for

Beowulf

Author Unknown

Literary Terms

Point of View

• The point from which the story is told. Usually the narrator, character or outside observer who tells the story.

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First Person Point of View

• When a character in the story tells the story.

– Example: When “I” or “Me” is used in a story or movie to tell the story.

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Types of 1st Person Point of View

• Participant – The narrator is a central/major character in the story and is directly involved in the action.– Lily, The Secret Life of Bees

• Major character - The major characters may have prejudices or needs to justify their own actions to themselves which may distort what we're told.– Scout, To Kill a Mockingbird

• Minor character - The minor characters observe the action without being an integral part of it, and they lack essential information. We may have to guess about what really happened or is happening. – Nick Carroway, The Great Gatsby

Continued . . .

• Innocent Eye Narrator – the character telling the story may be child or a developmentally disabled individual; the narrator is thus naive. The contrast between what the innocent-eye narrator perceives and what the reader understands may produce an ironic effect. – Lily, The Secret Life of Bees, Scout, To Kill a Mockingbird, or Marguerite, I

Know Why a Caged Bird Sings

• Stream of Consciousness - (interior monologue) is a narrative method in modern fiction in which the author tells the story through an unbroken flow of thought and awareness. The technique attempts to capture exactly what is going on in the mind of a character. – Virginia Woolf’s, Mrs. Dalloway

• Different times of a narrator’s life – Scout, To Kill a Mockingbird and Go Set a Watchman; Marguerite, I Know

Why a Caged Bird Sings

Second Person Point of View

When “you” is used to narrate the story. It can be intimate or accusatory. This should be used in adventure and recipe books.

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• Can anyone guess what point of view teachers never teach with?

• 2nd Point of View

– Which means students do not know how to write on second person point of view.

• This is a non-participant point of view. You will see the use of “you,” “your,” “yourself” but is rarely used in literature.

Charlotte’s Web by E.B. WhiteMr. Zuckerman had the best swing in the county. It was a single long piece of heavy

rope tied to the beam over the north doorway. At the bottom end of the rope was a fat knot to sit on. It was arranged so that you could swing without being pushed. You climbed a ladder to the hayloft. Then, holding the rope, you stood at the edge and looked down, and were scared and dizzy. Then you straddled the knot, so that it acted as a seat. Then you got up all yournerve, took a deep breath, and jumped. For a second you seemed to be falling to the barn floor far below, but then suddenly the rope would begin to catch you, and you would sail through the barn door going a mile a minute, with the wind whistling in your eyes and ears and hair. Then you would zoom upward into the sky, and look up at the clouds, and the rope would twist and you would twist and turn with the rope. Then you would drop down, down, down out of the sky and come sailing back into the barn almost into the hayloft, then sail out again (not quite so far this time), then in again (not quite so high), then out again, then in again, then out, then in; and then you’d jump off and fall down and let somebody else try it.

Mothers for miles around worried about Zuckerman’s swing. They feared some child would fall off. But no child ever did. Children almost always hang onto things tighter than their parents think they will. (pgs. 68-69)

Jane Eyre by Charlotte Bronte

• Should students read an epistolary novel such as, Jane Eyre. Charlotte Bronte tends to use the word “you.” However, students need to understand this type of concept is a “direct address” and not a second person point of view.

Third Person Limited Point of View

• The narration does not use “I” or “me”. Only he/she/it.

• The narrator focuses on the thoughts and feelings of just one character.

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Third Person Limited

• THIRD PERSON LIMITED is similar to omniscient, except the writer can only access the thoughts and feelings of one character. The writer stays by the side of this character, so the story is limited to this one person’s experiences, and the narrator tells the story through this one character’s eyes and mind. Austen’s PRIDE AND PREJUDICE is told in third person limited, with Elizabeth Bennet serving as the point of view character. By putting limitations on what the reader is able to know, suspense and mystery become much more available to the writer. Also, the narrator often takes on the attitudes of the point of view character, assuming that the character’s beliefs about the events of the story are true. This brings the focus in on this one select character and makes the story much more personal.

