that receives no credit, such as one that merely repeats the prompt. _:	Indicates a blank response or one that is completely off-topic.

8:	Demonstrates competence 6:	Suggests competence
4:	Suggests incompetence
2:	Demonstrates incompetence

9 = an enhanced eight 7 = an enhanced six
3 = a diminished four 1 = a diminished 2

5:	Goes in and out like static when you’re trying to tune in a radio station

UPPER HALF PAPERS employ an “enriched” vocabulary. The writer “does the work” of guiding the reader through effective organization and fluid syntax.

LOWER HALF PAPERS demonstrate an “impoverished” vocabulary. The reader “does the work” trying to make sense out of what the writer has written.

POETRY FOCUS STATEMENTS

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DEFINITION:
A one to two-sentence summary of the narrative situation, theme, and tone of a poem.

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USE:
As a potential thesis for a free-response poetry question on theAP Literature exam

CRITICALATTRIBUTES:

"Includes the title of the poem and the name of the poet

"Is written in literary present tense

"Specifies the narrative situation of the poem

"Includes a thoughtful but concise indication of theme

"Identifies the tone(s) of the poem. These may be differing but complementary. Shifts in tone may be indentified as well.

"The syntax of poetry focus statements is compound or complex because you are addressing both the literal (the narrative situation) and the thematic.

DIRECTIONS:

1. Draw a straight line under the literal part of the statement. It should be subordinated to the thematic. That is, it should be found in the dependent clause.

2. Draw a “squiggly” line under the thematic part of the statement. It should be found in the main or independent clause.

3. Articulate yourself in a scholarly manner. See “Verbs for Literary Analysis” and “Tone Words” in the Yellow Pages.

Model:

In “Sonnet 29,” William Shakespeare creates a depressed and despairing speaker who serendipitously reflects upon the love of

a close friend in order to prove to the reader that no matter how difficult life becomes, we can be content in the blessings of

love.

Editing Symbols andAbbreviations

In the following chart, I’ve included a list of symbols and abbreviations that I may use in evaluating your writing; you should also use them during peer editing activities.

Transpose elements (Switch words or phrases)

Delete

Begin new paragraph

No new paragraph (Connect to preceding paragraph.)

Insert (a missing word, phrase, or punctuation mark)

Close space (Join two words into one.)

, p.
Agr Awk Frag
R-O or CS

Superfluous Comma (Delete comma.) Incorrect or missing punctuation
Agreement problem: subject/verb or pronoun/antecedent Awkward expression or construction (of phrase or sentence) Fragment
Run-on sentence (CS refers to a Comma Splice, a run-on created by separating two independent clauses with only a comma) Unnecessary Repetition

Problem in Parallel Form (of phrases, etc.)

Spelling Error (This includes incorrect use of homonyms.) Verb Tense problem
Weak Verb (Improve Verb Choice)

Wrong Word (including a word form that does not exist) Poor Word Choice
Good Word Choice

Develop Idea/Claim with Specifics

Rep | | SP T V
WW PWC GWC DEV U

T.W. or T.S.

Unclear - indicates that the meaning of the phrase or sentence is unclear in meaning – OR interpretation that cannot be substantiated by the text Transition Word / Sentence - indicates need for a smoother transition by using a key transitional phrase / sentence
Illogical Reasoning (or a logical progression that has not been fully formed)

Title, Author, Genre (These should be included in the introduction.) Incomplete or Poor Quotation Sandwich
Insufficient or Missing Textual Evidence

Insufficient Commentary – Link to Meaning has not been fully formed

LOG TAG QS TE COM So?

Yes!

So What? -- a statement (or discussion of a particular piece of evidence) lacks clear significance
Indicates an insightful and/or well-articulated statement

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Personal Record Chart

Advanced Placement Multiple Choice Practice Tests

Passage One

Passage Two

Passage Three

Passage Four

Passage Five

APMC Example

Overall 32/55 = 58%

10/13 = 77% Prose

9/10 = 90% Poetry

6/11 = 55% Prose

4/12 = 33% Poetry-sonnet

3/9 = 33% Prose-drama

19th Cent.	20th Cent.	21st Cent.	17th Cent.	21st Cent. Notes:
Ran out of time at the end and got tired. Tried to read the questions ahead of time on Passage Three. Didn’t seem to make that much difference. Really liked the poem on Passage Two. Need to review poetic devices more. Need to budget time.

APMC #1

Notes:

APMC #2

Notes:

APMC #3

Notes:

APMC #4

Notes:

APMC #5

Notes:

Personal Record Chart
Advanced Placement English Literature Timed Writings

Timed Writing

Type	Score

Example 9/7/16

Question 3	5 D.o.S.

Word	Notes Count
415	Need to write more meaningful commentary after the examples. Need more “apt and speciﬁc examples.” Work on ﬂuency and weaving quotes. Review Yellow Pages examples.