REFERENCE SECTION

REFERENCE SECTION

Literary Terms Handbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R1

Reading Handbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R20Vocabulary Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R20Comprehension Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R21Literary Response . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R23Analysis and Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R24

Foldables™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R26

Writing Handbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R30The Writing Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R30Using the Traits of Strong Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R33Writing Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R35Research Paper Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R36

Business Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R42

Language Handbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R46Grammar Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R46Mechanics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R53Spelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R58

Test-Taking Skills Handbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .R61

Glossary/Glosario . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R64

Academic Word List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R82

Index of Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R85

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

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

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R108

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LITERARY TERMS HANDBOOK

LITERARY TERMS HANDBOOK R1

AAct A major unit of a drama, or play. Modern dramas generally have one, two, or three acts. Older dramas, including Shakespeare’s, often have five acts. Acts may be divided into one or more scenes.

See also DRAMA, SCENE.

Allegory A literary work in which all or most of the characters, settings, and events stand for ideas, qualities, or figures beyond themselves. The overall purpose of an allegory is to teach a moral lesson. Bunyan’s The Pilgrim’s Progress is an allegory in which Vanity Fair represents the world and the Celestial City symbolizes heaven.

See pages 154, 533.See also SYMBOL.

Alliteration The repetition of consonant sounds, gener-ally at the beginnings of words. Alliteration can be used to emphasize words, reinforce meaning, or create a musi-cal effect. Note the repeated s and d sounds in the fol-lowing line from Hopkins’s “Pied Beauty”:

With swift, slow; sweet, sour; adazzle, dim;

See pages 276, 800, 936.See also SOUND DEVICES.

Allusion A reference to a well-known character, place, or situation from history, music, art, or another work of literature. Discovering the meaning of an allusion can often be essential to the understanding of a work. W. H. Auden alludes to the Greek myth of Icarus in his poem “Musée des Beaux Arts.”

See pages 520, 600, 733.

Ambiguity The state of having more than one mean-ing. The richness of literary language lies in its ability to evoke multiple layers of meaning.

See also CONNOTATION.

Analogy A comparison that shows similarities between two things that are otherwise dissimilar. A writer may use an analogy to explain something unfamiliar by compar-ing it to something familiar. Shakespeare pokes fun at analogies in “Sonnet 130,” claiming, “My mistress’ eyes are nothing like the sun.”

See also METAPHOR, SIMILE.

Anapest A metrical foot of three syllables in which two unstressed syllables are followed by a stressed one (˘˘�). In the following line from Siegfried Sassoon’s “Does It Matter?” the feet are divided by slashes:

˘ ˘ � ˘ ˘ � ˘ ˘ �You can drink / and forget / and be glad. . . .

See also FOOT, METER, SCANSION.

Anecdote A brief account of an interesting happening. Essayists often use anecdotes to support their opinions, clarify their ideas, get the reader’s attention, or entertain. Biographers often include anecdotes to illustrate points about their subjects. Boswell’s The Life of Samuel Johnson contains an anecdote about the first time Boswell was introduced to Johnson by Thomas Davies.

Antagonist A person or a force that opposes the pro-tagonist, or central character, in a story or drama. The reader is generally meant not to sympathize with the antagonist. In Beowulf, Grendel is an antagonist.

See also CONFLICT, PROTAGONIST.

Anthropomorphism The assignment of human charac-teristics to gods, animals, or inanimate objects. It is a key element in fables, where the main characters are often animals. The sheep in Janet Frame’s “Two Sheep” have human characteristics.

See page 1319.See also FABLE.

Aphorism A short, pointed statement that expresses a wise or clever observation about human experience, such as Pope’s saying from An Essay on Criticism:

We think our fathers fools, so wise we grow;Our wiser sons, no doubt, will think us so.

See also EPIGRAM.

Apostrophe A figure of speech in which a speaker addresses an inanimate object, an idea, or an absent per-son. In Percy Bysshe Shelley’s “Ode to the West Wind,” the speaker addresses the wind.

See page 271.See also PERSONIFICATION.

Archetype A symbol, a character, an image, or a story pattern that recurs frequently in literature and evokes strong

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R2 LITERARY TERMS HANDBOOK

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of a hero who embarks on a dangerous quest is a recur-ring story in literature and film. Sir Gawain in Sir Gawain and the Green Knight embarks on an archetypal journey.

See pages 173, 205.See also SYMBOL.

Argument A type of persuasive writing in which logic or reason is used to try to influence a reader’s ideas or actions. In A Vindication of the Rights of Woman, Mary Wollstonecraft presents a powerful argument for the edu-cation of women. Argument can also refer to a prose summary or synopsis of what is in a story or play. This type of argument appears at the beginning of Coleridge’s The Rime of the Ancient Mariner.

See pages 124, 352, 425, 456, 603, 726, 1150.See also PERSUASION.

Aside In a play, a character’s comment that is directed to the audience or another character but is not heard by any other characters on the stage. Asides, which are rare in modern drama, reveal what a character is thinking or feel-ing. An example occurs in Act 1, scene 4, of Shakespeare’s Macbeth.

King. My worthy Cawdor!

Macbeth. [Aside.] The Prince of Cumberland!

That is a step

On which I must fall down, or else o’erleap.

See also SOLILOQUY.

Assonance The repetition of the same or similar vowel sounds in stressed syllables that end with different conso-nant sounds. For example, the long i sound is repeated in the opening line from Ben Jonson’s “On My First Son”:

Farewell, thou child of my right hand, and joy; . . .

See pages 931, 1201.See also SOUND DEVICES.

Atmosphere The dominant emotional feeling of a literary work that contributes to the mood. Orwell’s description of the natives’ dislike of him in “Shooting an Elephant” builds an atmosphere of suspense and foreboding.

See page 316.See also MOOD.

Author’s purpose An author’s intent in writing a liter-ary work. Authors typically write for one or more of the

following purposes: to persuade, to inform, to explain, to entertain, or to describe. John Bunyan wrote The Pilgrim’s Progress to provide moral instruction.

See pages 154, 280, 288, 573, 609, 854, 1098.See also DICTION, STYLE, THEME.

Autobiography The story of a person’s life written by that person. Autobiographies can give insights into the author’s view of himself or herself and of the society in which he or she lived. The Book of Margery Kempe is the autobiography of a medieval woman.

See page 146.See also BIOGRAPHY, DIARY, MEMOIR, NONFICTION.

BBallad A narrative song or poem. Folk ballads, which usually recount an exciting or dramatic episode, were passed down by word of mouth for generations before being written down. Literary ballads are written in imita-tion of folk ballads but have a known author. Coleridge’s The Rime of the Ancient Mariner is a literary ballad. “Bonny Barbara Allan” is a folk ballad.

See pages 208–209, 210, 827.See also FOLKLORE, NARRATIVE POETRY, ORAL TRADITION.

Ballad stanza A quatrain, or four-line stanza, in which the first and third lines have four stressed syllables, and the second and fourth lines have three stressed syllables. Only the second and fourth lines rhyme. Although the basic foot in this stanza is the iamb (˘�), there tend to be many irregularities, as in this stanza from “Get Up and Bar the Door.”

� � � �It fell about the Martinmas time, � � � And a gay time it was then, � � � �When our goodwife got puddings to make, � � �And she’s boiled them in the pan.

See pages 210, 827.See also QUATRAIN, SCANSION.

Bias An inclination toward a certain opinion or position on a topic, possibly stemming from prejudice.

See pages 1173, 1193.See also NONFICTION.

Biography An account of a person’s life written by someone other than the subject. Biographies have been



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written of many of the writers in this book. Boswell’s The Life of Samuel Johnson is a famous example.

See page 660.See also AUTOBIOGRAPHY, DIARY, JOURNAL, MEMOIR.

Blank verse Poetry or lines of dramatic verse written in unrhymed iambic pentameter. Each line has five feet, with each foot made up of an unstressed syllable fol-lowed by a stressed syllable. Because blank verse may attempt to imitate spoken English, every line need not be perfectly regular. Most of Shakespeare’s characters speak in blank verse—as Macbeth does, for example, when he addresses the floating dagger in Act 2, scene 1:

˘ � ˘ � ˘ � ˘ � ˘ �And on thy blade and dudgeon gouts of blood,

See also FOOT, IAMBIC PENTAMETER, SCANSION.

Byronic hero See HERO.

CCadence The rhythmic rise and fall of language when it is spoken or read aloud.

See also FREE VERSE, METER.

Caesura A pause in a line of poetry, usually near the middle of a line, with two stressed syllables before and two after, creating a strong rhythm. A caesura is used to produce variations in meter and to draw attention to cer-tain words. Some pauses are indicated by punctuation, others by phrasing or meaning. In the lines below, from Tennyson’s In Memoriam A. H. H., the caesuras are marked by double vertical lines.

Ring out the old, || ring in the new, Ring, happy bells, || across the snow;

See also RHYTHM.

Carpe diem A Latin phrase meaning “seize the day”; in other words, “make the most of each moment.” In carpe diem poems, the speaker emphasizes the shortness of life—usually to persuade a young woman to yield to love while she still has her youth and beauty. Andrew Marvell’s poem “To His Coy Mistress” is a famous example.

See pages 456, 478.

Cavalier poetry The work of a group of English poets in the 1600s who were loyal to the monarchy. Cavalier poetry is generally intended to entertain rather than to instruct. It is characterized by regular rhythmic patterns, carefully structured stanzas, and simple but

eloquent language. Love is a popular theme. Herrick, Suckling, and Lovelace were Cavalier poets.

See pages 452–453.

Character A person portrayed in a literary work. A main character is central to the story and is typically fully devel-oped. A minor character displays few personality traits and is used to help develop the story. Characters who show varied and sometimes contradictory traits, such as Rosemary in Katherine Mansfield’s “A Cup of Tea,” are called round. Characters who reveal only one personality trait, such as the narrator’s mother in V. S. Naipaul’s “B. Wordsworth,” are called flat. A stereotype, or stock char-acter, is typically flat. A dynamic character, such as Paul in D. H. Lawrence’s “The Rocking-Horse Winner,” grows and changes during the story. A static character remains basi-cally the same throughout a story. Things happen to the character, but he or she does not change.

See pages 210, 1123, 1193, 1272.See also CHARACTERIZATION, STEREOTYPE.

Characterization The methods a writer uses to reveal the personality of a character. In direct characterization, the writer makes explicit statements about a character, as D. H. Lawrence does in “The Rocking-Horse Winner.” In indirect characterization, the writer reveals a character through his or her words, thoughts, and actions and through what other characters think and say about that character, as in the characterization of the young woman in Gordimer’s “The Train from Rhodesia.”

See pages 93, 140, 539, 769, 967, 1305.See also CHARACTER.

Cliché A word or phrase that is so overused that it is virtually meaningless. “Dead as a doornail,” “piece of cake,” and “last but not least” are all clichés.

Climax See PLOT.

Colloquialism Informal language used in everyday con-versation but not in formal writing or speech. In Mansfield’s “A Cup of Tea,” Miss Smith is speaking colloquially when she says, “I can’t go on no longer . . . I can’t bear no more.”

See also DIALECT, VERNACULAR.

Comedy A type of drama that is humorous and often has a happy ending. A heroic comedy focuses on the exploits of a larger-than-life hero.

See also DRAMA, FARCE, HUMOR, PARODY, SATIRE, WIT.



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OK Comic relief A humorous scene, event, or speech in a

serious drama. It provides relief from emotional intensity while at the same time highlighting the seriousness of the story. The porter scene in Shakespeare’s Macbeth (Act 2, Scene 3) is a famous example.

Conceit An elaborate figure of speech that makes a com-parison between two significantly different things. The con-ceit draws an analogy between some object from nature or everyday life and the subject or theme of a poem. Often a conceit is lengthy and dominates a passage or an entire poem. A metaphysical conceit is an intellectual compari-son—rather than one based on nature—that can develop a wide range of ideas and capture a broad range of emo-tions. In Sir Thomas Wyatt’s “Whoso List to Hunt,” the con-ceit compares romance with deer hunting.

See page 438.See also ANALOGY, EXTENDED METAPHOR, METAPHYSICAL POETRY, SIMILE.

Conflict The central struggle between two opposing forces in a story or drama. An external conflict exists when a character struggles against some outside force, such as another person, nature, society, or fate. An internal conflict is a struggle that takes place within the mind of a character who is torn between opposing feel-ings, desires, or goals. In Desai’s “Games at Twilight,” the conflict is largely internal. In Achebe’s “Dead Men’s Path,” the conflict is mostly external.

See pages 23, 79, 191, 530, 1075, 1285, 1305.See also ANTAGONIST, PLOT, PROTAGONIST.

Connotation The suggested or implied meanings associated with a word beyond its dictionary definition, or denotation. A word can have a positive, negative, or neutral connotation.

See pages 271, 611, 948.See also AMBIGUITY, DENOTATION, FIGURATIVE LANGUAGE.

Consonance The repetition of consonant sounds, typi-cally at the end of nonrhyming words and preceded by different vowel sounds, as in this succession of echoing d sounds in William Butler Yeats’s “The Second Coming”:

The blood-dimmed tide is loosed, . . .


Couplet Two consecutive, rhymed lines of poetry that follow the same rhythmic pattern. The last two lines of Shakespeare’s “Sonnet 29” are a couplet:

For thy sweet love rememb’red such wealth bringsThat then I scorn to change my state with kings.

See also HEROIC COUPLET, RHYME, SONNET.

Crisis See PLOT.

DDactyl A three-syllable metrical foot, in which the first syllable is stressed and the following two are unstressed. The following line from Tennyson’s “Tears, Idle Tears” has a basic dactylic rhythm:

� ˘ ˘ � ˘ ˘ � ˘ ˘ �Tears, idle/ tears, I know/ not what they/ mean,


Denotation The literal, or dictionary, meaning of a word.

See pages 271, 611, 948.See also CONNOTATION.

Dénouement See PLOT.

Description A detailed portrayal of a person, a place, an object, or an event. Good descriptive writing appeals to the senses through imagery. Anita Desai’s “Games at Twilight” begins with an effective description of a hot afternoon.

See pages 967, 1156.See also FIGURATIVE LANGUAGE, IMAGERY.

Dialect A variation of a language spoken by a particular region or class. Dialects may differ from the standard form of a language in vocabulary, pronunciation, or grammatical form. In Naipaul’s story “B. Wordsworth,” the narrator and his mother speak a dialect of English.

I ran up the steps and shouted, “Ma, it have a man outside here. He say he want to watch the bees.”

See pages 718, 1332.See also VERNACULAR.

Dialogue Conversation between characters in a literary work. Dialogue can contribute to characterization, create mood, advance the plot, and develop theme.

See page 769.

Diary An individual’s daily record of impressions, events, or thoughts, written for personal use rather than for publication. Samuel Pepys’s diary, written between 1660 and 1669, is a famous example.

See page 553.See also JOURNAL.



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Diction A writer’s choice of words; an important element in the writer’s “voice” or style. Skilled writers choose their words carefully to convey a particular meaning or feeling.

See pages 786, 854, 1190, 1324. See also AUTHOR’S PURPOSE, CONNOTATION, STYLE, TONE, VOICE.

Dimeter A line of verse consisting of two feet.


Drama A story intended to be performed by actors before an audience. The script of a dramatic work, or play, often includes the author’s instructions to the actors and director, known as stage directions. A drama may be divided into acts, which may also be broken up into scenes, indicating changes in location or the passage of time.

See also ACT, COMEDY, PROPS, SCENE, STAGE DIRECTIONS, TRAGEDY.

Dramatic irony See IRONY.

Dramatic monologue A form of dramatic poetry in which a speaker addresses a silent listener. The speaker may be a fictional or historical figure and is clearly distinct from the poet. Robert Browning’s poem “My Last Duchess” is a dramatic monologue.

See pages 980, 1008.See also DRAMATIC POETRY, MONOLOGUE.

Dramatic poetry Poetry in which characters are revealed through dialogue and monologue, as well as through description. Hardy’s “Ah, Are You Digging on My Grave?” is an example of dramatic poetry.

See also DIALOGUE, DRAMATIC MONOLOGUE.

Dramatic structure The structure of a serious play. Common elements are exposition, rising action, climax, falling action, and resolution.

See also PLOT.

Dynamic character See CHARACTER.

EElegy A poem mourning a death or another great loss. Tennyson’s In Memoriam A. H. H. is an elegy.

See pages 446, 715.

End rhyme The rhyming of words at the ends of lines, as in Housman’s “To an Athlete Dying Young.”

End-stopped line A line of poetry that contains a com-plete thought, thus requiring a semicolon or period at the end, as in Blake’s “A Poison Tree”:

I was angry with my friend;I told my wrath, my wrath did end.

See also ENJAMBMENT.

Enjambment The continuation of a sentence from one line of a poem to another, without a pause, as in the following lines from Shakespeare’s “Sonnet 116”:

Let me not to the marriage of true mindsAdmit impediments; love is not loveWhich alters when it alteration fi nds . . .

Enjambment enables poets to create a conversational tone, breaking lines at points where people would normally pause in conversation yet still maintaining the unity of thought.

See page 781.See also RHYTHM.

Epic A long narrative poem that recounts the adventures of a larger-than-life hero. This epic hero is usually a man of high social status who embodies the ideals of his peo-ple. He is often of great historical or legendary impor-tance. Epic plots typically involve supernatural events, long time periods, distant journeys, and life-and-death struggles between good and evil. Works such as Beowulf are called folk epics because they have no certain authorship and arise, usually through storytelling, from the collective experiences of a people. Literary epics, such as John Milton’s Paradise Lost, are written by known authors.

See pages 20–21, 52.See also LEGEND, MYTH, ORAL TRADITION.

Epigram A short, witty verse or saying. Samuel Taylor Coleridge defined epigram with an epigram of his own:

What is an Epigram? A dwarfi sh whole,Its body brevity, and wit its soul.

See also APHORISM.

Epigraph A quotation from another work or source that suggests the theme or main idea of the work at hand. It is often up to the reader to determine how the quoted work relates to the literature it introduces. An epigraph generally serves as an introductory passage at the begin-ning of a literary work. Kipling’s “Miss Youghal’s Sais” begins with an epigraph.



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work of literature.

Epiphany A moment of sudden understanding of the true meaning of a situation, a person, or an object. In Katherine Mansfield’s “A Cup of Tea,” Rosemary Fell’s real-ization that her husband finds Miss Smith pretty is an epiphany.

See page 1139.

Epistle Any letter, such as Johnson’s “Letter to Lord Chesterfield.” Often the term is applied to a more literary work than the informal communication written by most people. Pope called the four poems that make up An Essay on Man “verse epistles.”

Epitaph A brief statement commemorating a dead per-son, often inscribed on a gravestone. Thomas Gray’s “Elegy Written in a Country Churchyard” ends with an epitaph, as does Malory’s Le Morte d’Arthur.

See page 709.See also ELEGY.

Epithet A word or brief phrase used to characterize a person, place, or thing. Royal epithets are common: Good Queen Bess, Richard the Lionheart, Edward the Black Prince, Charles the Bold, and Philip the Good, for example.

Essay A short piece of nonfiction writing on any topic. The purpose of the essay is to communicate an idea or opinion. A formal essay is serious and impersonal, often with the purpose of instructing or persuading. Typically, the author strikes a serious tone and develops a main idea, or thesis, in a logical, highly organized way. An informal or personal essay entertains while it informs, usually in light, conversational style. Bacon’s “Of Studies” is a formal essay. Addison and Steele wrote informal essays for The Spectator.

See pages 547, 591, 612–613.See also NONFICTION, THESIS.

Exaggeration See HYPERBOLE.

Exemplum A brief story used as an example to illus-trate a moral point. Chaucer’s “The Pardoner’s Tale” is an exemplum.

See also ANECDOTE, FABLE.

Exposition See PLOT.

Extended metaphor A metaphor that compares two unlike things in various ways throughout a paragraph, a stanza, or an entire selection.

See page 603.See also METAPHOR.

FFable A short, often humorous tale intended to teach a lesson about human behavior or to give advice about how to behave. Many fables end by stating the moral, or lesson to be learned, while others leave it up to the reader to infer the moral. In a beast fable, animals talk and act like humans.

See also LEGEND, MORAL, PARABLE, THEME.

Fairy tale A type of folktale that features supernatural elements, such as spirits, talking animals, and magic.

See also FOLKTALE.

Falling action See PLOT.

Fantasy A literary work that is set in an unreal world and that often concerns incredible characters and events. There are elements of fantasy in Swift’s Gulliver’s Travels.