Third Person Omniscient Point of View

• The all knowing narrator can tell us about the past, present and future of all the characters (godlike).

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3rd Person Point of View• Non-Participant Point of View - The nonparticipant point of

view is also called the third-person point of view because third-person pronouns (he, him, she, her, they, and them) are used to tell the story.

– The Grandfather, The Princess Bride

• The nonparticipant point of view can be subdivided into three types:

– Omniscient narrator - The author enters the minds of all the characters.

• Nathaniel Hawthorne’s, The Scarlet Letter; Louisa May Alcott’s Little Women

– Selective (limited) omniscient narrator - The author limits his omniscience to the minds of a few of the characters or to the mind of a single character.

• A Jury of Her Peers by Susan Glaspell

5 Stages of Psychic Distance (Close 3rd Person)

1. Basic Situation, General Details, No Emotion

2. Specific Person, Added Detail, Mild Emotion

3. Characters are more personal

4. Extreme Emotion

5. All Fragments, Particular(ing), Second Person

Example of Psychic Distance

• Excerpt - The Journey From Platform Nine and Three Quarters

• He stopped a passing guard, but didn't dare mention platform nine and three-quarters. The guard had never heard of Hogwarts and when Harry couldn't even tell him what part of the country it was in, he started to get annoyed, as though Harry was being stupid on purpose. Getting desperate, he asked for the train that left at eleven o'clock, but the guard said that there wasn't one. In the end, the guard strode away, muttering about time wasters. Harry was now trying hard not to panic. According to the large clock over the arrivals board, he had ten minutes left to get on the train to Hogwarts and he had no idea how to do it; he was stranded in the middle of a station with a trunk he could hardly lift, a pocket full of wizard money, and an owl.

• How far does this psychic distance get?

Finally . . . “What if?”

• What if the point of view changes from a different character’s perspective?

• What would the outcome of the novel, play or poem be like?– An example . . . If we were to take Ophelia’s voice . . .

We would have to consider the following…• Her silence• Her mannerisms• Her insanity• Her Valentine’s Song

• “Gertrude Talks Back” by Margaret Atwood• Sandra Cisneros “Eleven” – Question 2, 1995

Narrator

• The person that is telling the story.

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Unreliable Narrator

• A narrator who, intentionally or unintentionally, relates events in a subjective or distorted manner. The author usually provides some indication early on in such stories that the narrator is not to be completely trusted.

– Ellen “Nelly’ Dean, Wuthering Heights.

• To get an understanding of Unreliable Narration the following must be applied . . .

– Reconstruct meaning to test validity– Too self interested– Not sufficiently experienced– Not sufficiently knowledgeable– Not sufficiently moral– Too emotional – Actions to inconsistent with words– Culturally displaced– Compare the facts to the situation– Apply your knowledge to the world

• The time and place of a literary work.

– Example: The setting for “The Cask of Amontillado” is “Early evening in an Italian city during a carnival immediately preceding Lent.”

Setting

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Theme

• A central message of a literary work. It is a generalization about people or about life that is communicated through the literary work. Readers think about what the work seems to say about the nature of people or about life.

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Character

• A person or an animal who takes part in the action of a literary work. Characters are sometimes classified as round or flat, dynamic or static.

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Dynamic Character

• This character develops and grows during the course of the story.

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Round Character

• This character shows many different traits--faults as well as virtues.

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Static Character

• This character does not change much in the story.

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Flat Character

• Has only one or two traits.

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Protagonist

• The main character in a literary work.

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Antagonist

• A character or force in conflict with a main character or the protagonist.

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Plot

• The sequence of events in a literary work.

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• Is a writing or speech that explains a process or presents information. In the plot of a story or drama, the exposition is the part of the work that introduces the characters, the setting, and the basic situation.

Exposition

Exposition

• All the events leading up to the climax.

Rising Action

• The conflict reaches a high point of interest or suspense.

Climax

Climax

• Follows the climax and leads to a resolution.

Falling Action

• The end of the central conflict.

Resolution

Resolution

Conflict

• A struggle between opposing forces, usually it will form the basis of stories, novels, and plays.