See also SCIENCE FICTION.

Farce A type of comedy with ridiculous situations, char-acters, or events.

See also COMEDY, HUMOR, PARODY, SATIRE.

Fiction A narrative in which situations and characters are invented by the writer. Some aspects of a fictional work may be based on fact or experience. Fictional works include short stories, novels, and plays.

See also DRAMA, NONFICTION, NOVEL, SHORT STORY.

Figurative language Language used for descriptive effect in order to convey ideas or emotions. Figurative expressions are not literally true but express some truth beyond the literal level. Figurative language is especially common in poetry.

See pages 260, 312, 843, 1107.See also FIGURE OF SPEECH.

Figure of speech A specific kind of figurative language such as metaphor, personification, or simile.

See also CONNOTATION, FIGURATIVE LANGUAGE, METAPHOR, OXYMORON, PERSONIFICATION, SIMILE, SYMBOL.



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Flashback An interruption in the chronological order of a narrative to describe an event that happened earlier. A flashback gives readers information that may help explain the main events of a story. Elizabeth Bowen’s “The Demon Lover” includes a flashback.

See page 1175.See also FORESHADOWING.

Flash-forward An interruption in the chronological sequence of a narrative to leap forward in time.

See also FLASHBACK.

Flat character See CHARACTER.

Foil A character whose attitudes, beliefs, or behavior differ significantly from those of another character. Often a foil is a minor character who serves, through contrast, to empha-size the distinctive characteristics of the main character.

See page 352.See also ANTAGONIST, CHARACTER, CHARACTERIZATION, PROTAGONIST.

Folklore Traditional beliefs, customs, stories, songs, and dances of a culture. Folklore is passed down through oral tradition and is based on the concerns of ordinary peo-ple. There are elements of folklore in Beowulf.

See also BALLAD, EPIC, FOLKTALE, LEGEND, MYTH, ORAL TRADITION.

Folktale A traditional story passed down orally long before being written down. Folktales include animal stories, trickster stories, fairy tales, myths, legends, and tall tales.

See also FOLKLORE.

Foot The basic unit in the measurement of a line of met-rical poetry. A foot usually contains one stressed syllable (�) and one or more unstressed syllables (˘). The basic metrical feet are the anapest (˘ ˘ �), dactyl (� ˘ ˘), iamb (˘ �), spondee (� �), and trochee (� ˘).

See also METER, RHYTHM, SCANSION, STANZA.

Foreshadowing An author’s use of clues to prepare readers for events that will happen later in a story. D. H. Lawrence prepares the reader for future happenings by stating at the beginning of “The Rocking-Horse Winner” that there was “always an anxiety in the house. There was never enough money.”

See pages 1123, 1338.See also FLASHBACK, PLOT, SUSPENSE.

Form The structure of a poem. Many modern writers use loosely structured poetic forms instead of following traditional or formal patterns. These poets vary the lengths of lines and stanzas, relying on emphasis, rhythm, pattern, or the placement of words and phrases to con-vey meaning.

See pages 465, 866, 1206. See also FREE VERSE, RHYTHM, STANZA, STRUCTURE.

Formal essay See ESSAY.

Frame story A story that surrounds another story or that serves to link several stories together. The frame is the outer story, which usually precedes and follows the inner, more important story. Chaucer’s The Canterbury Tales is a frame story. The pilgrimage is the outer story, or frame, unifying the tales or inner stories told by the pilgrims.

See also STRUCTURE.

Free verse Poetry that has no fixed pattern of meter, rhyme, line length, or stanza arrangement. T. S. Eliot’s “Preludes” is an example of free verse. Although poets who write free verse ignore traditional rules, they use techniques such as repetition and alliteration to create musical patterns in their poems.

See page 1314.See also FORM, METER, RHYME, RHYTHM, STANZA.

G–H Genre A category or type of literature. Examples of genres are poetry, drama, fiction, and nonfiction.

See page 781.

Gothic novel A novel that has a gloomy, foreboding setting and contains strong elements of horror, mystery, and the supernatural. English writer Horace Walpole is credited with writing the first gothic novel, The Castle of Otranto, in 1765. Gothic originally referred to a style of architecture in western Europe during the Middle Ages. Since the setting of Walpole’s novel is a medieval castle, the term was applied to this type of writing.

See page 834.See also NOVEL.

Haiku An ancient Japanese form of poetry that has three lines and seventeen syllables. The first and third lines have five syllables each; the middle line has seven



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striking imagery to evoke an insight or capture a mood.

See also IMAGERY.

Heptameter A metrical line of seven feet.


Hero The chief character in a literary work, typically one whose admirable qualities or noble deeds arouse admira-tion. Although the word hero is applied only to males in tra-ditional usage—heroine being the term used for females—modern usage applies the term to either gender. A Byronic hero is the unconventional, brooding, romantic character popularized by Lord Byron in some of his verse.

See pages 20–21, 52, 848–849.See also EPIC, LEGEND, MYTH, PROTAGONIST, TRAGEDY.

Heroic couplet A pair of rhymed lines in iambic pen-tameter that work together to express an idea or make a point. A heroic couplet is based on the poetic form used by ancient Greek and Roman poets in their heroic epics. The following lines from Pope’s An Essay on Man form a heroic couplet:

And, spite of pride, in erring reason’s spite,One truth is clear, Whatever is, is right.

See page 587.See also IAMBIC PENTAMETER, METER, RHYTHM.

Heroic stanza A group of four poetic lines (a qua-train) in iambic pentameter having a rhyme scheme of abab, also known as the elegiac stanza. Gray’s “Elegy Written in a Country Churchyard” features heroic, or elegiac, stanzas.

See also IAMBIC PENTAMETER, QUATRAIN, RHYME SCHEME.

Hexameter Line of verse consisting of six feet.


Historical fiction Fiction that sets characters against the backdrop of a period other than the author’s own. Some works of historical fiction include actual historical people along with fictitious characters. Defoe’s A Journal of the Plague Year is historical fiction.

See page 623.See also FICTION, NOVEL.

Historical narrative A work of nonfiction that tells the story of important historical events or develop-ments. Bede’s The Ecclesiastical History of the English

People tells of the influence of the Christian church on English civilization.

See page 83.See also HISTORY, NONFICTION.

History A factual account of real events that occurred in the past. Typically, a history is arranged chronologically and seeks to provide an objective description of what happened.

See also HISTORICAL FICTION, NONFICTION.

Hubris Extreme pride or arrogance. Hubris often results in the downfall of a protagonist who violates a human, natural, or divine law. In his sonnet “Ozymandias,” Percy Bysshe Shelley provides a concise portrait of hubris in the doomed king whose empire lies in ruins around him.

See also TRAGEDY.

Humor The quality of a literary work that makes the characters and their situations seem funny, amusing, or silly. Humor often points out human failings and the irony found in many situations. Humorous language includes sarcasm, exaggeration, and verbal irony.

See page 124.See also COMEDY, FARCE, PARODY, PUN, SATIRE, WIT.

Hymn A lyric poem or song addressed to a divine being or expressing religious sentiments.

See also LYRIC.

Hyperbole A figure of speech that uses exaggeration to express strong emotion, to make a point, or to evoke humor. The following passage from Andrew Marvell’s “To His Coy Mistress” contains hyperbole:

An hundred years should go to praiseThine eyes, and on thy forehead gaze; . . .

See pages 475, 1173.See also FIGURATIVE LANGUAGE, UNDERSTATEMENT.

IIamb A two-syllable metrical foot consisting of one unstressed syllable and one stressed syllable, as in the word divide.

Iambic pentameter A poetic meter in which each line is composed of five feet (pentameter); each foot—known as an iamb—consists of one unstressed syllable (˘) followed by one stressed syllable (�). In order to



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imitate the natural flow of spoken English, poets using iambic pentameter often vary its rhythm. The following line from Spenser’s “Sonnet 75” is a perfect example of this metrical form:

˘ � ˘ � ˘ � ˘ � But came / the tide, / and made / my pains / ˘ �his prey.

See also BLANK VERSE, FOOT, HEROIC COUPLET, METER, RHYTHM, SCANSION.

Idiom An expression whose meaning is different from the literal meaning of the words that make it up. Phrases such as “catch his eye,” “turn the tables,” “over the hill,” and “keep tabs on” are idiomatic expressions understood by native speakers but often puzzling to nonnative speakers. Idioms can add realism to dialogue in a story and contribute to characterization.

See page 1185.See also DIALECT.

Imagery The “word pictures” that writers create to evoke an emotional response. In creating effective images, writers use sensory details, or descriptions that appeal to one or more of the five senses: sight, hearing, touch, taste, and smell. Note Yeats’s use of imagery in “The Lake Isle of Innisfree.”

See pages 593, 709, 876, 995, 1094, 1118, 1328, 1356.See also FIGURATIVE LANGUAGE.

Informal essay See ESSAY.

Interior monologue A technique that records a char-acter’s emotions, memories, and opinions. Interior mono-logue contributes to the stream-of-consciousness effect. Joyce’s “Araby” contains interior monologue.

See also STREAM OF CONSCIOUSNESS.

Internal conflict See CONFLICT.

Internal rhyme Rhyme that occurs within a single line of poetry. Poets use internal rhyme to convey meaning, to evoke mood, or simply to create a musical effect.

See also RHYME.

Inversion Reversal of the usual word order for emphasis or variety. Writers use inversion to maintain rhyme scheme or meter, or to emphasize certain words. In the first line that follows from Gray’s “Elegy Written in a Country Churchyard,” the verb (fades) comes before the subject

(landscape), a reversal of the usual order. In the second line, the object (stillness) comes before the verb (holds).

Now fades the glimmering landscape on the sight,And all the air a solemn stillness holds, . . .

See page 543.See also STYLE.

Irony A contrast or discrepancy between appearance and reality. Situational irony exists when the outcome of a situation is the opposite of expectations, as in Hardy’s poem “Ah, Are You Digging on My Grave?” Verbal irony occurs when the meaning of a statement is the reverse of what is meant, as in Swift’s A Modest Proposal. Dramatic irony occurs when readers or viewers know something that the characters do not.

See pages 116, 404, 584, 851, 1004, 1310.

J–L Journal A daily record of events kept by a participant in those events or a witness to them. A journal is usually less intimate than a diary, emphasizing events rather than emotions. Dorothy Wordsworth’s journal, kept from 1800 to 1803, provides a glimpse into English country life.

See page 796.See also DIARY, NONFICTION.

Juxtaposition The placing of two or more distinct things side by side in order to contrast or compare them. It is commonly used to evoke an emotional response in the reader.

See page 843.

Kenning A descriptive figure of speech that takes the place of a common noun, especially in Anglo-Saxon and Norse poetry. In Beowulf, for example, the sea is described as the “whale road.”

See also FIGURATIVE LANGUAGE.

Legend A traditional story handed down from the past, based on actual people and events, and tending to become more exaggerated and fantastical over time. Often legends celebrate the heroic qualities of a national or cultural leader. Legends about King Arthur and his knights of the Round Table have evolved from a real war-rior who led the British in battle in the eighth century a.d.

See page 197.See also FOLKLORE, FOLKTALE, HERO, ORAL TRADITION.



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analyzes and evaluates a literary work.

Lyric poetry Poetry that expresses a speaker’s personal thoughts and feelings. A lyric poem is usually short and creates a single, unified impression. William Wordsworth’s “The World Is Too Much with Us” is an example of a lyric poem.

See pages 449, 793, 999.See also POETRY.

MMaxim A short saying that contains a general truth or gives practical advice, particularly about morality and behavior. Also known as an adage or aphorism.

See also APHORISM.

Melodrama A melodrama is usually a play, but it can be any work that has a strong conflict and appeals pri-marily to the emotions. In a melodrama, the characters are either extremely good or extremely wicked.

See also DRAMA.

Memoir A type of narrative nonfiction that presents the story of a period in the writer’s life. It is usually written from the first-person point of view and emphasizes the narrator’s own experience of this period. It may also reveal the impact of significant historical events on his or her life.

See also AUTOBIOGRAPHY, BIOGRAPHY.

Metaphor A figure of speech that compares or equates two seemingly unlike things to help readers perceive the first thing more vividly. In contrast to a simile, a metaphor implies the comparison instead of stating it directly; hence there is no use of connectives such as like or as. The lines below from Sir Philip Sidney’s “Sonnet 39” con-tain metaphors:

Come sleep! O sleep, the certain knot of peace,The baiting place of wit, the balm of woe, . . .

See pages 294, 603, 843, 1110.See also EXTENDED METAPHOR, FIGURATIVE LANGUAGE, SIMILE.

Metaphysical poetry The work of a group of seven-teenth-century English poets led by John Donne. Metaphysical poetry is written in a conversational style, emphasizes complex meanings, contains unusual imag-ery, and extends the range of metaphors into areas of science, religion, and learning.

See pages 428–429.See also CONCEIT, METAPHOR.

Meter A regular pattern of stressed (�) and unstressed (˘) syllables that gives a line of poetry a more or less predictable rhythm. The basic unit of meter is the foot, consisting of one or two stressed syllables and/or one or two unstressed syllables. The iamb, for example, consists of two syllables: one unstressed followed by one stressed. The length of a metrical line can be expressed in terms of the number of feet it contains:

dimeter, two feettrimeter, three feettetrameter, four feetpentameter, fi ve feethexameter, six feetheptameter, seven feet

The following lines from Marlowe’s “The Passionate Shepherd to His Love” are in iambic tetrameter:

˘ � ˘ � ˘ � ˘ � Come live / with me, / and be / my love, ˘ � ˘ � ˘ � ˘ �And we / will all / the plea / sures prove.

See pages 431, 764, 995, 1115.See also FOOT, IAMBIC PENTAMETER, RHYTHM, SCANSION.

Metonymy A figure of speech in which a word or phrase is substituted for another that is related. For exam-ple, the executive branch of the British government is often referred to as Downing Street, where the prime minister lives in London.

See also FIGURATIVE LANGUAGE.

Miracle play A medieval religious drama presenting a story from the Bible or the lives of the saints; also called a mystery play.See pages 152–153.See also MORALITY PLAY.

Mock-epic An imitation epic, or long narrative poem, that makes fun of the trivial values of a society by using elevated language to describe a mundane event. Pope’s “The Rape of the Lock” is a mock-epic.

See page 593.See also EPIC.

Modernism A term applied to a variety of twentieth-century artistic movements that shared a desire to break with the past. In addition to technical experimentation, Modernist playwrights, writers, and artists in the first half



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of the twentieth century were interested in the irrational or inexplicable, as well as in the workings of the uncon-scious mind. The poetry of T. S. Eliot, with its new subject matter, diction, and metrical patterns, came to define Modernism. Other Modernist writers include Virginia Woolf and James Joyce.

See pages 1038–1039.See also STREAM OF CONSCIOUSNESS.

Monologue A long speech by a character in a literary work, spoken either to others or as if alone.

See also DRAMATIC MONOLOGUE, SOLILOQUY.

Mood The emotional quality of a literary work. A writ-er’s choice of language, subject matter, setting, and tone, as well as sound devices such as rhyme and rhythm, contribute to creating mood. Mood is a broader term than tone, which refers to the attitude of a writer toward the subject matter or the audience. It also differs from atmosphere, which is concerned mainly with the physical qualities that contribute to a mood, such as time, place, and weather. The mood of Defoe’s A Journal of the Plague Year is somber.

See pages 74, 169, 796, 923, 1090, 1353.See also ATMOSPHERE, SETTING, TONE.

Moral A practical lesson about right and wrong conduct taught in a fable or parable.

See also FABLE, PARABLE.

Morality play A medieval religious play popular in the 1400s and 1500s. The plays centered on the moral strug-gles of everyday people and were designed to teach les-sons about salvation and the struggle between virtue and vice. Characters were personifications of abstract qualities such as vice, virtue, mercy, ignorance, and poverty. Everyman is a morality play.

See pages 152–153.See also MIRACLE PLAY.

Motif A significant word, phrase, image, description, idea, or other element repeated throughout a literary work and related to the theme. Luck is a motif in D. H. Lawrence’s “The Rocking-Horse Winner.”

See pages 337, 442.See also THEME.

Motivation The stated or implied reason for a charac-ter’s actions. Motivation may be an external circumstance

or an internal moral or emotional impulse. In Doris Lessing’s “A Mild Attack of Locusts,” farmers are moved to action by the desire to save their crops from locusts.

See pages 1046, 1136.

Myth A traditional story that deals with goddesses, gods, heroes, and supernatural forces. A myth may explain a belief, a custom, or a force of nature. Milton’s Paradise Lost has mythic elements.

See also EPIC, FOLKLORE, LEGEND, ORAL TRADITION.

N Narrative Writing or speech that tells a story. Narratives may be fiction or nonfiction, prose or poetry.

See also NARRATIVE POETRY, NARRATOR.

Narrative poetry Verse that tells a story. Ballads, epics, and romances are all types of narrative poetry. “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge is a narrative poem.

See page 804.See also BALLAD, DRAMATIC MONOLOGUE, EPIC, NARRATIVE.

Narrator The person who tells a story. The narrator may be a character in the story, as in James Joyce’s “Araby,” or outside the story, as in Doris Lessing’s “A Mild Attack of Locusts.”

See pages 1069, 1255.See also NARRATIVE, PERSONA, POINT OF VIEW, SPEAKER.

Naturalism A literary movement characterized by a belief that people are part of the natural world and have little control over their own lives. Writers such as Hardy and Lawrence focused on the powerful eco-nomic, social, and environmental forces that shape the lives of individuals.

See pages 918–919.See also REALISM.

Neoclassicism A term often applied to English litera-ture of the Neoclassical period, from 1660 to the end of the eighteenth century. This period, which is also known as the Age of Reason, corresponds to Unit Three in the text. Neoclassical writers valued order, reason, balance, and clarity over emotion. The work of Alexander Pope is an example of Neoclassicism.

See also RESTORATION AGE.



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places, and events. Among the categories of nonfiction are biographies, autobiographies, and essays.

See also AUTOBIOGRAPHY, BIOGRAPHY, ESSAY, FICTION, HISTORY, MEMOIR.

Nonsense verse Humorous poetry that defies logic. It usually has a strong rhythm and contains made-up words known as nonce words. Lewis Carroll’s “Jabberwocky” is nonsense verse.

See page 957.

Novel A book-length fictional prose narrative having a plot, characters, setting, and a theme. A short novel is often called a novella.

See pages 964–965. See also FICTION, PLOT, SHORT STORY.

Novel of manners A realistic work that deals with the conventions and values of a particular society or social class, such as those depicted in Jane Austen’s novels of nineteenth-century English country life.

O Octave The first eight lines of a Petrarchan, or Italian, sonnet. The octave usually presents a situation, an idea, or a question.

See also SONNET.

Octet A group of eight lines in a poem.

Ode A serious lyric poem, dignified and sincere in tone and style. Some odes celebrate a person, an event, or even a power; others are more private meditations. A Horatian ode, named for the Roman poet Horace, has a regular stanza pattern and rhyme scheme. An irregular ode has no set rhyme scheme or stanza pattern. John Keats’s “Ode on a Grecian Urn” is considered a Horatian ode.

See page 871.See also LYRIC POETRY.

Onomatopoeia The use of a word or phrase that imi-tates or suggests the sound of what it describes. The words mew, crack, swish, hiss, caw, and buzz are onomatopoeic words. “The murmurous haunt of flies on summer eves,” is an example of an onomatopoeic line from Keats’s “Ode to a Nightingale,” evoking the sound of flies.


Oral tradition The passing of literature by word of mouth from one generation to the next. Oral literature is a way of recording the past, glorifying leaders, and teach-ing morals and traditions to young people.

See also BALLAD, EPIC, FOLKLORE, FOLKTALE, LEGEND, MYTH.

Ottava rima A stanza of eight lines written in iambic pentameter with the rhyme scheme abababcc. Yeats’s “Sailing to Byzantium” is written in ottava rima.

See page 1115.See also IAMBIC PENTAMETER, RHYME SCHEME, STANZA.

Oxymoron A figure of speech in which opposite ideas are combined. Examples are “bright darkness,” “wise fool,” and “hateful love.” Milton’s description of hell in Paradise Lost as “darkness visible” is an example of an oxymoron.

See page 1201.See also FIGURATIVE LANGUAGE, PARADOX.

P–Q Parable A simple story pointing to a moral or religious lesson. It differs from a fable in that the characters are people instead of animals.

See page 1057.See also FABLE, MORAL.