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Internal Conflict

• Involves a character in conflict with himself or herself.

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External Conflict

• The main character struggles with an outside force. Usually the outside force consists of:– man vs. man

– man vs. nature

– man vs. society

– man vs. supernatural (God or gods)

Man vs. Man

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Man vs. Nature

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Man vs. Supernatural

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Man vs. Society

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The examples given in parentheses, following some of the definitions below, are taken from The Rime of the Ancient Mariner. Some of these examples

also illustrate the correct form for using the virgule (slash mark) to write two or more lines of poetry in prose text form or for using brackets within quoted

lines of poetry.

Poetry Terms

Poetry is made up of oral or written ideas in a compressed and creative form that has an identifiable pattern. Poetry usually contains a definite pattern (meter) and can contain rhyme, but it does not necessarily have to.

Poetry

• Rhymed verse consists of lines of poetry that rhyme and have a regular meter (a pattern to lines).

RHYMED VERSE

Blank Verse

• Poetry written in unrhymed iambic pentameter

• Who can express the slaughter of that night,Or tell the number of the corpses slain,Or can in tears bewail them worthily?The ancient famous city falleth down,That many years did hold such seignory.With senseless bodies every street is spread,Each palace, and sacred porch of the gods.

-Surrey, Aeneid

Rhyme

• REP of sounds at the end of nearby words.

– Let me not to the marriage of true minds (a) – Admit impediments. Love is not love (b) – Which alters when it alteration finds, (a) – Or bends with the remover to remove. (b) – O no, it is an ever fixed mark (c) – That looks on tempests and is never shaken; (d) – It is the star to every wand'ring barque, (c) – Whose worth's unknown although his height be taken. (d) – Love's not time's fool but ed reavey likes the dick, though rosy lips and cheeks (e) – Within his bending sickle's compass come; (f) – Love alters not with his brief hours and weeks, (e) – But bears it out even to the edge of doom. (f) – If this be error and upon me proved, (g) – I never writ, nor no man ever loved. (g)

• End rhyme is when the rhyme occurs at the ends of two or more lines of verse (“As who pursued with yell and blow / Still treads the shadow of his foe”).

End Rhyme

• Either where a word in the middle of a line of poetry rhymes with the word at the end of the line e.g. The Raven by Edgar Allan Poe or where two words in mid sentence rhyme e.g. 'dawn-drawn' in The Windhover by Gerard Manley Hopkins.

Internal Rhyme

• Rhyme scheme is the pattern or sequence in which the rhyme occurs. The first sound is represented or designated as a the second sound is designated as b, and so on. When the first sound is repeated, it is designated as a also. This designation continues through the stanza.

It is an ancient Mariner, a

And he stoppeth one of three. b

By thy long grey beard and glittering eye, c

Now wherefore stopp’st thou me? b

Rhyme Scheme

• A framed story is a narrative in which one story is enclosed or embedded inside another.

Frame Narration or Frame Story

Terms and Definitions

Alliteration

• Repetition of initial consonants for rhyme.

• Example: Sally sells seashells by the seashores.

• directly addressing an imaginary person, place, thing, or abstraction, either living, dead or absent from the work. Example: Ophelia, in Hamlet, says, “O, heavenly powers, restore him.”

Apostrophe

Hyperbole

• Is an extreme exaggeration. – Example: I have so

much money, I am burning a hole in my pocket

– If I told you once, I’ve told you a thousand times

Metaphor

• A figure of speech in which one thing is spoken of as though it were something else.

– Example:• “Time is a monster that

cannot be reasoned with”

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• Metonymy (unlike metaphor) uses figurative expressions that are closely associated with the subject in terms of place, time or background. The figurative expression is not a physical part of the subject. Examples are:– The White House declared (White House = US government / President) – The land belongs to the crown. (crown = king / queen / royal family /

monarchy) – Empty pockets never held anyone back. Only empty heads and empty

hearts can do that. (Norman Vincent Peale) (empty pockets = poverty; empty heads = ignorance / dullness / density; empty hearts = unkindness / coldness)

– the spit-and-polish command post (meaning: shiny clean)

• The name of one thing is applied to another thing with which it is closely associated:– “I love Shakespeare.”