Paradox A situation or statement that seems to be impossible or contradictory but is nevertheless true, liter-ally or figuratively. The fifth line of Elizabeth I’s poem “On Monsieur’s Departure” contains two paradoxes:

I am and not, I freeze and yet am burned,

See page 470.See also OXYMORON.

Parallelism The use of a series of words, phrases, or sentences that have similar grammatical form. Parallelism shows the relationship between ideas and helps empha-size thoughts. Johnson’s letter to Lord Chesterfield con-tains parallelism:

I have been pushing on my work through diffi culties of which it is useless to complain and have brought it at last to the verge of publication without one act of assistance, one word of encouragement, or one smile of favor.

See pages 284, 422.See also REPETITION.



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Parody A humorous imitation of a literary work that aims to point out the work’s shortcomings. A parody may imitate the plot, characters, or style of another work, usu-ally through exaggeration. Shakespeare’s “Sonnet 130” is a parody of Renaissance love poetry.

See page 575.See also COMEDY, FARCE, HUMOR, SATIRE.

Pastoral Poetry that idealizes the simple lives of shep-herds in a rural setting. Pastoral poems often exaggerate the rural pleasures and the innocence of country people living in harmony with nature. An example of pastoral poetry is Marlowe’s “The Passionate Shepherd to His Love.”

See page 276.

Pathetic fallacy The attribution of human thoughts and emotions to nature or to nonhuman objects or ani-mals. In “The Tyger,” William Blake speaks of the stars as if they were capable of human feeling:

When the stars threw down their spearsAnd watered heaven with their tears

The pathetic fallacy is a type of personification but refers specifically to feelings, not to all human qualities.

See also PERSONIFICATION.

Pentameter A metrical line of five feet.

See also BLANK VERSE, FOOT, METER.

Persona The person created by the author to tell a story. Whether the story is told by an omniscient narrator or by one of the characters, the author of the work often adopts a persona—a personality different from his or her real one. The attitudes and beliefs of the persona may not be the same as those of the author. Jonathan Swift is the author of Gulliver’s Travels; however, the first-person narrator, Lemuel Gulliver, is the voice through which Swift chose to tell his story.

See also NARRATOR, POINT OF VIEW.

Personification A figure of speech in which an animal, an object, a force of nature, or an idea is given human characteristics. Yeats personifies love in these lines from “When You Are Old”:

Murmur, a little sadly, how Love fl edAnd paced upon the mountains overheadAnd hid his face amid a crowd of stars.

See pages 517, 1268.See also APOSTROPHE, FIGURATIVE LANGUAGE, PATHETIC FALLACY.

Persuasion Writing, usually nonfiction, that attempts to convince readers to think or act in a particular way. Writers of persuasive works use appeals to logic or emo-tion and other techniques to sway their readers. Mary Wollstonecraft’s A Vindication of the Rights of Woman is an excellent example of persuasive writing.

See also ARGUMENT.

Petrarchan sonnet See SONNET.

Play See DRAMA.

Plot The sequence of events in a short story, novel, or drama. Most plots deal with a problem and develop around a conflict, a struggle between opposing forces. The plot begins with exposition, which introduces the story’s characters, setting, and situation. The rising action adds complications to the conflicts, or problems, leading to the climax, or crisis, the point of highest emotional pitch. The climax gives way rapidly to its logical result in the falling action and finally to the resolution (some-times called the dénouement), in which the final out-come is revealed.

See page 369.See also CONFLICT.

Poetry A form of literary expression that differs from prose in emphasizing the line, rather than the sentence, as the unit of composition. Many other traditional charac-teristics of poetry apply to some poems but not to others. Some of these characteristics are emotional, imaginative language; use of metaphor, simile, and other figures of speech; division into stanzas; and the use of rhyme and regular patterns of meter.

See also FIGURATIVE LANGUAGE, FREE VERSE, METER, PROSE, RHYME, STANZA.

Point of view The standpoint from which a story is told. In a story with first-person point of view, the narra-tor is a character in the story and uses the words I and me, as in James Joyce’s “Araby.” In a story told from third-person point of view, the narrator is someone who stands outside the story and describes the characters and action, as in D. H. Lawrence’s “The Rocking-Horse Winner.” Third-person omniscient, or all-knowing point of view, means that the narrator knows everything about the characters and events and may reveal details that the characters themselves could not reveal. If the narrator describes events as only one character perceives them, as in Elizabeth Bowen’s “The Demon Lover,” the point of



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view is that of a narrator who presents a story in a com-pletely impersonal way, describing only external aspects of characters and events and never directly referring to thoughts or emotions.

See pages 276, 777, 976, 1345.See also NARRATOR, SPEAKER.

Postmodernism A broad contemporary movement in art, music, film, literature, and other cultural areas that is viewed as growing out of or replacing Modernism. Many of the characteristic features of postmodernist literature extend or exaggerate tendencies of Modernism. For example, Modernist writers turned away from the appar-ent objectivity of Realism; postmodernists go further, introducing a frankly artificial, self-conscious playfulness into their works.

See also MODERNISM.

Prologue An introductory section of a play, a speech, or another literary work. Chaucer’s The Canterbury Tales contains a long prologue.

See also EPILOGUE.

Propaganda Written or spoken material designed to bring about a change or to damage a cause through use of emotionally charged words, name-calling, or other techniques.

See page 1173.

Props A theater term (a shortened form of properties) for articles used in a stage play or movie or television set.

See also DRAMA.

Prose Written language that is not versified. Novels, short stories, and essays are usually written in prose.

See also POETRY.

Protagonist The central character in a literary work, around whom the main conflict revolves. Generally, the audience is meant to sympathize with the protagonist.

See page 1075.See also ANTAGONIST, CONFLICT, HERO, PLOT.

Proverb A saying that expresses some truth about life or contains some bit of popular wisdom such as “faint heart never won fair lady,” “marry in haste, repent at leisure,” or “out of sight, out of mind.”

See also APHORISM, EPIGRAM.

Psalm A song of praise most commonly found in the biblical book of Psalms. David, king of Israel around 1000 b.c., wrote many of these psalms. Occasionally a modern poet will title his or her poem a psalm.

See page 421.

Pun A humorous use of words that are similar in sound (merry and marry) or of a word with several meanings. In Shakespeare’s Romeo and Juliet, when Mercutio is fatally wounded, he says, “Ask for me tomorrow, and you shall find me a grave man,” meaning both “serious” and “dead.”

Puritan writing The work of early seventeenth-century writers who supported the Puritan cause. John Milton and John Bunyan were two major Puritan writers.

See pages 508–509.

Quatrain A stanza of four lines.

See also BALLAD STANZA, COUPLET, HEROIC STANZA, SESTET, STANZA.

R Rationalism A philosophy that values reason over feel-ing or imagination. It was most influential during the Neoclassical period.

See also NEOCLASSICISM, ROMANTICISM.

Realism A literary movement first prominent in the late nineteenth and early twentieth centuries. Realism seeks to portray life as it is really lived. Realistic fiction often focuses on middle- or working-class conditions and char-acters, often with reformist intent. Charles Dickens was a Realist writer.

See pages 916–917.See also NATURALISM.

Refrain A line or lines repeated regularly, usually in a poem or song. In Dylan Thomas’s “Do Not Go Gentle into That Good Night,” the line “Rage, rage against the dying of the light” serves as a refrain.

See also REPETITION.

Regionalism An emphasis on themes, characters, cus-toms, and settings of a particular geographical region. Thomas Hardy wrote regional novels set in southwest England.

See also DIALECT, VERNACULAR.



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Repetition The recurrence of sounds, words, phrases, lines, or stanzas in a speech or literary work. Repetition increases the sense of unity in a work and can draw attention to particular ideas.

See pages 871, 940.See also PARALLELISM, REFRAIN.

Renaissance A word meaning “rebirth.” The Renaissance in Europe marked a transition from the medieval period to the modern world. The height of the English Renaissance occurred in the late sixteenth and early seventeenth centu-ries, when William Shakespeare was active.

Resolution See PLOT.

Restoration Age The short period immediately follow-ing the restoration of the Stuarts to the throne in 1660. The age is marked by the return of drama to the English stage.

Rhetoric The art of using language—often in public speaking—to present facts and ideas in order to persuade. Rhetorical devices are techniques writers use to manipu-late language for effect or to evoke an emotional response in the reader. These may include repetition, parallelism, analogy, logic, and the skillful use of connotation and anec-dote. Effective rhetoric often appeals to logic, emotion, morality, or authority. A rhetorical question is a question to which no answer is expected or the answer is obvious.

See pages 871, 1167.See also ANALOGY, ANECDOTE, ARGUMENT, CONNOTATION, PARALLELISM, REPETITION.

Rhyme The repetition of the same stressed vowel sounds and any succeeding sounds in two or more words. End rhyme occurs at the ends of lines of poetry. Internal rhyme occurs within a single line.

See also RHYME SCHEME, SLANT RHYME.

Rhyme scheme The pattern that end rhymes form in a stanza or a poem. Rhyme scheme is designated by the assignment of a different letter of the alphabet to each new rhyme. The rhyme scheme of the following lines from Thomas Hardy’s “The Man He Killed” is abab:

“ Had he and I but met aBy some old ancient inn, bWe should have sat us down to wet aRight many a nipperkin! b

See pages 266, 450, 723, 863, 1107.See also RHYME.

Rhythm The pattern of beats created by the arrange-ment of stressed and unstressed syllables, especially in poetry. Rhythm gives poetry a musical quality, can add emphasis to certain words, and may help convey the poem’s meaning. Rhythm can be regular, with a predict-able pattern or meter, or irregular. Note the regular rhythm in the following lines from A. E. Housman’s “To an Athlete Dying Young”:

˘ � ˘ � ˘ � ˘ �The time you won your town the race ˘ � ˘ � ˘ � ˘ �We chaired you through the market-place;

See page 923.See also IAMBIC PENTAMETER, METER, SCANSION, SPRUNG RHYTHM.

Rising action See PLOT.

Romance Historically, a term used to describe long nar-rative works about the exploits and love affairs of chivalric heroes such as King Arthur and Sir Lancelot. The term romance can also be applied to any story that involves noble heroes, idealized love, or fantastic events that seem remote from everyday life. Sir Thomas Malory’s Le Morte d’Arthur is a romance.

See pages 16–17.See also LEGEND.

Romanticism An artistic movement that began in Europe and valued imagination and feeling over intellect and reason. The works of William Wordsworth, Coleridge, Byron, and Keats represent the height of Romantic poetry. This time period corresponds to Unit Four in this text.

Round character See CHARACTER.

Run-on line See ENJAMBMENT.

S Sarcasm The use of bitter or caustic language to point out shortcomings or flaws.

See also IRONY, SATIRE.

Satire Writing that exposes to ridicule the vices or follies of people or societies through devices such as hyperbole, understatement, and irony. The purpose of satire may be to reform or to entertain. Swift’s A Modest Proposal is a famous satirical essay whose purpose was to reform England’s policy toward Ireland.



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See also COMEDY, HYPERBOLE, IRONY, PARODY, UNDERSTATEMENT, WIT.

Scansion The analysis of the meter of a line of verse. To scan a line of poetry means to note the stressed and unstressed syllables and to divide the line into its feet, or rhythmic units. Stressed syllables are marked (�) and unstressed syllables (˘). Note the scansion of these lines from Byron’s “She Walks in Beauty”:

˘ � ˘ � ˘ � ˘ �She walks / in beau / ty, like / the night˘ � ˘ � ˘ � ˘ �Of cloud / less climes / and star / ry skies; . . .

Since each line has four feet and the rhythm is iambic, the lines can be described as iambic tetrameter.

See also FOOT, METER, RHYTHM.

Scene A subdivision of an act in a play. A scene is shorter than an act.

See also ACT, DRAMA.

Science fiction Fiction that deals with the impact of sci-ence and technology—real or imagined—on society and on individuals. Sometimes occurring in the future, science fiction commonly portrays space travel, exploration of other planets, and possible future societies.

Sensory details See IMAGERY.

Septet A stanza of seven lines.

Sestet A six-line stanza.

See also SONNET.

Setting The time and place in which the events of a lit-erary work occur. Setting includes not only the physical surroundings but also the ideas, customs, values, and beliefs of a particular time and place. Setting often helps create an atmosphere or a mood. Setting plays an impor-tant part in Lessing’s “A Mild Attack of Locusts.”

See page 1296.See also ATMOSPHERE, MOOD.

Shakespearean songs Shakespeare used songs in his plays to heighten the drama, making what is merry mer-rier or what is sad sadder. His plays include love songs, nonsense songs, and dirges, songs that mourn a death.

See page 301.

Shakespearean sonnet See SONNET.

Short story A brief fictional narrative that generally includes the following major elements: setting, characters, plot, point of view, and theme.

See pages 1066–1067. See also FICTION, NOVEL, PLOT.

Simile A figure of speech that uses like or as to com-pare seemingly unlike things. In the following example from Andrew Marvell’s “To His Coy Mistress,” the poet compares his love’s complexion to dew:

Now, therefore, while the youthful hueSits on thy skin like morning dew,

See pages 294, 298, 843.See also ANALOGY, FIGURATIVE LANGUAGE, METAPHOR.

Slant rhyme An approximate rhyme occurring when words include sounds that are similar but not identical (jackal and buckle). Slant rhyme typically involves some variation of consonance (the repetition of similar conso-nant sounds) or assonance (the repetition of similar vowel sounds). In “Follower,” Seamus Heaney features slant rhyme in word pairs such as sock/pluck and plow/furrow.

See page 1259.See also RHYME.

Soliloquy In drama, a long speech by a character who is alone on stage. A soliloquy reveals the private thoughts and emotions of that character. In Act 3, scene 1 of Shakespeare’s Macbeth, Macbeth delivers a soliloquy that begins

To be thus is nothing, but to be safely thus—Our fears in Banquo stick deep, . . .

See page 305.See also ASIDE, DRAMATIC MONOLOGUE, MONOLOGUE.

Sonnet A lyric poem of fourteen lines, typically written in iambic pentameter and usually following strict patterns of stanza divisions and rhymes. The Shakespearean, or English, sonnet consists of three quatrains, or four-line stanzas, followed by a couplet, or pair of rhyming lines. The rhyme scheme is typically abab, cdcd, efef, gg. The couplet often presents a conclusion to the issues or ques-tions presented in the three quatrains. Like a Shakespearean sonnet, the Spenserian sonnet has three quatrains and a couplet, but it follows the rhyme scheme abab bcbc cdcd ee. This interlocking rhyme scheme pushes the sonnet toward the final couplet, which makes a key point or comment. In the Petrarchan, or Italian,



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sonnet, fourteen lines are divided into two stanzas, the eight-line octave and the six-line sestet. The sestet usually responds to a question or situation posed by the octave. The rhyme scheme for the octave is typically abbaabba; for the sestet, the rhyme scheme is typically cdecde.

See pages 252–253.See also COUPLET, LYRIC POETRY, RHYME SCHEME, STANZA.

Sonnet sequence A series of sonnets focused on a particular theme. Elizabeth Barrett Browning’s Sonnets from the Portuguese is a sonnet sequence.

See also SONNET.

Sound devices Techniques used, especially in poetry, to appeal to the ear. Writers use sound devices to enhance the sense of rhythm, to emphasize particular sounds, or to add a musical quality to their work.

See pages 276, 876, 1328.See also ALLITERATION, ASSONANCE, CONSONANCE, ONOMATOPOEIA, RHYME.

Speaker The person who is speaking in a poem, similar to a narrator in a work of prose. Sometimes the speaker’s voice is that of the poet, sometimes that of a fictional per-son or even a thing. The speaker’s words communicate a particular tone, or attitude, toward the subject of the poem. One should never assume that the speaker and the writer are identical, however. For example, the speaker in “My Last Duchess” is not the poet, Robert Browning.

See pages 280, 1243.See also DRAMATIC MONOLOGUE, NARRATOR, TONE.

Spenserian stanza A nine-line poetic stanza composed of eight lines of iambic pentameter and one of iambic hex-ameter, with the rhyme scheme ababbcbcc. Byron used this stanza in “Childe Harold’s Pilgrimage.”

See also IAMBIC PENTAMETER, METER.

Spondee A metrical foot of two stressed syllables.

See also FOOT, METER.

Sprung rhythm A kind of irregular rhythm in which each foot has one stressed syllable, usually the first, and a varied number of unstressed syllables. Gerard Manley Hopkins, who invented the term and the technique, believed this to be the rhythm of natural speech.

See page 952.See also METER, RHYTHM.

Stage directions Instructions written by a playwright to describe the appearance and actions of characters, as well as the sets, costumes, and lighting.

See also DRAMA.

Stanza A group of lines forming a unit in a poem or song. A stanza in a poem is similar to a paragraph in prose. Typically, stanzas in a poem are separated by a line of space.

See page 760.See also BALLAD STANZA, COUPLET, HEROIC STANZA, QUATRAIN, SONNET, SPENSERIAN STANZA.

Static character See CHARACTER.

Stereotype A character who is not developed as an indi-vidual but instead represents a collection of traits and man-nerisms supposedly shared by all members of a group.

See also CHARACTER.

Stream of consciousness The literary representation of a character’s free-flowing thoughts, feelings, and memories. Stream-of-consciousness writing does not always employ conventional sentence structure or other rules of grammar and usage. Virginia Woolf and James Joyce often used stream of consciousness in their works.

See page 1156.

Structure The particular order or pattern a writer uses to present ideas. Narratives commonly follow a chrono-logical order, while the structure of persuasive or expos-itory writing may vary. Listing detailed information, using cause and effect, or describing a problem and then offering a solution are some other ways a writer can present a topic. The structure of The Canterbury Tales allowed Chaucer to represent a wide variety of characters and social classes.

See pages 255, 565, 1062, 1110.See also FORM.

Style The expressive qualities that distinguish an author’s work, including word choice and the length and arrange-ment of sentences, as well as the use of figurative language and imagery. Style can reveal an author’s attitude and pur-pose in writing.

See pages 415, 615, 668, 940, 1118.See also AUTHOR’S PURPOSE, DICTION, FIGURATIVE LANGUAGE, IMAGERY, TONE.



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Suspense A feeling of curiosity, uncertainty, or even dread about what is going to happen next in a story. Writers increase the level of suspense by creating a threat to the central character and raising questions in a reader’s mind about the outcome of a conflict. Suspense is espe-cially important in the plot of an adventure or a mystery story. Anita Desai builds suspense in “Games at Twilight” as the young boy waits to be discovered in the shed.

See also PROTAGONIST.

Symbol Any object, person, place, or experience that exists on a literal level but also represents something else, usually something abstract. The lamb is a symbol of inno-cence in Blake’s “The Lamb.”

See pages 755, 1078, 1146, 1302.See also ALLEGORY, FIGURATIVE LANGUAGE.

Symbolist poetry A kind of poetry that emphasizes sug-gestion and inward experience instead of explicit descrip-tion. Originating in France in the late 1800s, the symbolist poets influenced twentieth-century writers such as William Butler Yeats, T. S. Eliot, and Virginia Woolf.

See also MODERNISM.

Synecdoche A figure of speech in which a part is used for the whole or a whole is used for a part. In this line from the book of Revelation in the Bible, “All nations, and kin-dreds, and people, and tongues,” tongues (a part) is used for the whole (languages).

See also METONYMY.

TTercet A stanza of three rhyming lines.

See also STANZA.

Terza rima A verse form consisting of a sequence of interlocking three-line stanzas, or tercets. The first and third lines of the first stanza rhyme, and the second line provides the rhyme for the first and third lines of the next stanza, forming the rhyme scheme aba, bcb, cdc, and so on. The beginning of Shelley’s “Ode to the West Wind” (page 854) illustrates terza rima.

See page 863.

Tetrameter A metrical line of four feet.


Theater of the absurd Drama, primarily of the 1950s and 1960s, that presents a series of scenes in which the characters—often confused and anxious—exist in a mean-ingless world. Harold Pinter is a leading English dramatist of absurdist and other plays.

See pages 1272, 1276–1277.See also DRAMA.

Theme The message of a story, poem, novel, or play. Some works have a stated theme, which the author expresses directly. More commonly, works have an implied theme, which is revealed gradually through events, dia-logues, or description. A literary work may have more than one theme. Some themes are universal, meaning that they are widely held ideas about life. Themes and subjects are different. The subject of a work might be love; the theme would be what the writer says about love—for example, love is cruel; love is wonderful; love is fleeting.

See pages 74, 301, 305, 436, 438, 575, 1285.See also AUTHOR’S PURPOSE, MORAL.

Thesis The main idea of a work of nonfiction. The thesis may be stated directly or implied. The thesis of Francis Bacon’s “Of Studies” is that books have multiple uses and readers have multiple needs and capabilities.

See pages 726, 1086.See also NONFICTION.

Third-person point of view See POINT OF VIEW.

Title The name given to a literary work. The title can help explain the setting, provide insight into the theme, or describe the action that will take place in the work.

See pages 1094, 1293.

Tone An author’s attitude toward his or her subject mat-ter or the audience. Tone is conveyed through elements such as word choice, punctuation, sentence structure, and figures of speech. A writer’s tone might convey a variety of attitudes such as sympathy, amusement, or superiority. The tone of Thomas Hardy’s “Ah, Are You Digging on My Grave?” is one of bittersweet humor.

See pages 116, 255, 263, 301, 561, 656, 931, 1150.See also AUTHOR’S PURPOSE, NARRATOR, SPEAKER, STYLE, VOICE.

Tragedy A play in which a main character suffers a down-fall. That character, the tragic hero, is typically a person of dignified or heroic stature. The downfall may result from



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outside forces or from a weakness within the character, which is known as a tragic flaw. In Shakespeare’s Macbeth, Macbeth’s tragic flaw is excessive ambition.

See page 388.See also DRAMA, HERO, HUBRIS.

Tragic hero See TRAGEDY.

Trimeter A metrical line of three feet.


Trochee A metrical foot made up of one stressed and one unstressed syllable. The line below, from Shakespeare’s Macbeth, has four trochees and can be described as trochaic tetrameter.

� ˘ � ˘ � ˘ � ˘Double, / double, / toil and / trouble;


U–WUnderstatement Language that makes something seem less important than it really is. Understatement may be used to add humor or to focus the reader’s attention on something the author wants to emphasize.

See also HYPERBOLE.

Vernacular Ordinary speech of a particular country or region. Vernacular is more casual than cultivated, formal speech. Slang, dialect, and idiom are commonly included as part of the vernacular. Writers often employ vernacular to enhance the realism of their narrative or dialogue. The narrator in Penelope Lively’s story “At the Pitt-Rivers” uses vernacular.

See page 1247.See also DIALECT, IDIOM, REGIONALISM.

Verse paragraph A group of lines in a poem that form a unit. Unlike a stanza, a verse paragraph does not have a fixed number of lines. While poems written before the twentieth century usually contain stanzas, many contem-porary poems are made up of verse paragraphs. Verse paragraphs help to organize a poem into thoughts, as paragraphs help to organize prose.

See page 1098.See also STANZA.

Villanelle A nineteen-line poem divided into five ter-cets, or stanzas of three lines, each with the rhyme scheme aba, and a final quatrain with the rhyme scheme abaa. The first line is repeated as a refrain at the end of the second and fourth stanzas. The last line of the first stanza is repeated at the end of the third and fifth stan-zas. Both lines reappear as the final two lines of the poem. This six-stanza form was originally used in French pastoral poetry. Thomas’s “Do Not Go Gentle into That Good Night” is a villanelle.

See page 1206.See also QUATRAIN, REFRAIN, STANZA.

Voice The distinctive use of language that conveys the author’s or narrator’s personality to the reader. Voice is determined by elements of style such as word choice and tone.

See pages 649, 1279.See also AUTHOR’S PURPOSE, DICTION, NARRATOR, STYLE, TONE.

Wit An exhibition of cleverness and humor. Jonathan Swift, Alexander Pope, and Lewis Carroll are authors famous for their wit.

See page 743.See also COMEDY, HUMOR, SATIRE.


READING HANDBOOK

R20 READING HANDBOOK

Vocabulary DevelopmentTo develop a rich vocabulary, consider these four impor-tant steps:

• Read a wide variety of texts.• Enjoy and engage in wordplay and word investigation.• Listen carefully to how others use words.• Participate regularly in good classroom discussions.

Using context to discover meaningWhen you look at the words and sentences surrounding a new word, you are using context. Look before, at, and after a new word or phrase. Connect what you know with what an author has written. Then guess at a possible meaning. Try again if your guess does not make sense. Consider these strategies for using context:

• Look for a synonym or an antonym nearby to provide a clue to the word’s meaning.

• Notice if the text relates the word’s meaning to another word.

• Check for a description of an action associated with the word.

• Try to find a general topic or idea related to the word.

Using word parts and word originsConsider these basic elements when taking a word apart to determine meaning:

• Base words Locate the most basic part of a word to predict a core meaning.

• Prefixes Look at syllables attached before a base that add to or change a meaning.

• Suffixes Look at syllables added to the end of a base word that create new meanings.

Also consider word origins—Latin, Greek, and Anglo-Saxon roots—that are the basis for much of English vocabulary. Knowing these roots can help you deter-mine derivations and spellings, as well as meanings in English.

Using reference materialsWhen using context and analyzing word parts do not help to unlock the meaning of a word, go to a reference source such as a dictionary, a glossary, a thesaurus, or even the Internet. Use these tips:

• Locate a word by using the guide words at the top of the pages.

• Look at the parts of the reference entry, such as part of speech, definition, or synonym.

• Choose between multiple meanings by thinking about what makes sense.

• Apply the meaning to what you’re reading.

Distinguishing between meaningsDetermining subtle differences between word meanings also aids comprehension. Denotation refers to the dic-tionary meaning or meanings of a word. Connotation refers to an emotion or underlying value that accompa-nies a word’s dictionary meaning. The word fragrance has a different connotation from the word odor, even though the denotation of both words is “smell.”

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

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Comprehension StrategiesBecause understanding is the most critical reading task, lifelong learners use a variety of reading strategies before, during, and after reading to ensure their comprehension.

Establishing and adjusting purposes for readingTo establish a purpose for reading, preview or skim a selection by glancing quickly over the entire piece, read-ing headings and subheadings, and noticing the organiza-tional pattern of the text.

If you are reading to learn, solve a problem, or perform a task involving complex directions, consider these tips:

• Read slowly and carefully.• Reread difficult passages.• Take careful notes or construct a graphic.

Adjust your strategies as your purpose changes. To locate specific information in a longer selection, or to enjoy an entertaining plot, you might allow yourself a faster pace. Know when to speed up or slow down to maintain your understanding.

Drawing on personal backgroundWhen you recall information and personal experiences that are uniquely your own, you draw on your personal background. By thus activating prior know ledge, and combining it with the words on a page, you create mean-ing in a selection. To expand and extend your prior knowledge, share it interactively in classroom discussions.

Monitoring and modifying reading strategiesCheck or monitor your understanding as you read, using the following strategies:

• Summarize• Clarify• Question• Predict what will come next

You can use these four important steps once or twice in an easy, entertaining passage or after every paragraph in a conceptually dense nonfiction selection. As you read, think about asking interesting questions, rather than pas-sively waiting to answer questions your teacher may ask later.

All readers find that understanding sometimes breaks down when material is difficult. Consider these steps to

modify or change your reading strategies when you don’t understand what you’ve read:

• Reread the passage.• Consult other sources, including text resources,

teachers, and other students.• Write comments or questions on another piece of

paper for later review or discussion.

Constructing graphic organizersGraphic organizers, such as charts, maps, and diagrams, help you construct ideas in a visual way so you can remember them later. Look at the following model. Like a Venn diagram, which compares and contrasts two ideas or characters, a semantic features analysis focuses on the discriminating features of ideas or words. The items or ideas you want to compare are listed down the side, and the discriminating features are listed across the top. In each box use a + if the feature or characteristic applies to the item or a – if the feature or characteristic does not apply.

People in Government Elected Appointed

PassesLaws

VetoesLaws

President + – – +State Governor

+ – – +

Supreme Court Justice

– + – –

Secretary of Defense

– + – –

A flowchart helps you keep track of the sequence of events. Arrange ideas or events in a logical, sequential order. Then draw arrows between your ideas to indicate how one idea or event flows into another. Look at the fol-lowing flowchart to see how you might show the chrono-logical sequence of a story. Use a flowchart to make a change frame, recording causes and effects in sequence to illustrate how something changed.



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a selection.• To map out the main idea and details of a selection,

put the main idea in the middle circle and, as you read, add supporting details around the main thought.

• To analyze a character in a story, put the charac-ter’s name in the middle and add that character’s actions, thoughts, reputation, plot involvement, and personal development in the surrounding circles.

• To define a concept, put a word or an idea in the middle circle and then add a more general category, descriptions, examples, and non-examples in the sur-rounding circles.

Analyzing text structuresTo follow the logic and message of a selection and to remember it, analyze the text structure, or organization of ideas, within a writer’s work. In narrative as well as in informational text, writers may embed one structure within another, but it is usually possible to identify one main pattern of organization. Recognizing the pattern of organization can help you discover the writer’s purpose and will focus your attention on the important ideas in the selection. Look for signal words to point you to the structure.

• Chronological order often uses words such as first, then, after, later, and finally.

• Cause-and-effect order can include words or phrases such as therefore, because, subsequently, or as a result of.

• Comparison-contrast order may use words or phrases such as similarly, in contrast, likewise, or on the other hand.

Interpreting graphic aidsGraphic aids provide an opportunity to see and analyze information at a glance. Charts, tables, maps, and dia-grams allow you to analyze and compare information. Maps include a compass rose, legend, and scale to help

you interpret direction, symbols, and size. Charts and graphs compare information in categories running hori-zontally and vertically.

Tips for Reading Graphic Aids

• Examine the title, labels, and other explanatory features.

• Apply the labels to the graphic aid.• Interpret the information.

Look carefully at the models below.

Lansing

GrandRapids

Green Bay

MadisonMilwaukee

ChicagoGalena

Springfield

St. Louis

IndianapolisCincinnati

Columbus

Detroit

Toledo Cleveland

South Bend

Titusville

Youngstown

Pittsburgh

BuffaloMich.

Wis.

Ill. Ind.Ohio

W. Va.

Mo.

CANADA

N

S

EW150 kilometers0

Albers Equal-Area projection

150 miles0

Timber

Prairie

Shipping

Canal

Sawmills

Iron/steel

Railroad

Industrial Expansion

Illin

ois

R.

L. Huron

L. Erie

L.M

ich

igan

Daily Consumption of Vegetable Protein

Gram

s per

per

son

MiddleEast

AfricaEastAsia

LatinAmerica

NorthAmerica

0

10

20

30

40

50

60

70

80

Scale

Compass rose

Legend

The height of the bar represents the amount of vegetable protein consumed.

Each bar represents a different region.



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SequencingThe order in which thoughts are arranged is called a sequence. A good sequence is one that is logical, given the ideas in a selection. Chronological order, spatial order, and order of importance are common forms of sequencing. Think about the order of a writer’s thoughts as you read and pay particular attention to sequence when following complex written directions.

SummarizingA summary is a short restatement of the main ideas and important details of a selection. Summarizing what you have read is an excellent tool for understanding and remembering a passage.

Tips for Summarizing

• Identify the main ideas or most important thoughts within a selection.

• Determine the essential supporting details.• Relate all the main ideas and the essential details in

a logical sequence.• Paraphrase — that is, use your own words.• Answer who, what, why, where, and when ques-

tions when you summarize.

The best summaries can easily be understood by some-one who has not read the selection. If you’re not sure whether an idea is a main idea or a detail, try taking it out of your summary. Does your summary still sound complete?

Drawing inferences and supporting themAn inference involves using your reason and experience to come up with an idea based on what a writer implies or suggests but does not directly state. The following stra-tegic reading behaviors are examples of inference:

• Making a prediction is taking an educated guess about what a text will be about based on initial clues a writer provides.

• Drawing a conclusion is making a general statement you can explain with reason or with supporting details from a text.

• Making a generalization is generating a statement that can apply to more than one item or group.

What is most important when inferring is to be sure that you have accurately based your thoughts on supporting details from the text as well as on your own knowledge.

Reading silently for sustained periodsWhen you read for long periods of time, your task is to avoid distractions. Check your comprehension regularly by summarizing what you’ve read so far. Using study guides or graphic organizers can help get you through difficult passages. Take regular breaks when you need them and vary your reading rate with the demands of the task.

Synthesizing informationYou will often need to read across texts; that is, in differ-ent sources, combining or synthesizing what you’ve learned from varied sources to suit your purposes. Follow these suggestions:

• Understand the information you’ve read in each source.

• Interpret the information.• Identify similarities and differences in ideas or logic.• Combine like thoughts in a logical sequence.

Literary ResponseWhenever you share your thoughts and feelings about something you’ve read, you are responding to text. While the way you respond may vary with the type of text you read and with your individual learning style, as a strategic reader you will always need to adequately support your responses with proof from the text.

Responding to informational and aesthetic elementsWhen you respond both intellectually and emotionally, you connect yourself with a writer and with other people. To respond in an intellectual way, ask yourself if the ideas you have read are logical and well supported. To respond emotionally, ask yourself how you feel about those ideas and events. Choose a way to respond that fits your learn-ing style. Class discussions, journal entries, oral interpreta-tions, enactments, and graphic displays are some of the many ways to share your thoughts and emotions about a writer’s work.



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authoritative viewsCritics’ reviews may encourage you to read a book, see a movie, or attend an event. They may also warn you that whatever is reviewed is not acceptable entertainment or is not valued by the reviewer. Deciding whether to value a review depends on the credibility of the reviewer and also on your own personal views and feelings. Ask your-self the following questions:

• What is the reviewer’s background?• What qualifies the reviewer to write this evaluation?• Is the review balanced? Does it include both positive

and negative responses?• Are arguments presented logically?• Are opinions supported with facts?• What bias does this reviewer show?• Do I agree? Why or why not?

Analysis and EvaluationGood readers want to do more than recall information or interpret thoughts and ideas. When you read, read criti-cally, forming opinions about characters and ideas, and making judgments using your own prior knowledge and information from the text.

Analyzing characteristics of textsTo be a critical reader and thinker, start by analyzing the characteristics of the text. Think about what specific char-acteristics make a particular selection clear, concise, and complete. Ask yourself these questions:

• What pattern of organization has this writer used to present his or her thoughts? Cause/effect? Comparison/contrast? Problem/solution? Does this organization make the main ideas clear or vague? Why?

• What word order, or syntax, gives force and empha-sis to this writer’s ideas? Does the grammatical order of the words make ideas sound complete, or is the sentence structure confusing?

• What word choices reveal this writer’s tone, or atti-tude about the topic? Is the language precise or too general? Is it economical and yet descriptive?

Evaluating the credibility of sourcesEvaluating the credibility of a source involves making a judgment about whether a writer is knowledgeable and truthful. Consider the following steps:

• Decide on the writer’s purpose or motive. What will the writer gain if you accept his or her ideas or if you act on his or her suggestions?

• Investigate the writer’s background. How has the writer become an authority in his or her field? Do others value what he or she says?

• Evaluate the writer’s statements. Is the writer’s information factual? Can it be proved? Are opinions clearly stated as such? Are they adequately supported with details so that they are valid? Are any statements nonfactual? Check to be sure.

Analyzing logical arguments and modes of reasoningWhen you analyze works you’ve read, ask yourself whether the reasoning behind a writer’s works is logical. Two kinds of logical reasoning are

Inductive Reasoning By observing a limited number of particular cases, a reader arrives at a general or universal statement. This logic moves from the specific to the general.

Deductive Reasoning This logic moves from the general to the specific. The reader takes a general statement and, through reasoning, applies it to specific situations.

Case 1

Case 2 General Statement

Case 3

Situation 1

Situation 2General Statement

Situation 3



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Faulty reasoning, on the other hand, is vague and illogical. Look for either/or reasoning or oversimplified statements when analyzing faulty reasoning. Failure to understand a writer’s work may be the result of poorly presented, unsup-ported arguments, sequenced in a haphazard way.

A writer shows bias when he or she demonstrates a strong personal, and sometimes unreasonable, opinion. Look for bias when evaluating editorials, documentaries, and advertisements.

Writers use persuasive techniques when they try to get readers to believe a certain thing or act in a particular way. A writer may have a strong personal bias and still compose a persuasive essay that is logical and well sup-ported. On the other hand, deceptive arguments can be less than accurate in order to be persuasive. Read care-fully to judge whether a writer’s bias influences his or her writing in negative or positive ways.


FOLDABLES™

R26 FOLDABLES

Using Foldables™ Makes Learning Easy and Enjoyable

Anyone who has paper, scissors, and a stapler or some glue can useFoldables in the classroom. Just follow the illustrated step-by-step directions. Check out the following sample:

Reading Objective: to understand how one character’s actions affect other characters in a short story

Use this Foldable to keep track of what the main character does and how his or her actions affect the other characters.

1. Place a sheet of paper in front of you so that the short side is at the top. Fold the paper in half from top to bottom.

2. Fold in half again, from side to side, to divide the paper into two columns. Unfold the paper so that the two columns show.

3. Draw a line along the column crease. Then, through the top layer of paper, cut along the line you drew, forming two tabs.

4. Label the tabs Main character’s actions and Effects on others.

5. As you read, record the main character’s actions under the fi rst tab. Record how each of those actions affects other characters under the second tab.

Short Story Reading Objective: to analyze a short story on the basis of its literary elements

As you read, use the following Foldable to keep track of fi ve literary elements in the short story.

1. Stack three sheets of paper with their top edges about a half-inch apart. Be sure to keep the side edges straight.

2. Fold up the bottom edges of the paper to form six tabs, fi ve of which will be the same size.

3. Crease the paper to hold the tabs in place and staple the sheets together along the crease.

4. Turn the sheets so that the stapled side is at the top. Write the title of the story on the top tab. Label the fi ve remaining tabs Setting, Characters, Plot, Point of View, and Theme.

5. Use your Foldable as you read the short story. Under each labeled tab, jot down notes about the story in terms of that element.

Mainoncharacter’s

actions

Effects

others

Practice reading and following step-by-step directions.

Become an active reader, tracking and reorganizing information so that you can better comprehend the selection.

SettingCharacters

PlotPoint of View

Theme

Story Title

Illustrations make directions easier to follow.

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by Dinah Zike, M.Ed., Creator of Foldables™

Reading and Thinking with Foldables™

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You may adapt this simple Foldable in several ways.

■ Use it with dramas, longer works of fi ction, and some narrative poems—wherever fi ve literary elements are present in the story.

■ Change the labels to focus on something different. For example, if a story or a play has several settings, characters, acts, or scenes, you could devote a tab to each one.

Drama Reading Objective: to understand confl ict and plot in a drama

As you read the drama, use the following Foldable to keep track of confl icts that arise and ways that those confl icts are resolved.

1. Place a sheet of paper in front of you so that the short side is at the top. Fold the paper in half from side to side.

2. Fold the paper again, one inch from the top as shown here.

3. Unfold the paper and draw lines along all of the folds. This will be your chart.

4. At the top, label the left column Confl icts and the right column Resolutions.

5. As you read, record in the left column the various confl icts that arise in the drama. In the right column, explain how each confl ict is resolved by the end of the drama.


■ Use it with short stories, longer works of fi ction, and many poems—wherever confl icts and their resolutions are important.

■ Change the labels to focus on something different. For example, you could record the actions of two characters, or you could record the thoughts and feelings of a character before and after the story’s climax.

Conflicts Resolutions

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R28 FOLDABLES

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

As you read the poem, use the following Foldable to help you distinguish between what the speaker says and what the poet means.

1. Place a sheet of paper in front of you so that the short side is at the top. Fold the paper in half from top to bottom.

2. Fold the paper in half again from left to right.

3. Unfold and cut through the top layer of paper along the fold line. This will make two tabs.

4. Label the left tab Speaker’s Words. Label the right tab Poet’s Meaning.

5. Use your Foldable to jot down notes on as you read the poem. Under the left tab, write down key things the speaker says. Under the right tab, write down what you think the poet means by having the speaker say those things.


■ Use it to help you visualize the images in a poem. Just replace Speaker’s Words with Imagery and replace Poet’s Meaning with What I See.

■ Replace the label Speaker’s Words with Speaker’s Tone and under the tab write adjectives that describe the tone of the speaker’s words.

■ If the poem you are reading has two stanzas, you might devote each tab to notes about one stanza.

Speaker'sWords

Poet'sMeaning

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Informational Text

Reading Objective: to understand and remember ideas in informational text

As you read a nonfi ction selection, use this Foldable to help you identify what you already know about the topic, what you might want to know about it, and what you learn about it from the selection.