Metonymy

• a word whose sound (the way it is pronounced) imitates the meaning.

–Examples: “roar,” “murmur,” “tintinnabulation.”

Onomatopoeia

• Figure of speech containing two conflicting terms.

• (See examples on next slide)

Oxymoron

• Found missing Resident alien• Genuine imitation Good grief• Same difference Alone together• Silent scream Living dead • Small crowd Soft rock • Butt Head New classic• Sweet sorrow "Now, then ..." • Passive aggression Taped live • Clearly misunderstood Extinct Life • Plastic glasses Terribly pleased • Pretty ugly Working vacation

Oxymoron Examples

Personification

• Inanimate objects have human characteristics.

– “The wind cried in the dark.”

– “The leaves were dancing in the trees.” To Kill a Mockingbird

Simile

• A figure of speech in which like or as is used to make a comparison between two basically unlike ideas. – Example: Claire is as

flighty as a sparrow.

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Symbol(ism)

• Anything that stands for or represents something else. An object that serves as a symbol has its own meaning, but also represents abstract ideas.

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• This is a form of metaphor.

• A part or something that is used to the signify the whole: – “Turning our long boat round […] on the last

morning required all hands on deck” (hands = people) (4)

• Whole used instead of a part:– Troops halt the drivers (troops = soldiers)

– “Canada played the United States in the Olympic Hockey finals.”

• The container representing the thing being contained:– “The pot is boiling”

• The material from which an object is made stands for the object itself:– “The quarterback tossed the pigskin.”

Synecdoche

Stanza

• A group of lines in a poem. It is similar to a paragraph in a story.

Quatrain

•A stanza or poem of four lines.

So oft have I invoked thee for my Muse, (A)And found such faire assistance in my verse, (B)As every Alien pen hath got my use, (A)And under thee their poesy disperse. (B)

Thine eyes, that taught the dumb on high to sing, (C)And heavy ignorance aloft to flie, (D)Have added feathers to the learned's wing, (C)And given grace a double majestie. (D)

Yet be most proud of that which I compile, (E)Whose influence is thine and born of thee, (F)In others'works thou dost but mend the style (E)And arts with thy sweet graces graced be. (F)

But thou art all my art, and dost advance (G)As high as learning my rude ignorance. (G)

Ballad

• A poem that tells a story similar to a folk tale or legend and often has a repeated refrain. “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge is an example of a ballad.

Ballad of Birmingham(1969)(On the bombing of a church in Birmingham, Alabama, 1963)

"Mother dear, may I go downtown Instead of out to play, And march the streets of Birmingham

In a Freedom March today?" "No, baby, no, you may not go,

For the dogs are fierce and wild, And clubs and hoses, guns and jails Aren't good for a little child."

"But, mother, I won't be alone. Other children will go with me, And march the streets of Birmingham To make our country free."

"No, baby, no, you may not go, For I fear those guns will fire.

But you may go to church instead And sing in the children's choir."

She has combed and brushed her night-dark hair, And bathed rose petal sweet, And drawn white gloves on her small brown hands, And white shoes on her feet.

The mother smiled to know that her child Was in the sacred place, But that smile was the last smile To come upon her face.

For when she heard the explosion, Her eyes grew wet and wild. She raced through the streets of Birmingham Calling for her child.

She clawed through bits of glass and brick, Then lifted out a shoe. "O, here's the shoe my baby wore, But, baby, where are you?"

• a stanza of four lines of poetry with a rhyme scheme of abcb.

Ballad Stanza

• a narrative poem of unknown authorship; it is usually based on an old folk legend or tradition and contains repeated lines or phrases, archaic expressions, elements of the supernatural, and references to good and evil.

– Example: “Bonnie Barbara Allen”

Folk Ballad

• a deliberate imitation of the folk ballad style by a known author; it copies the subject, the overall atmosphere, and the style of the folk ballad.

– Examples: Casey at the Bat, The Rime of the Ancient Mariner.

Literary Ballad

• A word choice intended to convey a certain effect.

• Example: “It was easy to use that

laptop” or “It was effortless using

that laptop”

Diction

• A word that contains a set of ideas associated with it in addition to its explicit meaning. Based on the word, it can be personal and/or based on individual experiences.

Example: “My bad” or “Sorry”

“House” or “Home”

Connotation

Tone

• The writer or speaker’s attitude toward a subject, character, or audience, and it is conveyed through the author’s choice of words and detail. Tone can be formal or informal, serious or playful, bitter or ironic, indignant, objective, etc.

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Foreshadowing

• The use in a literary work of clues that suggest events that have yet to occur (future action). Use of this technique helps to create suspense, keeping readers wondering and speculating about what will happen next.

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Irony

• The general term for literary techniques that portray differences between appearance and reality, expectation and result, or meaning and intention.

• Implies a twist. http://kilby.sac.on.ca/towerslibrary/pages/users/DVD%20-%20Romeo%20&%20Juliet%20(Hollywood).jpg

Verbal Irony

• Words are used to suggest the opposite of what is meant.

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Dramatic Irony

• There is a contradiction between what a character thinks and what the reader or audience knows to be true. http://www.sunnews.com/images/2003/0821/jasonRGB.jpg

Situational Irony

• An event occurs that directly contradicts the expectations of the characters, the reader, or the audience.

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Imagery

• The descriptive or figurative language used in literature to create word pictures for the reader. These pictures or images, are created by details of sight (visual) –p. 678, sound (auditory), taste (gustatory), touch (tactile), smell (olfactory), movement (kinesthetic), or internal (organic).

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Assonance

• REP of vowel sounds in nearby words.

The cat with a hat sat on a bat named Tat.

Consonance

• REP of middle or ending consonance sounds in nearby words.

• The repetition of consonants or of a consonant pattern, especially at the ends of words, as in blank and think or strongand string

Kennings

• A metaphorical expression used in place of a noun

• Sea = “whale-road” or “swan’s way”

• Joints, ligaments = “bone-locks”

• Sun = “sky-candle”

• Icicles = “water-ropes”

Metonymy and Synecdoche

• Metonymy: Name of one thing is substituted for the name of something else that most people would associate with the first thing– “Iron” for “Sword”

– “Crown” for “king” or “monarchy”

• Synecdoche: Substitute a part for the whole– “keel” for “ship”

– “All hands on deck”

– “Heads of cattle”

Caesura

• An obvious pause in a line of poetry. It is usually found near the middle of a line, with two stressed syllables before and two after, creating a strong rhythm. It is often indicated with double slashes.

• Example: A prince of the Geats, // had killed Grendel.

The QuestSituation Archetype

• This motif describes the search for someone or some talisman which, when found and brought back, will restore fertility to a wasted land, the desolation of which is mirrored by a leader’s illness and disability. (Ex. The Lion King, Galahad’s search for the Holy Grail).

The TaskSituation Archetype

• This refers to what possibly superhuman feat must be accompanied in order to fulfill the ultimate goal. NOT THE SAME AS THE QUEST—A FUNCTION OF THE ULTIMATE GOAL, THE RESTORATION OF ORDER. In many myths and stories, the hero must complete multiple Tasks before completing the Quest. (Ex. Frodo must arrive at Rivendale, Arthur pulls Excalibur from the stone).

The JourneySituation Archetype

• This sends the hero in search for some truth of information necessary to restore fertility, and/or harmony to the kingdom. The journey includes the series of trials and tribulations the hero faces along the way. Usually the hero descends into a real or psychological hell and forced to discover the blackest truths, quite often concerning his faults. Once the hero is at this lowest level, he must accept personal responsibility to return to the world of the living. (Ex. The Odyssey, The Fellowship of the Rings

The InitiationSituation Archetype

• This situation refers to a moment, usually psychological, in which an individual comes into maturity. The adolescent gains a new awareness into the nature of circumstances and problems and understands his or her responsibility for trying to resolve the dilemma. Typically, the hero received a Calling, a message or a signal that he or she must make sacrifices and become responsible for “getting involved” in the problem. Often a hero will deny and question the calling and, ultimately, The Initiation, but will eventually accept responsibility.