1. Hold a sheet of paper in front of you so that the short side is at the top. Fold the bottom of the paper up and the top down to divide the paper into thirds.

2. Unfold the paper and turn it so that the long side is at the top. Draw lines along the folds and label the three columns Know, Want to Know, and Learned.

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


■ Use it with magazine and newspaper articles, textbook chapters, reference articles, and informational Web sites—anything you might read to look for information.

■ Use this three-part Foldable to record information from three sources. Label each column with the name of one source and write notes from that source under its heading.

■ For a two-column Foldable, just fold the sheet of paper in half. For four columns, fold it in half and then in half again.

Want to Know

LearnedKnow

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WRITING HANDBOOK

R30 WRITING HANDBOOK

PrewritingThe prewriting stage includes coming up with ideas, mak-ing connections, gathering information, defining and refin-ing the topic, and making a plan for a piece of writing.

Tips for prewriting• Begin with an interesting idea (what you will write

about).• Decide the purpose of the writing (why you are

writing).• Identify the audience (for whom you are writing).• Explore your idea through a technique such as free-

writing, clustering, making diagrams, or brainstorming. Freewriting is writing nonstop for a set time,

usually only five or ten minutes. The idea is to keep pace with your thoughts, getting them on paper before they vanish. Freewriting can start anywhere and go anywhere.

Clustering begins with writing a word or phrase in the middle of a sheet of paper. Circle the word or phrase; then think of related words and ideas. Write them in bubbles connected to the central bubble. As you cluster, connect related ideas. The finished cluster will be a diagram of how your ideas can be organized.

Brainstorming is creating a free flow of ideas with a group of people—it’s like freewriting with others. Start with a topic or question; encourage everyone to join in freely. Accept all ideas without

judgment and follow each idea as far as it goes. You can evaluate the ideas later.

• Search for information in print and nonprint sources.• If you are writing a personal essay, all of the informa-

tion may come from your own experiences and feel-ings. If you are writing a report or a persuasive essay, you will probably need to locate pertinent factual information and take notes on it. Besides library materials, such as books, magazines, and newspa-pers, you will want to use the Internet and other on-line resources. You may also want to interview people with experience or specialized knowledge related to your topic.

• As you gather ideas and information, jot them down on note cards to use as you draft.

• Evaluate all ideas and information to determine or fine-tune the topic.

• Organize information and ideas into a plan that serves as the basis for writing.

• Develop a rough outline reflecting the method of organization you have chosen. Include your main points and supporting details.

• Find and include missing information or ideas that might add interest or help accomplish the purpose of the writing.

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

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KDraftingIn this stage you translate into writing the ideas and infor-mation you gathered during prewriting. Drafting is an opportunity to explore and develop your ideas.

Tips for drafting• Follow the plan made during prewriting but be flexi-

ble. New and better ideas may come to you as you develop your ideas; be open to them.

• Transform notes and ideas into related sentences and paragraphs, but don’t worry about grammar or mechanics. At this point, it is usually better to con-centrate on getting your ideas on paper. You might want to circle or annotate ideas or sections that need more work.

• Determine the tone or attitude of the writing.• Try to formulate an introduction that will catch the

interest of your intended audience.

RevisingIn this stage, review and evaluate your draft to make sure it accomplishes its purpose and speaks to its intended audience. When revising, interacting with a peer reviewer can be especially helpful.

Using peer reviewAsk one or more of your classmates to read your draft. Here are some specific ways in which you can direct their responses:

• Have readers tell you in their own words what they have read. If you do not hear your ideas restated, you will want to revise for clarity.

• Ask readers to tell you what parts of your writing they liked best and why.

• Discuss the ideas in your writing with your readers. Add any new insights you gain to your revision.

• Ask readers for suggestions about things such as organization and word choice.

You may want to take notes on your readers’ suggestions so you will have a handy reference as you revise.

Tips for the peer reviewerWhen you are asked to act as a reviewer for a classmate’s writing, the following tips will help you do the most effective job:

• Read the piece all the way through—without com-menting—to judge its overall effect.

• Tell the writer how you responded to the piece. For example, did you find it informative? interesting? amusing?

• Ask the writer about parts you don’t understand.• Think of questions to ask that will help the writer

improve the piece.• Be sure that your suggestions are constructive.• Help the writer make improvements.• Answer the writer’s questions honestly. Think about

how you would like someone to respond to you.

Tips for revising• Be sure you have said everything you wanted to say.

If not, add.• If you find a section that does not relate to your

topic, cut it.• If your ideas are not in a logical order, rearrange

sentences and paragraphs.• Rewrite any unclear sentences.• Evaluate your introduction to be sure it creates inter-

est, leads the reader smoothly into your topic, and states your main idea. Also evaluate your conclusion to be sure it either summarizes your writing or effec-tively brings it to an end.

• Evaluate your word choices. Choose vivid verbs and precise nouns. Use a thesaurus to help you.

• Consider the comments of your peer reviewer. Evaluate them carefully and apply those that will help you create a more effective piece of writing.



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K Editing/Proofreading In the editing/proofreading stage, you polish your revised draft and proofread it for errors in grammar and spelling. Use this proofreading checklist to help you check for errors and use the proofreading symbols in the chart below to mark places that need corrections.

❑✔ Have I avoided run-on sentences and sentence fragments and punctuated sentences correctly?

❑✔ Have I used every word correctly, including plu-rals, possessives, and frequently confused words?

❑✔ Do verbs and subjects agree? Are verb tenses correct?

❑✔ Do pronouns refer clearly to their antecedents and agree with them in person, number, and gender?

❑✔ Have I used adverb and adjective forms and modifying phrases correctly?

❑✔ Have I spelled every word correctly and checked the unfamiliar ones in a dictionary?

Publishing/Presenting There are a number of ways you can share your work. You could publish it in a magazine, a class anthology, or another publication, or read your writing aloud to a group. You could also join a writers’ group and read one another’s works.

Proofreading Symbols

Lt Brown Insert a period.

No one came the party. Insert a letter or a word.

I enjoyed paris. Capitalize a letter.

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

The campers are home sick. Close up a space.

They visited N.Y. Spell out.

Sue please come I need your help. Insert a comma or a semicolon.

He enjoyed feild day. Transpose the position of letters or words.

alltogether Insert a space.

We went to to Boston. Delete letters or words.

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

mid January Insert a hyphen.

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

to



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Using the Traits of Strong WritingWhat are some basic terms you can use to discuss your writing with your teacher or classmates? What should you focus on as you revise and edit your compositions? Check out the following seven terms, or traits, that describe the qualities of strong writing. Learn the meaning of each trait and find out how using the traits can improve your writing.

Ideas The message or the theme and the details that develop it

Writing is clear when readers can grasp the meaning of your ideas right away. Check to see whether you’re get-ting your message across.

❑✔ Does the title suggest the theme of the composition?

❑✔ Does the composition focus on a single narrow topic?

❑✔ Is the thesis—the main point or central idea—clearly stated?

❑✔ Do well-chosen details elaborate your main point?

Organization The arrangement of main ideas and supporting details

An effective plan of organization points your readers in the right direction and guides them easily through your composition from start to finish. Find a structure, or order, that best suits your topic and writing purpose. Check to see whether you’ve ordered your key ideas and details in a way that keeps your readers on track.

❑✔ Are the beginning, middle, and end clearly linked?

❑✔ Is the internal order of ideas easy to follow?❑✔ Does the introduction capture your readers’

attention?❑✔ Do sentences and paragraphs flow from one to

the next in a way that makes sense?❑✔ Does the conclusion wrap up the composition?

Voice A writer’s unique way of using tone and style

Your writing voice comes through when your readers sense that a real person is communicating with them. Readers will respond to the tone (or attitude) that you express toward a topic and to the style (the way that you use language and shape your sentences). Read your work aloud to see whether your writing voice comes through.

❑✔ Does your writing sound interesting?❑✔ Does your writing reveal your attitude toward

your topic?❑✔ Does your writing sound like you—or does it

sound like you’re imitating someone else?

Word Choice The vocabulary a writer uses to convey meaning

Words work hard. They carry the weight of your meaning, so make sure you choose them carefully. Check to see whether the words you choose are doing their jobs well.

❑✔ Do you use lively verbs to show action?❑✔ Do you use vivid words to create word pictures

in your readers’ minds?❑✔ Do you use precise words to explain your ideas

simply and clearly?



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K Sentence Fluency The smooth rhythm and flow of sentences that vary in length and style

The best writing is made up of sentences that flow smoothly from one sentence to the next. Writing that is graceful also sounds musical—rhythmical rather than choppy. Check for sentence fluency by reading your writing aloud.

❑✔ Do your sentences vary in length and structure?❑✔ Do transition words and phrases show connec-

tions between ideas and sentences?❑✔ Does parallelism help balance and unify related

ideas?

Conventions Correct spelling, grammar, usage, and mechanics

A composition free of errors makes a good impression on your readers. Mistakes can be distracting, and they can blur your message. Try working with a partner to spot errors and correct them. Use this checklist to help you.

❑✔ Are all words spelled correctly?❑✔ Are all proper nouns—as well as the first word

of every sentence—capitalized?❑✔ Is your composition free of sentence fragments?❑✔ Is your composition free of run-on sentences?❑✔ Are punctuation marks—such as apostrophes,

commas, and end marks—inserted in the right places?

Presentation The way words and design elements look on a page

Appearance matters, so make your compositions inviting to read. Handwritten papers should be neat and legible. If

you’re using a word processor, double-space the lines of text and choose a readable font. Other design elements—such as boldfaced headings, bulleted lists, pictures, and charts—can help you present information effectively as well as make your papers look good.

Preparing a manuscriptFollow the guidelines of the Modern Language Association when you prepare the final copy of your research paper.

• Heading On separate lines in the upper left-hand corner of the first page, include your name, your teacher’s name, the course name, and the date.

• Title Center the title on the line below the heading.• Numbering Number the pages one-half inch from the

top of the page in the right-hand corner. Write your last name before each page number after the first page.

• Spacing Use double spacing throughout.• Margins Leave one-inch margins on all sides of

every page.



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Writing ModesWriting may be classified as expository, descriptive, narrative, or persuasive. Each of these classifications, or modes, has its own purpose.

Expository WritingExpository writing gives instructions, defines or explains new terms or ideas, explains relationships, compares one thing or opinion with another, or explains how to do something. Expository essays usually include a thesis statement in the introduction.

❑✔ Does the opening contain attention-grabbing details or intriguing questions to hook the reader?

❑✔ Have I provided sufficient information to my audi-ence in a clear and interesting way?

❑✔ Have I checked the accuracy of the information I have provided?

❑✔ Are my comparisons and contrasts clear and logical?

Descriptive WritingDescription re-creates an experience primarily through the use of sensory details. A writer should strive to create a single impression that all the details support. To do so requires careful planning as well as choices about order of information, topic sentences, and figurative language.

❑✔ Did I create interest in my introduction?❑✔ Are my perspective and my subject clearly stated

in my topic sentence?❑✔ Did I organize details carefully and consistently?❑✔ Did I order information effectively?❑✔ Have I chosen precise, vivid words?❑✔ Do transitions clearly and logically connect the

ideas?❑✔ Have I created a strong, unified impression?

Narrative WritingNarrative writing, whether factual or fictional, tells a story and has these elements: characters, plot, point of view, theme, and setting. The plot usually involves a conflict between a character and an opposing character or force.

❑✔ Did I introduce characters and a setting?❑✔ Did I develop a plot that begins with an interest-

ing problem or conflict?❑✔ Did I build suspense, lead the reader to a climax,

and end with a resolution?❑✔ Did I use dialogue to move the story along?

Persuasive WritingPersuasive writing expresses a writer’s opinion. The goal of persuasion is to make an audience change its opinion and, perhaps, take action. Effective persuasive writing uses strong, relative evidence to support its claims. This kind of writing often requires careful research, organiza-tion, and attention to language.

❑✔ Did I keep my audience’s knowledge and atti-tudes in mind from start to finish?

❑✔ Did I state my position in a clear thesis statement?❑✔ Have I included ample supporting evidence?❑✔ Have I addressed opposing viewpoints?❑✔ Have I avoided errors in logic?



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K Research Paper WritingMore than any other type of paper, research papers are the product of a search—a search for data, for facts, for informed opinions, for insights, and for new information.

Selecting a topic• If a specific topic is not assigned, choose a topic.

Begin with the assigned subject or a subject that interests you. Read general sources of information about that subject and narrow your focus to some aspect of it that interests you. Good places to start are encyclopedia articles and the tables of contents of books on the subject. A computerized library cata-log will also display many subheads related to gen-eral topics. Find out if sufficient information about your topic is available.

• As you read about the topic, develop your paper’s central idea, which is the purpose of your research. Even though this idea might change as you do more research, it can begin to guide your efforts. For exam-ple, if you were assigned the subject of the Civil War, you might find that you’re interested in women’s roles during that war. As you read, you might narrow your topic down to women who went to war, women who served as nurses for the Union, or women who took over farms and plantations in the South.

Conducting a broad search for information• Generate a series of researchable questions about

your chosen topic. Then research to find answers to your questions.

• Among the many sources you might use are the card catalog, the computer catalog, the Reader’s Guide to Periodical Literature (or an electronic equivalent), newspaper indexes, and specialized references such as biographical encyclopedias.

• If possible, use primary sources as well as secondary sources. A primary source is a firsthand account of an event—for example, the diary of a woman who served in the army in the Civil War is a primary source. Secondary sources are sources written by people who did not experience or influence the event. Locate specific information efficiently by using the table of contents, indexes, chapter headings, and graphic aids.

Developing a working bibliographyIf a work seems useful, write a bibliography card for it. On an index card, write down the author, title, city of publication, publisher, date of publication, and any other information you will need to identify the source. Number your cards in the upper right-hand corner so you can keep them in order.

Following are model bibliography, or source, cards.

Settle, Mary Lee 6

All the Brave Promises.

Columbia: University of South Carolina

Press, 1995.

Evanston Public Library D810.W754

12

76

3

4

5

Book

1 Author 5 Date of publication2 Source number 6 Location of source3 Title 7 Library call number4 City of publication/

Publisher

Chelminski, R. 2

“The Maginot Line”

Smithsonian, June 1997: 90–99

Periodical2

1

3

4

1 Author 2 Source number 3 Title 4 Title of magazine/date/page number(s)



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“Job Hunting Resources” 6

The Career Building Network

CareerBuilder

14 Feb. 2002

http://www.careerbuilder.com

Online source2

1

3

4

5

6

1 Title 4 Sponsoring organization2 Source number 5 Date of access3 Title of database 6 URL

Evaluating your sourcesYour sources should be authoritative, reliable, timely, and suitable (arts).

• The source should be authoritative. The author should be well-known in the field. An author who has written several books or articles about a subject or who is frequently quoted may be considered an authority. You might also consult Book Review Index and Book Review Digest to find out how other experts in the field have evaluated a book or an article.

• The source should be reliable. If possible, avoid material from popular magazines in favor of that from more scholarly journals. Be especially careful to evaluate material from online sources. For example, the Web site of a well-known university is more reli-able than that of an individual. (You might also con-sult a librarian or your instructor for guidance in selecting reliable online sources.)

• The source should be timely. Use the most recent material available, particularly for subjects of current importance. Check the publication date of books as well as the month and year of periodicals.

• The source should be suitable, or appropriate. Consider only material that is relevant to the purpose of your paper. Do not waste time on books or arti-cles that have little bearing on your topic. If you are writing on a controversial topic, you should include material that represents more than one point of view.

Compiling and organizing note cardsCareful notes will help you to organize the material for your paper.

• As you reread and study sources, write useful infor-mation on index cards. Be sure that each note card

identifies the source (use the number of the bibliography card that corresponds to each source).

• In the lower right-hand corner of the card, write the page number on which you found the information. If one card contains several notes, write the page num-ber in parentheses after the relevant material.

• Three helpful ways to take notes are paraphrasing, summarizing, and quoting directly.

1. Paraphrase important details that you want to remember; that is, use your own words to restate specifi c information.

2. Summarize main ideas that an author presents. When you summarize several pages, be sure to note the page on which the material begins and the page on which it ends—for example, 213–221.

3. Quote the exact words of an author only when the actual wording is important. Be careful about placing the author’s words in quotation marks.

• Identify the subject of each note card with a short phrase written in the upper left.

Avoid plagiarism—presenting an author’s words or ideas as if they were your own. Remember that you must credit the source not only for material directly quoted but also for any facts or ideas obtained from the source.

See the sample note card below, which includes informa-tion about careers and goals from three pages.

Careers and goals 12Many people “crave work that will spark... excitement and energy.” (5) Sher recognizes that a career does not necessarily satisfy a person’s aim in life. (24) She also offers advice on how to overcome obstacles that people experience in defining their goals. (101)

• Organize your note cards to develop a working outline. Begin by sorting them into piles of related cards. Try putting the piles together in different ways that suggest an organizational pattern. (If, at this point, you discover that you do not have enough



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K information, go back and do further research.) Many methods of organization are possible. You might also combine methods of organization.

Developing a thesis statementA thesis statement tells what your topic is and what you intend to say about it—for example, “World War II changed the lives of African Americans and contributed to the rise of the civil rights movement.”

• Start by examining your central idea.• Refine it to reflect the information that you gathered

in your research.• Next, consider your approach to the topic. What is

the purpose of your research? Are you proving or disproving something? illustrating a cause-and-effect relationship? offering a solution to a problem? examining one aspect of the topic thoroughly? predicting an outcome?

• Revise your central idea to reflect your approach.• Be prepared to revise your thesis statement if necessary.

Drafting your paperConsult your working outline and your notes as you start to draft your paper.

• Concentrate on getting your ideas down in a com-plete and logical order.

• Write an introduction and a conclusion. An effective introduction creates interest, perhaps by beginning with a question or a controversial quotation; it should also contain your thesis statement. An effective conclu-sion will summarize main points, restate your thesis, explain how the research points to important new questions to explore, and bring closure to the paper.

Documenting sourcesSince a research paper, by its nature, is built on the work of others, you must carefully document all the sources you have used.

• Name the sources of words, ideas, and facts that you borrow.

• In addition to citing books and periodicals from which you take information, cite song lyrics, letters, and excerpts from literature.

• Also credit original ideas that are expressed graphically in tables, charts, and diagrams, as well as the sources of any visual aids you may include, such as photographs.

• You need not cite the source of any information that is common knowledge, such as “John F. Kennedy was assassinated in 1963 in Dallas, Texas.”

In-text citations The most common method of credit-ing sources is with parenthetical documentation within the text. Generally a reference to the source and page number is included in parentheses at the end of each quotation, paraphrase, or summary of information borrowed from a source. An in-text citation points readers to a correspond-ing entry in your works-cited list—a list of all your sources, complete with publication information, that will appear as the fi nal page of your paper. The Modern Language Association (MLA) recommends the following guidelines for crediting sources in text. You may wish to refer to the MLA Handbook for Writers of Research Papers by Joseph Gibaldi for more information and examples.

• Put in parentheses the author’s last name and the page number where you found the information.

An art historian has noted, “In Wood’s idyllic farms-capes, man lives in complete harmony with Nature; he is the earth’s caretaker” (Corn 90).

• If the author’s name is mentioned in the sentence, put only the page number in parentheses.

Art historian Wanda Corn has noted, “In Wood’s idyllic farmscapes, man lives in complete harmony with Nature; he is the earth’s caretaker” (90).

• If no author is listed, put the title or a shortened version of the title in parentheses. Include a page number if you have one.

Some critics believe that Grant Wood’s famous painting American Gothic pokes fun at small-town life and traditional American values (“Gothic”).

Compiling a list of works citedAt the end of your text, provide an alphabetized list of published works or other sources cited.

• Include complete publishing information for each source.

• For magazine and newspaper articles, include the page numbers. If an article is continued on a differ-ent page, use + after the first page number.

• For online sources, include the date accessed.• Cite only those sources from which you actually use

information.• Arrange entries in alphabetical order according to the

author’s last name. Write the last name first. If no author is given, alphabetize by title.

• For long entries, indent five spaces every line after the first.


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MLA StyleMLA style is most often used in English and social studies classes. Center the title Works Cited at the top of your list.

Source Style Book with one author Witham, Barry B. The Federal Theatre Project: A Case Study. New York:

Cambridge UP, 2003. [“UP” is an abbreviation for “University Press.”].

Book with two or three authors

Hoy, Pat C., II, Esther H. Schor, and Robert DiYanni. Women’s Voices: Visions and Perspectives. New York: McGraw-Hill, 1990.[If a book has more than three authors, name only the first author and then write “et al.” (Latin abbreviation for “and others”).]

Book with editor(s) Komunyakaa, Yusef, and David Lehman, eds. The Best American Poetry 2003. New York: Scribners, 2003.

Book with an organization or a group as author or editor

Smithsonian Institution. Aircraft of the National Air and Space Museum. Washington: Smithsonian Institution Press, 1998.

Work from an anthology Cofer, Judith Ortiz. “Tales Told Under the Mango Tree.” Hispanic American Literature. Ed. Nicolas Kanellos. New York: HarperCollins, 1995. 34–44.

Introduction in a published book

Weintraub, Stanley. Introduction. Great Expectations. By Charles Dickens. New York: Signet, 1998. v–xii.

Encyclopedia article “Jazz.” Encyclopaedia Britannica. 15th ed. 1998.

Weekly magazine article Franzen, Jonathan. “The Listener.” New Yorker 6 Oct. 2003: 85–99.

Monthly magazine article Quammen, David. “Saving Africa’s Eden.” National Geographic Sept. 2003: 50–77.

Newspaper article Dionne, E. J., Jr. “California’s Great Debate.” Washington Post 26 Sept. 2003: A27.[If no author is named, begin the entry with the title of the article.]

Internet “Visit Your Parks.” National Park Service. 1 Oct. 2003. National Park Service, U.S. Dept. of the Interior. 3 Nov. 2003 <http://www.nps.gov/parks.html>.

Online magazine article Martin, Richard. “How Ravenous Soviet Viruses Will Save the World.” Wired Magazine 11.10 (October 2003). 17 Oct. 2003 <http://www.wired.com/wired/archive/11.10/phages.html>.

Radio or TV program “Orcas.” Champions of the Wild. Animal Planet. Discovery Channel. 21 Oct. 2003.

Videotape or DVD Hafner, Craig, dir. The True Story of Seabiscuit. DVD. A & E Home Video, 2003. [For a videotape (VHS) version, replace “DVD” with “Videocassette.”]

Interview Campeche, Tanya. E-mail interview. 25 Feb. 2004. [If an interview takes place in person, replace “E-mail” with “Personal”; if it takes place on the telephone, use “Telephone.”]

How to cite sourcesOn the next three pages, you’ll find sample style sheets that can help you prepare your list of sources—the final page of the research paper. Use the one your teacher prefers.




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Source Style Book with one author Witham, Barry B. The Federal Theatre Project: A Case Study. New York:

Cambridge University Press, 2003.

Book with multiple authors Hoy, Pat C., II, Esther H. Schor, and Robert DiYanni. Women’s Voices: Visions and Perspectives. New York: McGraw-Hill, 1990.[If a book has more than ten authors, name only the first seven and then write ”et al.” (Latin abbreviation for “and others”).]

Book with editor(s) Komunyakaa, Yusef, and David Lehman, eds. The Best American Poetry 2003. New York: Scribners, 2003.


Smithsonian Institution. Aircraft of the National Air and Space Museum. Washington, DC: Smithsonian Institution Press, 1998.

Work from an anthology Cofer, Judith Ortiz. “Tales Told Under the Mango Tree.” Hispanic American Literature, edited by Nicolas Kanellos, 34–44. New York: HarperCollins, 1995.

Introduction in a published book

Dickens, Charles. Great Expectations. New introduction by Stanley Weintraub. New York: Signet, 1998.

Encyclopedia article [Credit for encyclopedia articles goes in your text, not in your bibliography.]

Weekly magazine article Franzen, Jonathan. “The Listener.” New Yorker, October 6, 2003, 85–99.

Monthly magazine article Quammen, David. “Saving Africa’s Eden.” National Geographic, September 2003, 50–77.

Newspaper article Dionne, E. J., Jr. “California’s Great Debate.” Washington Post, September 26, 2003, A27.[Credit for unsigned newspaper articles goes in your text, not in your bibliography.]

Internet U.S. Dept. of the Interior. “Visit Your Parks.” National Park Service. http://www.nps.gov/parks.html.

Online magazine article Martin, Richard. “How Ravenous Soviet Viruses Will Save the World.” Wired Magazine 11.10 (October 2003). http://www.wired.com/wired/archive/11.10/phages.html.

Radio or TV program [Credit for radio and TV programs goes in your text, not in your bibliography.]

Videotape or DVD Hafner, Craig, dir. The True Story of Seabiscuit. A & E Home Video, 2003. DVD.[For a videotape (VHS) version, replace “DVD” with “Videocassette.”]

Interview [Credit for interviews goes in your text, not in your bibliography.]

CMS StyleCMS style was created by the University of Chicago Press to meet its publishing needs. This style, which is detailed in The Chicago Manual of Style (CMS), is used in a num-ber of subject areas. Center the title Bibliography at the top of your list.


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Source Style Book with one author Witham, B. B. (2003). The federal theatre project: A case study. New York:

Cambridge University Press.

Book with multiple authors Hoy, P. C., II, Schor, E. H., & DiYanni, R. (1990). Women’s voices: Visions and perspectives. New York: McGraw-Hill.[If a book has more than six authors, list the first six authors and then write ”et al.” (Latin abbreviation for “and others”).]

Book with editor(s) Komunyakaa, Y., & Lehman, D. (Eds.). (2003). The best American poetry 2003. New York: Scribners.


Smithsonian Institution. (1998). Aircraft of the National Air and Space Museum. Washington, DC: Smithsonian Institution Press.

Work from an anthology Cofer, J. O. (1995). Tales told under the mango tree. In N. Kanellos (Ed.), Hispanic American Literature (pp. 34–44). New York: HarperCollins.

Introduction in a published book [Credit for introductions goes in your text, not in your references.]

Encyclopedia article Jazz. (1998). In Encyclopaedia Britannica. (Vol. 6, pp. 519–520). Chicago: Encyclopaedia Britannica.

Weekly magazine article Franzen, J. (2003, October 6). The listener. The New Yorker, 85–99.

Monthly magazine article Quammen, D. (2003, September). Saving Africa’s Eden. National Geographic, 204, 50–77.

Newspaper article Dionne, E. J., Jr. (2003, September 26). California’s great debate. The Washington Post, p. A27.[If no author is named, begin the entry with the title of the article.]

Internet U.S. Dept. of Interior, National Park Service. (2003, October 1). National Park Service. Visit your parks. Retrieved October 17, 2003, from http://www.nps.gov/parks.html

Online magazine article Martin, R. (2003, October). How ravenous Soviet viruses will save the world. Wired Magazine, 11.10. Retrieved October 17, 2003, from http://www.wired.com/wired/archive/11.10/phages.html

Radio or TV program Orcas. (2003, October 21). Champions of the wild [Television series episode]. Animal Planet. Silver Spring, MD: Discovery Channel.

Videotape or DVD Hafner, C. (Director). (2003). The true story of Seabiscuit [DVD]. A & E Home Video. [For a videotape (VHS) version, replace ”DVD” with “Videocassette.”]

Interview [Credit for interviews goes in your text, not in your references.]

APA StyleThe American Psychological Association (APA) style is commonly used in the sciences. Center the title References at the top of your list.



BUSINESS WRITING

R42 BUSINESS WRITING

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

32 South Street Austin, Texas 78746 May 6, 20__Melissa ReyesCity Life magazine2301 Davis AvenueAustin, Texas 78764

Re: Internship

Dear Ms. Reyes:I am a junior at City High School and editor of the City High Herald. I

am writing to apply for your summer internship at City Life magazine. As a journalism student and a longtime fan of your magazine, I feel that an internship with your magazine would provide me with valuable experience in the field of journalism. I believe that my role with the City High Herald has given me the skills necessary to be a useful contributor to your magazine this summer. In addition, my enclosed application shows that I am also a diligent worker.

I thank you for considering my application for your summer internship, and I hope to be working with you in the coming months.

Sincerely,

Anne Moris Anne Moris

Activity: Choose a local business where you might like to work. Write a letter of application for an internship at that business. Assume that you will be submitting this letter along with a résumé or an internship application that details your experience and qualifi cations.

1 The optional subject line indicates the topic of the letter.

2 The writer states her purpose directly and immediately.

3 The writer comments briefly on her qualifications.

4 The writer makes reference to the accompanying material.

Letter of ApplicationOne form of business writing that follows a conventional format is a letter of application. A letter of application can be used when applying for a job, an internship, or a scholarship. In most cases, the letter is intended to accompany a résumé or an application. Because detailed information is usually included in the accompa-nying form, a letter of application should pro-

vide a general overview of your qualifications and the reasons you are submitting an applica-tion. A letter of application should be concise. You should clearly state which position you are applying for and then explain why you are interested and what makes you qualified. The accompanying material should speak for itself.

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BUSINESS WRITING R43

The purpose of a résumé is to provide the employer with a comprehensive record of your background information, related experience, and qualifications. Although a résumé is intended to provide a great deal of information, the format is designed to provide this information in the most efficient way possible.

All résumés should include the following information: a heading that provides your name and contact information; a job goal or a career objective; your education information;

your work experience; other related experience; and rele-vant activities, associations, organizations, or projects that you have participated in. You may also want to include honors that you have received and list individuals whom the employer can contact for a reference. When listing work experience, be sure to give the name of the employer, your job title, and a few brief bulleted points describing your responsibilities.

Activity: Create an outline that lists the information that you would want to include in a résumé. Use a word processor if possible.

1 Header includes all impor-tant contact information.

2 All important education background is included.

3 Related dates are included for all listed activities.

4 Job title is included along with the place of employment.

5 Job responsibilities are briefly listed.

Jane Wiley909 West Main Street, Apt. #1

Urbana, Illinois 61802(217) 555-0489 • [email protected]

GoalSeeking position in television news production

EducationJunior standing in the College of Communications at the University of

Illinois, Urbana-Champaign 2000 Graduate of City High School

HonorsMember of National Honor Society

ActivitiesMember, Asian American Association: 2001–PresentEnvironmental Committee Chairperson, Asian American Association:

August 2002–May 2003

Work ExperienceRadio Reporter, WPGU, 107.1 FM, Champaign, Illinois: May 2002–Present• Rewrote and read stories for afternoon newscasts• Served as field reporter for general assignments

Cashier, Del’s Restaurant, Champaign, Illinois: May 2002–August 2002• Responsible for taking phone orders• Cashier for pickup orders

Assistant Secretary, Office of Dr. George Wright, Woodstock, Illinois: May 2001–August 2001• Answered phones• Made appointments

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R44 BUSINESS WRITING

When applying for a job, you usually need to fill out a job application. When you fill out the application, read the instructions carefully. Examine the entire form before beginning to fill it out. Write neatly and fill out the form completely, providing all information directly and honestly.

If a question does not apply to you, indicate that by writing n/a, short for “not applicable.” Keep in mind that you will have the opportunity to provide additional information in your résumé, in your letter of application, or during the interview process.

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

1 The application provides specific instructions.

2 All of the information requested should be provided in its entirety.

3 The information should be provided neatly and succinctly.

4 Experience should be stated accurately and without embellishment.

Please type or print neatly in blue or black ink.

Name: ______________________________ Today’s date: ________________Address: __________________________________________________________Phone #: ________ Birth date: _____ Sex: ____ Soc. Sec. #: __________

*********************************************************Job History (List each job held, starting with the most recent job.)

1. Employer: ______________________________ Phone #: ________________Dates of employment: ________________________________________________Position held: _______________________________________________________Duties: _____________________________________________________________

2. Employer: ______________________________ Phone #: ________________Dates of employment: ________________________________________________Position held: _______________________________________________________Duties: _____________________________________________________________

*********************************************************Education (List the most recent level of education completed.) ____________________________________________________________________

*********************************************************Personal References:

1. Name: _________________________________ Phone #: ________________Relationship: ________________________________________________________

2. Name: _________________________________ Phone #: ________________Relationship: ________________________________________________________

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BUSINESS WRITING R45

To: [email protected]: [email protected]: [email protected]: January 7, 8:13 A.M.Subject: New Product Conference Call

Liam,

I just wanted to make sure that arrangements have been made for next week’s conference call to discuss our new product. The East Coast sales team has already scheduled three sales meetings at the end of the month with potential buyers, so it’s important that our sales team is prepared to talk about the product. Please schedule the call when the manufacturing director is available, since he will have important information for the sales team.

Lisa

Memos

Business E-mail

1 The topic of the memo is stated clearly in the subject line.

2 The announcement is made in the first sentence.

3 All of the important infor-mation is included briefly in the memo.

1 Subject line clearly states the topic.

2 The purpose is stated immediately and in a conversational tone.

3 Important details are included in a brief, direct fashion.

TO: All EmployeesFROM: Jordan Tyne, Human Resources ManagerSUBJECT: New Human Resources Assistant Director DATE: November 3, 20__

Please join me in congratulating Leslie Daly on her appointment as assistant director in the Human Resources Department. Leslie comes to our company with five years of experience in the field. Leslie begins work on Monday, November 10. All future general human resource inquiries should be directed to Leslie.

Please welcome Leslie when she arrives next week.

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Activity: Write an e-mail to your coworkers. Inform them of a change in company procedure that will affect them. State the specifi c information that they need to know. Indicate to your coworkers whether action needs to be taken on their part.

A memorandum (memo) conveys precise information to another person or a group of people. A memo begins

with a leading block. It is followed by the text of the mes-sage. A memo does not have a formal closing.

E-mail is quickly becoming the most common form of business communication. While e-mail may be the least formal and most conversational method of business writing, it shouldn’t be written carelessly or too casually. The con-ventions of business writing—clarity, attention to your audi-

ence, proper grammar, and the inclusion of relevant information—apply to e-mail.

An accurate subject line should state your purpose briefly and directly. Use concise language and avoid rambling sentences.

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LANGUAGE HANDBOOK

R46 LANGUAGE HANDBOOK

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

AAbsolute phrase. See Phrase.

Abstract noun. See Noun chart.

Action verb. See Verb.

Active voice. See Voice.

Adjective A word that modifies a noun or pronoun by limiting its meaning. Adjectives appear in vari-ous positions in a sentence. (The gray cat purred. The cat is gray.)

Many adjectives have different forms to indicate degree of comparison. (short, shorter, shortest)

The positive degree is the simple form of the adjective. (easy, interesting, good)

The comparative degree compares two persons, places, things, or ideas. (easier, more interesting, better)

The superlative degree compares more than two persons, places, things, or ideas. (easiest, most interesting, best)

A predicate adjective follows a linking verb and further identifies or describes the subject. (The child is happy.)

A proper adjective is formed from a proper noun and begins with a capital letter. Many proper adjectives are created by adding these suffixes: -an, -ian, -n, -ese, and -ish. (Chinese, African)

Adjective clause. See Clause chart.

Adverb A word that modifies a verb, an adjective, or another adverb by making its meaning more specific. When modifying a verb, an adverb may appear in various positions in a sentence. (Cats generally eat less than dogs. Generally, cats eat less than dogs.) When modifying an adjective or another adverb, an adverb appears directly before the modified word. (I was quite pleased that they got along so well.) The word not and the contraction -n’t are adverbs. (Mike wasn’t ready for the test today.) Certain adverbs of time, place, and degree also have a nega-tive meaning. (He’s never ready.)

Some adverbs have different forms to indicate degree of comparison. (soon, sooner, soonest)

The comparative degree com-pares two actions. (better, more quickly)

The superlative degree compares three or more actions. (fastest, most patiently, least rapidly)

Adverb clause. See Clause chart.

Antecedent. See Pronoun.

Appositive A noun or a pronoun that further identifies another noun or pronoun. (My friend Julie lives next door.)

Appositive phrase. See Phrase.

Article The adjective a, an, or the.

Indefinite articles (a and an) refer to one of a general group of

persons, places, or things. (I eat an apple a day.)

The definite article (the) indicates that the noun is a specific person, place, or thing. (The alarm woke me up.)

Auxiliary verb. See Verb.

BBase form. See Verb tense.

CClause A group of words that has a subject and a predicate and that is used as part of a sentence. Clauses fall into two categories: main clauses, which are also called independent clauses, and subordinate clauses, which are also called dependent clauses.

A main clause can stand alone as a sentence. There must be at least one main clause in every sen-tence. (The rooster crowed, and the dog barked.)

A subordinate clause cannot stand alone as a sentence. A sub-ordinate clause needs a main clause to complete its meaning. Many subordinate clauses begin with subordinating conjunctions or relative pronouns. (When Geri sang her solo, the audience became quiet.) The chart on the next page shows the main types of subordinate clauses.

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LANGUAGE HANDBOOK R47

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Collective noun. See Noun chart.

Common noun. See Noun chart.

Comparative degree. See Adjective; Adverb.

Complement A word or phrase that completes the meaning of a verb. The four basic kinds of complements are direct objects, indirect objects, object complements, and subject complements.

A direct object answers the question What? or Whom? after an action verb. (Kari found a dollar. Larry saw Denise.)

An indirect object answers the question To whom? For whom? To what? or For what? after an action verb. (Do me a favor. She gave the child a toy.)

An object complement answers the question What? after a direct object. An object complement is a noun, a pronoun, or an adjective that completes the meaning of a direct object by identifying or describing it. (The director made me the understudy for the role. The little girl called the puppy hers.)

A subject complement follows a subject and a linking verb. It iden-tifies or describes a subject. The two kinds of subject complements

are predicate nominatives and predicate adjectives.

A predicate nominative is a noun or pronoun that follows a linking verb and tells more about the subject. (The author of “The Raven” is Poe.)

A predicate adjective is an adjec-tive that follows a linking verb and gives more information about the subject. (Ian became angry at the bully.)

Complex sentence. See Sentence.

Compound preposition. See Preposition.

Compound sentence. See Sentence.

Compound-complex sentence. See Sentence.

Conjunction A word that joins single words or groups of words.

A coordinating conjunction (and, but, or, nor, for, yet, so) joins words or groups of words that are equal in grammatical importance. (David and Ruth are twins. I was bored, so I left.)

Correlative conjunctions (both . . . and, just as . . . so, not only . . . but also, either . . . or, neither . . . nor, whether . . . or) work in pairs to join words and groups of words

of equal importance. (Choose either the muffin or the bagel.)

A subordinating conjunction (after, although, as if, because, before, if, since, so that, than, though, until, when, while) joins a dependent idea or clause to a main clause. (Beth acted as if she felt ill.)

Conjunctive adverb An adverb used to clarify the relationship between clauses of equal weight in a sentence. Conjunctive adverbs are used to replace and (also, besides, further-more, moreover); to replace but (how-ever, nevertheless, still); to state a result (consequently, therefore, so, thus); or to state equality (equally, likewise, simi-larly). (Ana was determined to get an A; therefore, she studied often.)

Coordinating conjunction. See Conjunction.

Correlative conjunction. See Conjunction.

DDeclarative sentence. See Sentence.

Definite article. See Article.

Demonstrative pronoun. See Pronoun.

Direct object. See Complement.

TYPES OF SUBORDINATE CLAUSES

Clause Function Example Begins with . . .Adjective clause Modifies a noun or

pronounSongs that have a strong beat make me want to dance.

A relative pronoun such as which, who, whom, whose, or that

Adverb clause Modifies a verb, an adjective, or an adverb

Whenever Al calls me, he asks to borrow my bike.

A subordinating conjuction such as after, although, because, if, since, when, or where

Noun clause Serves as a subject, an object, or a predicate nominative

What Philip did surprised us.

Words such as how, that, what, whatever, when, where, which, who, whom, whoever, whose, or why



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Emphatic form. See Verb tense.

FFuture tense. See Verb tense.

GGerund A verb form that ends in -ing and is used as a noun. A gerund may function as a subject, the object of a verb, or the object of a preposition. (Smiling uses fewer muscles than frowning. Marie enjoys walking.)

Gerund phrase. See Phrase.

IImperative mood. See Mood of verb.

Imperative sentence. See Sentence chart.

Indicative mood. See Mood of verb.

Indirect object. See Complement.

Infinitive A verb form that begins with the word to and functions as a noun, an adjective, or an adverb. (No one wanted to answer.) Note: When to precedes a verb, it is not a prepo-sition but instead signals an infinitive.

Infinitive phrase. See Phrase.

Intensive pronoun. See Pronoun.

Interjection A word or phrase that expresses emotion or exclamation. An interjection has no grammatical connection to other words. Commas follow mild ones; exclamation points follow stronger ones. (Well, have a good day. Wow!)

Interrogative pronoun. See Pronoun.

Intransitive verb. See Verb.