• This awakening or ephiphany is often the climax of

the story. (Ex. Huck Finn, The Hobbit).

The FallSituation Archetype

• Not to be confused with the “awareness” in the Initiation. This archetype describes a descent from a higher to a lower state of being. The experience might involve defilement, moral imperfection, and/or loss of innocence. This fall is often accompanied by expulsion from a kind of paradise as penalty for disobedience and/or moral transgression. (Ex. Adam and Eve, Lancelot and Guinevere, Satan in Paradise Lost, The Mariner in Rime of the Ancient Mariner)

Battle Between Good and EvilSituation Archetype

• These situations pit obvious primal forces which represent good and evil against one another. Mankind shows eternal optimism in the continual portrayal of good ultimately triumphing over evil despite great odds. i.e., Forces of Sauron and Middle Earth in Lord of the Rings)

Death and RebirthSituation Archetypes

• The most common of all situational archetypes, this motif grows out of the parallel between the cycle of nature and the cycle of life. This situational archetype refers to those situations in which someone or something, concrete and/or loss of innocence. This fall is often accompanied by some sign of birth or rebirth. (i.e., morning and springtime represent birth or renewal, youth represents rebirth; evening and winter suggests old age or death.)

Light vs. DarknessSymbolic Archertype

• Light usually suggests hope, renewal, OR intellectual illumination; darkness implies the unknown, ignorance, or despair. This archetype will correspond to the Crossing.

Fire vs. IceSituational Archetype

• Fire represents knowledge, light, life and rebirth while ice, like desert, represents ignorance, darkness, sterility and death. When humans begin to control fire, they begin to control their environment and their lives. (i.e., Beowulf’s funeral pyre and asking Wiglaf to pass on knowledge.)

Haven vs. WildernessSymbolic Archetype

• Places of safety contrast sharply against the dangerous wilderness. Heroes are often sheltered for a time to regain health and resources. (i.e., Batcave, Camelot, Rivendale, Herot Hall)

Heaven vs. HellSymbolic Archetype

• Humanity has traditionally associated parts of the universe not accessible to the dwelling places of the primordial forces that govern its world. The skies and mountaintops house the gods; the bowels and depths of the earth contain the diabolic forces that inhabit its universe. (i.e., Hrothgar’s throne vs. Grendel’s lair)

The HeroCharacter Archetype

• In its simplest form, this character is the one ultimately who may fulfill a necessary task and who will restore fertility, harmony, and/or justice to a community. (Christ, Perseus, King Arthur, Robbin Hood, Frodo, Beowulf)

The InitiatesCharacter Archetype

• These are young heroes who, prior to their quest, must endure some training, ceremony and/or ritual. They are usually innocent at this stage and will sometimes reflect their innocent nature by wearing the color white. (i.e., Arthur, Daniel in the Karate Kid, Luke Skywalker)

Loyal Retainer(s)Character Archetypes

• This individual(s) are like the noble sidekick(s) to the hero. Their duty is to protect the hero and reflect the hero’s nobility. (i.e., R2D2, C3PO, Robin)

OutcastCharacter Archetype

• Figure banished from a social group for some crime against his fellow man (could be falsely accused of a crime or could choose to banish himself from guilt). Sometimes the outcast can rise above his/her circumstances and become a hero or an assistant to the hero. (i.e., Simba, Snow White, Romeo, Robin Hood.)

The Creature of NightmareCharacter Archetype

• This monster, physical or abstract, summoned from the deepest, darkest parts of the human psyche to threaten the lives of the hero/heroine. Often it is a perversion or desecration of the human body. (i.e., Werewolves, vampires, the Creature in Frankenstein, Marshmallow Man in Ghostbusters, Freddy Kruger, Grendel, Grendel’s Mother)

The ScapegoatCharacter Archetype

• An a human or animal whose death in a public ceremony expiates some taint or sin that has been visited upon the community. Their death often makes them a more powerful force in society than when they lived. (i.e., Jesus Christ, Snowball in Animal Farm, Piggy in Lord of the Flies)