Inverted order In a sentence written in inverted order, the predicate comes before the subject. Some sentences are written in inverted order for variety or special emphasis. (Up the beanstalk scampered Jack.) The subject also generally follows the predicate in a sentence that begins with here or there. (Here was the solution to his problem.) Questions, or interrogative sentences, are gener-ally written in inverted order. In many questions, an auxiliary verb precedes the subject, and the main verb fol-lows it. (Has anyone seen Susan?) Questions that begin with who or what follow normal word order.

Irregular verb. See Verb tense.

LLinking verb. See Verb.

MMain clause. See Clause.

Mood of verb A verb expressesone of three moods: indicative, imperative, or subjunctive.

The indicative mood is the most common. It makes a statement or asks a question. (We are out of bread. Will you buy it?)

The imperative mood expresses a command or makes a request. (Stop acting like a child! Please return my sweater.)

The subjunctive mood is used to express, indirectly, a demand, suggestion, or statement of necessity (I demand that he stop acting like a child. It’s necessary that she buy more bread.) The subjunctive is also used to state a condition or wish that is contrary to fact. This use of the subjunctive requires the past tense. (If you were a nice person, you would return my sweater.)

NNominative pronoun. See Pronoun.

Noun A word that names a person, a place, a thing, or an idea. The chart on this page shows the main types of nouns.

TYPES OF NOUNS

Noun Function ExamplesAbstract noun Names an idea, a quality, or a characteristic capitalism, terror

Collective noun Names a group of things or persons herd, troop

Common noun Names a general type of person, place, thing, or idea city, building

Compound noun Is made up of two or more words checkerboard, globe-trotter

Noun of direct address Identifies the person or persons being spoken to Maria, please stand.

Possessive noun Shows possession, ownership, or the relationship between two nouns

my sister’s room

Proper noun Names a particular person, place, thing, or idea Cleopatra, Italy, Christianity



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Noun clause. See Clause chart.

Noun of direct address. See Noun chart.

Number A noun, pronoun, or verb is singular in number if it refers to one; plural if it refers to more than one.

OObject. See Complement.

PParticiple A verb form that can function as an adjective. Present participles always end in -ing. (The woman comforted the crying child.) Many past participles end in -ed. (We bought the beautifully painted chair.) However, irregular verbs form their past participles in some other way. (Cato was Caesar’s sworn enemy.)

Passive voice. See Voice.

Past tense. See Verb tense.

Perfect tense. See Verb tense.

Personal pronoun. See Pronoun, Pronoun chart.

Phrase A group of words that acts in a sentence as a single part of speech.

An absolute phrase consists of a noun or pronoun that is modi-fied by a participle or participial phrase but has no grammatical relation to the complete subject or predicate. (The vegetables being done, we finally sat down to eat dinner.)

An appositive phrase is an appositive along with any modi-fiers. If not essential to the meaning of the sentence, an appositive phrase is set off by commas. (Jack plans to go to

the jazz concert, an important musical event.)

A gerund phrase includes a gerund plus its complements and modifiers. (Playing the flute is her hobby.)

An infinitive phrase contains the infinitive plus its complements and modifiers. (It is time to leave for school.)

A participial phrase contains a participle and any modifiers nec-essary to complete its meaning. (The woman sitting over there is my grandmother.)

A prepositional phrase consists of a preposition, its object, and any modifiers of the object. A prepositional phrase can function as an adjective, modifying a noun or a pronoun. (The dog in the yard is very gentle.) A preposi-tional phrase may also function as an adverb when it modifies a verb, an adverb, or an adjective. (The baby slept on my lap.)

A verb phrase consists of one or more auxiliary verbs followed by a main verb. (The job will have been completed by noon tomorrow.)

Positive degree. See Adjective.

Possessive noun. See Noun chart.

Predicate The verb or verb phrase and any objects, complements, or modifiers that express the essential thought about the subject of a sentence.

A simple predicate is a verb or verb phrase that tells something about the subject. (We ran.)

A complete predicate includes the simple predicate and any words that modify or complete it. (We solved the problem in a short time.)

A compound predicate has two or more verbs or verb phrases that are joined by a conjunction and share the same subject. (We ran to the park and began to play baseball.)

Predicate adjective. See Adjective; Complement.

Predicate nominative. See Complement.

Preposition A word that shows the relationship of a noun or pronoun to some other word in the sentence. Prepositions include about, above, across, among, as, behind, below, beyond, but, by, down, during, except, for, from, into, like, near, of, on, outside, over, since, through, to, under, until, with. (I usually eat breakfast before school.)

A compound preposition is made up of more than one word. (according to, ahead of, as to, because of, by means of, in addi-tion to, in spite of, on account of) (We played the game in spite of the snow.)

Prepositional phrase. See Phrase.

Present tense. See Verb tense.

Progressive form. See Verb tense.

Pronoun A word that takes the place of a noun, a group of words acting as a noun, or another pro-noun. The word or group of words that a pronoun refers to is called its antecedent. (In the following sen-tence, Mari is the antecedent of she. Mari likes Mexican food, but she doesn’t like Italian food.)

A demonstrative pronounpoints out specific persons, places, things, or ideas. (this, that, these, those)

An indefinite pronoun refers to persons, places, or things in a



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does. (all, another, any, both, each, either, enough, everything, few, many, most, much, neither, nobody, none, one, other, others, plenty, several, some)

An intensive pronoun adds emphasis to another noun or pronoun. If an intensive pronoun is omitted, the meaning of the sentence will be the same. (Rebecca herself decided to look for a part-time job.)

An interrogative pronoun is used to form questions. (who? whom? whose? what? which?)

A personal pronoun refers to a specific person or thing. Personal pronouns have three cases: nominative, possessive, and objective. The case depends upon the function of the pronoun in a sentence. The first chart on this page shows the case forms of per-sonal pronouns.

A reflexive pronoun reflects back to a noun or pronoun used earlier in the sentence, indicating that the same person or thing is involved.

(We told ourselves to be patient.)

A relative pronoun is used to begin a subordinate clause. (who, whose, that, what, whom, whoever, whomever, whichever, whatever)

Proper adjective. See Adjective.

Proper noun. See Noun chart.

RReflexive pronoun. See Pronoun.

Relative pronoun. See Pronoun.

SSentence A group of words express-ing a complete thought. Every sen-tence has a subject and a predicate. Sentences can be classified by func-tion or by structure. The second chart on this page shows the categories by function; the following subentries describe the categories by structure. See also Subject; Predicate; Clause.

A simple sentence has only one main clause and no subordinate clauses. (Alan found an old violin.)

A simple sentence may contain a compound subject or a compound predicate or both. (Alan and Teri found an old violin. Alan found an old violin and tried to play it. Alan and Teri found an old violin and tried to play it.) The subject and the predicate can be expanded with adjectives, adverbs, preposi-tional phrases, appositives, and verbal phrases. As long as the sen-tence has only one main clause, however, it remains a simple sen-tence. (Alan, rummaging in the attic, found an old violin.)

A compound sentence has two or more main clauses. Each main clause has its own subject and predicate, and these main clauses are usually joined by a comma and a coordinating conjunction. (Cats meow, and dogs bark, but ducks quack.) Semicolons may also be used to join the main clauses in a compound sentence. (The helicopter landed; the pilot had saved four passengers.)

A complex sentence has one main clause and one or more

PERSONAL PRONOUNS

Case Singular Pronouns Plural Pronouns Function in SentenceNominative I, you, she, he, it we, you, they subject or predicate nominative

Objective me, you, her, him, it us, you, them direct object, indirect object, or object of a preposition

Possessive my, mine, your, yours, her, hers, his, its

our, ours, your, yours, their, theirs

replacement for the possessive form of a noun

TYPES OF SENTENCES

Sentence Type Function Ends with . . . ExamplesDeclarative sentence Makes a statement A period I did not enjoy the movie.

Exclamatory sentence Expresses strong emotion An exclamation point What a good writer Consuela is!

Imperative sentence Makes a request or gives a command

A period or an exclamation point

Please come to the party. Stop!

Interrogative sentence Asks a question A question mark Is the composition due today?



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subordinate clauses. (Since the movie starts at eight, we should leave here by seven-thirty.)

A compound-complex sentence has two or more main clauses and at least one subordinate clause. (If we leave any later, we may miss the previews, and I want to see them.)

Simple predicate. See Predicate.

Simple subject. See Subject.

Subject The part of a sentence that tells what the sentence is about.

A simple subject is the main noun or pronoun in the subject. (Babies crawl.)

A complete subject includes the simple subject and any words that modify it. (The man from New Jersey won the race.) In some sentences, the simple subject and the complete subject are the same. (Birds fly.)

A compound subject has two or more simple subjects joined by a conjunction. The subjects share the same verb. (Firefighters and police officers protect the community.)

Subjunctive mood. See Mood of verb.

Subordinate clause. See Clause.

Subordinating conjunction. See Conjunction.

Superlative degree. See Adjective; Adverb.

TTense. See Verb tense.

Transitive verb. See Verb.

VVerb A word that expresses action or a state of being. (cooks, seem, laughed)

An action verb tells what some-one or something does. Action verbs can express either physical or mental action. (Crystal decided to change the tire herself.)

A transitive verb is an action verb that is followed by a word or words that answer the question What? or Whom? (I held the baby.)

An intransitive verb is an action verb that is not followed by a word that answers the question What? or Whom? (The baby laughed.)

A linking verb expresses a state of being by linking the subject of a sentence with a word or an expression that identifies or describes the subject. (The lemon-ade tastes sweet. He is our new principal.) The most commonly used linking verb is be in all its forms (am, is, are, was, were, will be, been, being). Other linking verbs include appear, become, feel, grow, look, remain, seem, sound, smell, stay, taste.

An auxiliary verb, or helping verb, is a verb that accompanies the main verb to form a verb phrase. (I have been swimming.) The forms of be and have are the most common auxiliary verbs: (am, is, are, was, were, being, been; has, have, had, having). Other auxiliaries include can, could, do, does, did, may, might, must, shall, should, will, would.

Verbal A verb form that functions in a sentence as a noun, an adjective, or an adverb. The three kinds of verbals are gerunds, infinitives, and

participles. See Gerund; Infinitive; Participle.

Verb tense The tense of a verb indicates when the action or state of being occurs. All the verb tenses are formed from the four principal parts of a verb: a base form (talk), a present participle (talking), a simple past form (talked), and a past participle (talked). A regular verb forms its simple past and past partici-ple by adding -ed to the base form. (climb, climbed) An irregular verb forms its past and past participle in some other way. (get, got, gotten)

In addition to present, past, and future tenses, there are three perfect tenses.

The present perfect tense expresses an action or a condition that occurred at some indefinite time in the past. This tense also shows an action or a condition that began in the past and continues into the present. (She has played the piano for four years.)

The past perfect tense indicates that one past action or condition began and ended before another past action started. (Andy had finished his homework before I even began mine.)

The future perfect tense indicates that one future action or condition will begin and end before another future event starts. Use will have or shall have with the past partici-ple of a verb. (By tomorrow, I will have finished my homework, too.)

The progressive form of a verb expresses a continuing action with any of the six tenses. To make the progressive forms, use the appro-priate tense of the verb be with the present participle of the main verb. (She is swimming. She has been swimming.)



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force, or emphasis, to the present and past tense of a verb. For the emphatic form, use do, does, or did with the base form. (Toshi did want that camera.)

Voice The voice of a verb shows whether the subject performs the action or receives the action of the verb.

A verb is in the active voice if the subject of the sentence performs the action. (The referee blew the whistle.)

A verb is in the passive voice if the subject of the sentence receives the action of the verb. (The whistle was blown by the referee.)



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CapitalizationThis section will help you recognize and use correct capitalization in sentences.

Rule: Capitalize the first word in any sentence, including direct quotations and sentences in parentheses unless they are included in another sentence.

Example: She said, “Come back soon.”

Emily Dickinson became famous only after her death. (She published only six poems during her lifetime.)

Rule: Always capitalize the pronoun I no matter where it appears in the sentence.

Example: Some of my relatives think that I should become a doctor.

Rule: Capitalize proper nouns, including a. names of individuals and titles used in direct

address preceding a name or describing a relationship.

Example: George Washington; Dr. Morgan;Aunt Margaret

b. names of ethnic groups, national groups, political parties and their members, and languages.

Example: Italian Americans; Aztec; the Republican Party; a Democrat; Spanish

c. names of organizations, institutions, firms, monu-ments, bridges, buildings, and other structures.

Example: Red Cross; Stanford University; General Electric; Lincoln Memorial; Tappan Zee Bridge; Chrysler Building; Museum of Natural History

d. trade names and names of documents, awards, and laws.

Example: Microsoft; Declaration of Independence; Pulitzer Prize; Sixteenth Amendment

e. geographical terms and regions or localities.

Example: Hudson River; Pennsylvania Avenue; Grand Canyon; Texas; the Midwest

f. names of planets and other heavenly bodies.

Example: Venus; Earth; the Milky Way

g. names of ships, planes, trains, and spacecraft.

Example: USS Constitution; Spirit of St. Louis; Apollo 11

h. names of most historical events, eras, calendar items, and religious names and items.

Example: World War II; Age of Enlightenment; June; Christianity; Buddhists; Bible; Easter; God

i. titles of literary works, works of art, and musical compositions.

Example: “Why I Live at the P.O.”; The Starry Night; Rhapsody in Blue

j. names of specific school courses.

Example: Advanced Physics; American History

Rule: Capitalize proper adjectives (adjectives formed from proper nouns).

Example: Christmas tree; Hanukkah candles; Freudian psychology; American flag

MechanicsThis section will help you use correct capitalization, punctuation, and abbreviations in your writing.



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This section will help you use these elements of punctuation correctly.

Rule: Use a periodperiod at the end of a declarative sentence or a polite command.

Example: I’m thirsty.

Example: Please bring me a glass of water.

Rule: Use an exclamation pointexclamation point to show strong feeling or after a forceful command.

Example: I can’t believe my eyes!

Example: Watch your step!

Rule: Use a question markquestion mark to indicate a direct question.

Example: Who is in charge here?

Rule: Use a coloncolon a. to introduce a list (especially after words such as

these, the following, or as follows) and to intro-duce material that explains, restates, or illustrates previous material.

Example: The following states voted for the amendment: Texas, California, Georgia, and Florida.

Example: The sunset was colorful: purple, orange, and red lit up the sky.

b. to introduce a long or formal quotation.

Example: It was Mark Twain who stated the following proverb: “Man is the only animal that blushes. Or needs to.”

c. in precise time measurements, biblical chapter and verse references, and business letter salutations.

Example: 3:35 P.M. 7:50 A.M.Gen. 1:10–11 Matt. 2:23Dear Ms. Samuels: Dear Sir:

Rule: Use a semicolon a. to separate main clauses that are not joined by a

coordinating conjunction.

Example: There were two speakers at Gettysburg that day; only Lincoln’s speech is remembered.

b. to separate main clauses joined by a conjunctive adverb or by for example or that is.

Example: Because of the ice storm, most students could not get to school; consequently, the principal canceled all classes for the day.

c. to separate the items in a series when these items contain commas.

Example: The students at the rally came from Senn High School, in Chicago, Illinois; Niles Township High School, in Skokie, Illinois; and Evanston Township High School, in Evanston, Illinois.

d. to separate two main clauses joined by a coordi-nating conjunction when such clauses already contain several commas.

Example: The designer combined the blue silk, brown linen, and beige cotton into a suit; but she decided to use the yellow chiffon, yellow silk, and white lace for an evening gown.

Rule: Use a comma a. between the main clauses of a compound

sentence.

Example: Ryan was late getting to study hall, and his footsteps echoed in the empty corridor.

b. to separate three or more words, phrases, or clauses in a series.

Example: Mel bought carrots, beans, pears, and onions.

c. between coordinate modifiers.

Example: That is a lyrical, moving poem.

d. to set off parenthetical expressions, interjections, and conjunctive adverbs.

Example: Well, we missed the bus again.



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Example: The weather is beautiful today; however, it is supposed to rain this weekend.

e. to set off nonessential words, clauses, and phrases, such as:—adverbial clauses

Example: Since Ellen is so tall, the coach assumed she would be a good basketball player.

—adjective clauses

Example: Scott, who had been sleeping, finally woke up.

—participles and participial phrases

Example: Having found what he was looking for, he left.

—prepositional phrases

Example: On Saturdays during the fall, I rake leaves.

—infinitive phrases

Example: To be honest, I’d like to stay awhile longer.

—appositives and appositive phrases

Example: Ms. Kwan, a soft-spoken woman, ran into the street to hail a cab.

f. to set off direct quotations.

Example: “My concert,” Molly replied, “is tonight.”

g. to set off an antithetical phrase.

Example: Unlike Tom, Rob enjoys skiing.

h. to set off a title after a person’s name.

Example: Margaret Thomas, Ph.D., was the guest speaker.

i. to separate the various parts of an address, a geographical term, or a date.

Example: My new address is 324 Indian School Road, Albuquerque, New Mexico 85350.

I moved on March 13, 1998.

j. after the salutation of an informal letter and after the closing of all letters.

Example: Dear Helen, Sincerely,

k. to set off parts of a reference that direct the reader to the exact source.

Example: You can find the article in the Washington Post, April 4, 1997, pages 33–34.

l. to set off words or names used in direct address and in tag questions.

Example: Yuri, will you bring me my calculator?

Lottie became a lawyer, didn’t she?

Rule: Use a dash to signal a change in thought or to emphasize parenthetical material.

Example: During the play, Maureen—and she’d be the first to admit it—forgot her lines.

Example: There are only two juniors attending—Mike Ramos and Ron Kim.

Rule: Use parentheses to set off supplemental material. Punctuate within the parentheses only if the punctuation is part of the parenthetical expression.

Example: If you like jazz (and I assume you do), you will like this CD. (The soloist is Miles Davis.)

Example: The upper Midwest (which states does that include?) was hit by terrible floods last year.

Rule: Use brackets to enclose information that you insert into a quotation for clarity or to enclose a parenthetical phrase that already appears within parentheses.

Example: “He serves his [political] party best who serves the country best.” —Rutherford B. Hayes

Example: The staircase (which was designed by a famous architect [Frank Lloyd Wright]) was inlaid with ceramic tile.



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material from a quotation.

Example: “. . . Neither an individual nor a nation can commit the least act of injustice against the obscurest individual. . . .” —Henry David Thoreau

Rule: Use quotation marks a. to enclose a direct quotation, as follows:

Example: “Hurry up!” shouted Lisa.

When a quotation is interrupted, use two sets of quotation marks.

Example: “A cynic,” wrote Oscar Wilde, “is someone who knows the price of everything and the value of nothing.”

Use single quotation marks for a quotation within a quotation.

Example: “Did you say ‘turn left’ or ‘turn right’?” asked Leon.

In writing dialogue, begin a new paragraph and use a new set of quotation marks every time the speaker changes.

Example: “Do you really think the spaceship can take off?” asked the first officer.“Our engineer assures me that we have enough power,” the captain replied.

b. to enclose titles of short works, such as stories, poems, essays, articles, chapters, and songs.

Example: “The Lottery” [short story]“Provide, Provide” [poem]“Civil Disobedience” [essay]

c. to enclose unfamiliar slang terms and unusual expressions.

Example: The man called his grandson a “rapscallion.”

d. to enclose a definition that is stated directly.

Example: Gauche is a French word meaning “left.”

Rule: Use italics a. for titles of books, lengthy poems, plays, films,

television series, paintings and sculptures, long

musical compositions, court cases, names of newspapers and magazines, ships, trains, air-planes, and spacecraft. Italicize and capitalize arti-cles (a, an, the) at the beginning of a title only when they are part of the title.

Example: E.T. [film]; The Piano Lesson [play]The Starry Night [painting]the New Yorker [magazine]Challenger [spacecraft]The Great Gatsby [book]the Chicago Tribune [newspaper]

b. for foreign words and expressions that are not used frequently in English.

Example: Luciano waved good-bye, saying, “Arrivederci.”

c. for words, letters, and numerals used to repre-sent themselves.

Example: There is no Q on the telephone keypad.

Example: Number your paper from 1 through 10.

Rule: Use an apostrophe a. for a possessive form, as follows:

Add an apostrophe and -s to all singular nouns, plural nouns not ending in -s, singular indefinite pronouns, and compound nouns. Add only an apostrophe to a plural noun that ends in -s.

Example: the tree’s leavesthe man’s beltthe bus’s tiresthe children’s petseveryone’s favoritemy mother-in-law’s jobthe attorney general’s decisionthe baseball player’s errorthe cats’ bowls

If two or more persons possess something jointly, use the possessive form for the last per-son named. If they possess it individually, use the possessive form for each one’s name.

Example: Ted and Harriet’s familyTed’s and Harriet’s bossesLewis and Clark’s expeditionLewis’s and Clark’s clothes



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b. to express amounts of money or time that mod-ify a noun.

Example: two cents’ worth

Example: three days’ drive (You can use a hyphenated adjective instead: a three-day drive.)

c. in place of omitted letters or numerals.

Example: haven’t [have not] the winter of ’95

d. to form the plural of letters, numerals, symbols, and words used to represent themselves. Use an apostrophe and -s.

Example: You wrote two 5’s instead of one.

Example: How many s’s are there in Mississippi?

Example: Why did he use three !’s at the end of the sentence?

Rule: Use a hyphen a. after any prefix joined to a proper noun or

proper adjective.

Example: all-American pre-Columbian

b. after the prefixes all-, ex-, and self- joined to any noun or adjective, after the prefix anti- when it joins a word beginning with i, after the prefix vice- (except in some instances such as vice pres-ident), and to avoid confusion between words that begin with re- and look like another word.

Example: ex-presidentself-importantanti-inflammatoryvice-principalre-creation of the eventrecreation timere-pair the socksrepair the computer

c. in a compound adjective that precedes a noun.

Example: a bitter-tasting liquid

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

Example: twenty-three eighty-fifthone-half cup

e. to divide a word at the end of a line between syllables.

Example: air-port scis-sorsfill-ing fin-est

AbbreviationsAbbreviations are shortened forms of words.

Rule: Use only one period if an abbreviation occurs at the end of a sentence. If the sentence ends with a question mark or an exclamation point, use the period and the second mark of punctuation.

Example: We didn’t get home until 3:30 A.M.

Example: Did you get home before 4:00 A.M.?

Example: I can’t believe you didn’t get home until 3:30 A.M.!

Rule: Capitalize abbreviations of proper nouns and abbreviations related to historical dates.

Example: John Kennedy Jr. P.O. Box 333800 B.C. A.D. 456 1066 C.E.

Use all capital letters and no periods for most abbreviations of organizations and government agencies.

Example: CBS CIA IBM NFL MADD GE FBI



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

Forming Plurals English words form plurals in many ways. Most nouns simply add -s. The following chart shows other ways of forming plural nouns and some common exceptions to the pattern.

General Rules for Forming Plurals

If the word ends in Rule Examplesch, s, sh, x, z add -es glass, glasses

a consonant + y change y to i and add -es caddy, caddies

a vowel + y or o add only -s cameo, cameosmonkey, monkeys

a consonant + ocommon exceptions

generally add -esbut sometimes add only -s

potato, potatoescello, cellos

f or ffcommon exceptions

add -s change f to v and add -es

cliff, cliffshoof, hooves

lf change f to v and add -es half, halves

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

Special Rules for Forming Plurals

Rule ExamplesTo form the plural of most proper names and one-word compound nouns, follow the general rules for plurals.

Cruz, CruzesMancuso, Mancusoscrossroad, crossroads

To form the plural of hyphenated compound nouns or compound nouns of more than one word, make the most important word plural.

mother-in-law, mothers-in-lawattorney general, attorneys general

Some nouns have unusual plural forms. goose, geesechild, children

Some nouns have the same singular and plural forms. moosescissorspants



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Adding PrefixesWhen adding a prefix to a word, keep the original spell-ing of the word. Use a hyphen only when the original word is capitalized or with the prefixes all-, ex-, and self- joined to a noun or adjective.

co + operative = cooperativeinter + change = interchangepro + African = pro-Africanex + partner = ex-partner

Suffixes and the Silent e

Many English words end in a silent letter e. Sometimes the e is dropped when a suffix is added. When adding a suffix that begins with a consonant to a word that ends in silent e, keep the e.

like + ness = likeness sure + ly = surelyCOMMON EXCEPTIONS awe + ful = awful; judge + ment = judgment

When adding a suffix that begins with a vowel to a word that ends in silent e, usually drop the e.

believe + able = believableexpense + ive = expensiveCOMMON EXCEPTION mile + age = mileage

When adding a suffix that begins with a or o to a word that ends in ce or ge, keep the e so the word will retain the soft c or g sound.

notice + able = noticeablecourage + ous = courageous

When adding a suffix that begins with a vowel to a word that ends in ee or oe, keep the final e.

see + ing = seeing toe + ing = toeing

Drop the final silent e after the letters u or w.argue + ment = argumentowe + ing = owing

Keep the final silent e before the suffix -ing when neces-sary to avoid ambiguity.

singe + ing = singeing

Suffixes and the Final yWhen adding a suffix to a word that ends in a consonant + y, change the y to i unless the suffix begins with i. Keep the y in a word that ends in a vowel + y.

try + ed = tried fry + ed = friedstay + ing = staying display + ed = displayedcopy + ing = copying joy + ous = joyous

Adding -ly and -nessWhen adding -ly to a word that ends in a single l, keep the l, but when the word ends in a double l, drop one l. When the word ends in a consonant + le, drop the le. When adding -ness to a word that ends in n, keep the n.

casual + ly = casuallypractical + ly = practicallydull + ly = dullyprobable + ly = probablyopen + ness = openness mean + ness = meanness

Doubling the Final ConsonantDouble the final consonant in words that end in a conso-nant preceded by a single vowel if the word is one sylla-ble, if it has an accent on the last syllable that remains there even after the suffix is added, or if it is a word made up of a prefix and a one-syllable word.

stop + ing = stoppingadmit + ed = admittedreplan + ed = replanned

Do not double the final consonant if the accent is not on the last syllable or if the accent shifts when the suffix is added. Also do not double the final consonant if the final consonant is x or w. If the word ends in a consonant and the suffix begins with a consonant, do not double the final consonant.

benefit + ed = benefitedsimilar + ly = similarlyraw + er = rawerbox + like = boxlikefriend + less = friendlessrest + ful = restful

Forming Compound WordsWhen joining a word that ends in a consonant to a word that begins with a consonant, keep both consonants.

out + line = outlineafter + noon = afternoonpost + card = postcardpepper + mint = peppermint



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Learning this rhyme can save you many misspellings: “Write i before e except after c, or when sounded like a as in neighbor and weigh.” There are many exceptions to this rule, including seize, seizure, leisure, weird, height, either, neither, forfeit.

-cede, -ceed, and -sede

Because of the relatively few words with s–ed sounds, these words are worth memorizing.

These words use -cede: accede, precede, secede.One word uses -sede: supersede.Three words use -ceed: exceed, proceed, succeed.


TEST-TAKING SKILLS HANDBOOK

TEST-TAKING SKILLS HANDBOOK R61

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

Preparing for Classroom TestsThis section will help you learn how to prepare for class-room tests.

Thinking ahead• Write down information about an upcoming test—

when it will be given, what it will cover, and so on—so you can plan your study time effectively.

• Review your textbook, quizzes, homework assign-ments, class notes, and handouts. End-of-chapter review questions often highlight key points from your textbook.

• Develop your own questions about main ideas and important details, and practice answering them. Writing your own practice tests is an excellent way to get ready for a real test.

• Make studying into an active process. Rather than simply rereading your notes or a chapter in your textbook, try to create a summary of the material. This can be an outline, a list of characters, or a time line. Try to include details from both your lecture notes and your textbook reading so you will be able to see connections between the two.

• Form study groups. Explaining information to a peer is one of the best ways to learn the material.

• Sleep well the night before a test. Spreading your study time over several days should have given you enough confidence to go to bed at your regular time the night before a test.

• Remember that eating well helps you remain alert. Students who eat a regular meal on the morning of a test generally score higher than those who do not.

Taking objective testsMany of the tests you take in your high school classes will be objective tests, meaning that they ask questions that have specific correct answers. Time is often limited for these tests, so be sure to use your time efficiently.

• First, read the directions carefully. If anything is unclear, ask questions.

• Try to respond to each item on the test, starting with the easier ones.

• Skip difficult questions rather than dwelling on them. You can always come back to them at the end of the test.

• Try to include some time to review your test before turning it in.

Below are tips for answering specific kinds of objective test items:

Kind of item Tips

Multiple-choiceMultiple-choice Read all the answer choices pro-vided before choosing one; even if the first one seems nearly correct, a later choice may be a better answer. Be cautious when choosing responses that contain absolute words such as always, never, all, or none. Since most generalizations have exceptions, absolute state-ments are often incorrect.

True/FalseTrue/False If any part of the item is false, the correct answer must be “false.”

Short-answerShort-answer Use complete sentences to help you write a clear response.

Fill-inFill-in Restate fill-ins as regular questions if you are not sure what is being asked.

MatchingMatching Note in the directions whether some responses can be used more than once or not used at all.

R061-R063 EMTTSHB-845482.indd R61R061-R063 EMTTSHB-845482.indd R61 7/10/06 8:50:26 AM7/10/06 8:50:26 AM

R62 TEST-TAKING SKILLS HANDBOOK

Taking subjective (essay) testsYou will also take subjective tests during high school. Typically, these tests ask questions that require you to write an essay. Your grade is based more on how well you are able to make your point than on whether you choose a correct answer.

• When you receive the test, first read it through. If there are several questions, determine how much time to spend on each question.

• Begin your answer by jotting down ideas on scratch paper for several minutes. Read the test question again to make sure you are answering it. Then create a rough outline from which you can create your essay.

• Start your essay with a thesis statement in the first paragraph and follow with paragraphs that provide supporting evidence. Give as much information as possible, including examples and illustrations where appropriate.

• Finish your essay with a conclusion, highlighting the evidence you have provided and restating your thesis.

• You will probably not have time to revise and recopy your essay. After you are finished writing, spend any remaining time proofreading your answer and neatly making any necessary corrections.

Preparing for Standardized TestsStandardized tests are designed to be administered to very large groups of students, not just those in a partic-ular class. Three of the most widely known standard-ized tests, all part of the college application process, are the ACT, the PSAT, and the SAT. The strategies in this handbook refer specifically to the PSAT and SAT tests, but they also can apply to preparing for the ACT and other standardized tests.

The PSAT is generally administered to students in the eleventh grade, though some schools offer it to students in the tenth grade as well. This test is designed to predict how well you will do on the SAT. For most students, the PSAT is simply a practice test. Those who perform exceptionally well on the eleventh grade PSAT, however, will qualify for National Merit Scholarship competition.

The SAT consists of the SAT-I: Reasoning Test and a variety of SAT-II: Subject Tests. The SAT-I is a three-hour test that evaluates your general verbal and math-ematics skills. The SAT-II: Subject Tests are hour-long tests given in specific subjects and are designed to

show specifically how much you have learned in a particular subject area.

Tips for taking standardized testsStandardized tests are often administered outside of reg-ular class time and require registration. Ask your teacher or guidance counselor how you can register early to ensure that you can take the test at a time and location most convenient for you. In addition, follow these tips:

• Skip difficult questions at first. Standardized tests are usually timed, so first answer items you know. You can return later to those you skipped.

• Mark only your answers on the answer sheet. Most standardized tests are scored by a computer, so stray marks can be read as incorrect answers.

• Frequently compare the question numbers on your test with those on your answer sheet to avoid putting answers in the wrong spaces.

• If time permits, check your answers. If you are not penalized for guessing, fill in answers for any items you might have skipped.

Preparing for the PSAT and the SAT-IThe verbal sections of the PSAT and SAT-I contain sentence completion items and reading comprehension questions.

Sentence completionSentence completion items provide a sentence with one or two blanks and ask you to select the word or pair of words that best fits in the blank(s). Here is some general information to help you with these questions on the PSAT and SAT-I.

• Start by reading the sentence and filling in your own word to replace the blank. Look for words that show how the word in the blank is related to the rest of the sentence–and, but, since, therefore, although.

• Do not read the sentence with the words from each answer choice inserted. This may leave you with sev-eral choices that “sound good.”

• Once you have chosen your own word to fill in the blank, pick the word from the answer choices that is closest in meaning to your word.

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TEST-TAKING SKILLS HANDBOOK R63

• If you have trouble coming up with a specific word to fill in the blank, try to determine whether the word should be positive or negative. Even this bit of infor-mation can help you eliminate some answer choices. If you can eliminate even one answer choice, take a guess at the correct answer.

Reading comprehensionReading comprehension questions on the PSAT and SAT-I measure your ability to understand and interpret what you read. Each reading passage is followed by a series of questions. Here are some points to keep in mind when working with these questions:

• You get points for answering questions correctly, not for reading passages thoroughly. Therefore, it is to your advantage to read the passages quickly and spend your time working on the questions.

• After quickly reading a passage, briefly summarize it. This will help you answer general questions, which are based on the passage as a whole.

• To answer specific questions based on details included in the passage, return to the passage to find the correct answers. Reading Comprehension is like an open-book test: you are expected to look at the passage while answering the questions.

• Reading Comprehension passages almost never include controversial opinions. Therefore, an answer choice like “advocated the overthrow of the govern-ment” is very likely to be incorrect.

• If you can eliminate even one answer choice, take a guess at the correct answer.

Taking Essay TestsWriting prompts, or long essay questions, include key words that signal the strategy you will use to bring your ideas into sharp focus. Similarly, these key words also appear in constructed responses, or short essay questions.

Key Word Strategy

AnalyzeAnalyze To analyze means to systematically and critically examine all parts of an issue or event.

Classify or Classify or categorizecategorize

To classify or categorize means to put people, things, or ideas into groups, based on a common set of characteristics.

Compare Compare and and contrastcontrast

To compare is to show how things are similar or alike. To contrast is to show how things are different.

DescribeDescribe To describe means to present a sketch or an impression. Rich detail, especially details that appeal to the senses, flesh out a description.

DiscussDiscuss To discuss means to systematically write about all sides of an issue or event.

EvaluateEvaluate To evaluate means to make a judgment and support it with evidence.

ExplainExplain To explain means to clarify or make plain.

IllustrateIllustrate To illustrate means to provide examples or to show with a picture or another graphic.

InferInfer To infer means to read between the lines or to use knowledge or experience to draw conclusions, make generalizations, or form a prediction.

JustifyJustify To justify means to prove or to support a position with specific facts and reasons.

PredictPredict To predict means to tell what will hap-pen in the future based on an under-standing of prior events and behaviors.

StateState To state means to briefly and concisely present information.

SummarizeSummarize To summarize means to give a brief overview of the main points of an event or issue.

TraceTrace To trace means to present the steps or stages in a process or an event in sequential or chronological order.

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R64 GLOSSARY

Aabide/permanecerabide/permanecer v. subsistir; p. 934abundantly/abundantementeabundantly/abundantemente adv. en gran cantidad;

cuantiosamente; p. 417acquaintance/conocido(a)acquaintance/conocido(a) s. persona con quien se

tiene trato o relación, sin ser amistad; p. 772acrid/acreacrid/acre adj. irritante, amargo o desagradable al

gusto y al olfato; p. 1287acute/agudoacute/agudo adj. punzante; intenso; p. 839admonish/amonestaradmonish/amonestar v. advertir; reprender;

p. 76adversary/adversarioadversary/adversario s. oponente; enemigo;

p. 117adversity/adversidadadversity/adversidad s. momento de gran dificultad;

infortunio; desgracia; p. 163advocate/abogaradvocate/abogar v. defender o hablar a favor de

alguien; p. 972aggregated/agregadoaggregated/agregado adj. sumado; unido a un todo;

p. 651

Aabideabide (ə b �d�) v. remain; p. 934abundantlyabundantly (ə bun� dənt le) adv. plentifully;

p. 417acquaintanceacquaintance (ə kwant� əns) n. the state of being

familiar with; p. 772acridacrid (ak� rid) adj. burning, biting, or irritating to the

taste or smell; p. 1287acuteacute (ə kut�) adj. sharp; intense; p. 839admonishadmonish (ad mon� ish) v. to warn; to reprimand;

p. 76adversaryadversary (ad� vər ser e) n. opponent; enemy;

p. 117adversityadversity (ad vur� sə te) n. a state of hardship;

misfortune; p. 163advocateadvocate (ad� və kat ) v. to support or argue for;

p. 972aggregatedaggregated (a�� rə �a təd) adj. collected; gathered

into a whole; p. 651

ENGLISH ESPAÑOL

a ata apeä fathere ende mei itı iceo hot

o hopeô fork, alloo wood, put oo¯ ¯ fooloi oilou outu upu use

ng singth thinth—— thiszh treasureə ago, taken, pencil,

lemon, circus� indicates primary stress´ indicates secondary

GLOSSARY/GLOSARIO

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

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GLOSSARY R65

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ailment/dolenciaailment/dolencia s. enfermedad o aflicción; p. 1159allaying/calmarallaying/calmar v. tranquilizar; aplacar; p. 472alteration/alteraciónalteration/alteración s. cambio; modificación;

p. 295amends/reparaciónamends/reparación s. desagravio, compensación o

satisfacción por una ofensa, daño o injuria; p. 365amiability/afabilidadamiability/afabilidad s. amabilidad, cordialidad;

p. 1142anarchy/anarquíaanarchy/anarquía s. desconcierto o desorganización

por ausencia de una autoridad; p. 1113antidote/antídotoantidote/antídoto s. medicina usada para contrarrestar

los efectos de una substancia venenosa; contraveneno; p. 394

appall/consternarappall/consternar v. horrorizar, conmocionar; p. 362appease/apaciguarappease/apaciguar v. aquietar; tranquilizar o calmar;

p. 1197arbiter/árbitro(a)arbiter/árbitro(a) s. persona que actúa como un juez

en un conflicto; p. 846arrogance/arroganciaarrogance/arrogancia s. altanería, demasiado orgullo

o soberbia; p. 134artifice/artificioartifice/artificio s. habilidad; arte o ingenio con lo que

algo está hecho; p. 1111aspire/aspiraraspire/aspirar v. anhelar; p. 87assent/acordarassent/acordar v. determinar o deliberar

individualmente; estar de acuerdo; p. 1316avarice/avariciaavarice/avaricia s. codicia; p. 381awry/malawry/mal adj. contrariamente a lo previsto o a lo

deseado; p. 307

Bbalm/bálsamobalm/bálsamo s. sustancia medicinal; ungüento que

alivia; p. 273barren/yermobarren/yermo adj. que tiene poca o ninguna

vegetación; pelado; p. 1321beguile/embaucarbeguile/embaucar v. despistar mediante trampas;

engañar; p. 420benign/benigno(a)benign/benigno(a) adj. afable, benévolo, piadoso;

p. 1249bitter/amargado(a)bitter/amargado(a) adj. que guarda resentimiento por

frustraciones o disgustos; p. 261blanch/blanqueado(a)blanch/blanqueado(a) adj. decoloración;

p. 78

ailmentailment (al� mənt) n. sickness or affliction; p. 1159allayingallaying (ə la� in�) adj. putting at rest; relieving;

p. 472alterationalteration (o� l tə ra� shən) n. change; modification;

p. 295amendsamends (ə mendz�) n. something done or given to

make up for injury, loss, etc.; p. 365amiabilityamiability (a� me ə bil ə te) n. kindliness;

friendliness; p. 1142anarchyanarchy (an� ər ke) n. a complete lack of political

order; chaos; p. 1113antidoteantidote (an� ti dot ) n. a medicine used to

counteract the effects of a poison; any counteracting remedy; p. 394

appallappall (ə p�ol�) v. to fill with horror and shock; p. 362appeaseappease (ə pez�) v. to bring to a state of peace or

quiet; to satisfy; p. 1197arbiterarbiter (�ar� bə tər) n. a judge; p. 846

arrogancearrogance (ar� ə �əns) n. overbearing pride or self-importance; p. 134

artificeartifice (�ar� tə fis) n. trickery; deception; p. 1111aspireaspire (əs p� r�) v. to strive for; p. 87assentassent (ə sent�) v. to agree to something after

consideration; concur; p. 1316avariceavarice (av� ər is) n. greed; p. 381awryawry (ə r ��) adj. wrong; in a faulty way; p. 307

Bbalmbalm (b�am) n. a healing ointment; a soothing

application; p. 273barrenbarren (bar� ən) adj. having little or no vegetation;

bare; p. 1321beguilebeguile (bi �� l�) v. to mislead by trickery; to

deceive; p. 420benignbenign (bi n�n�) adj. pleasant and friendly;

p. 1249bitterbitter (bit� ər) adj. hard to bear; causing pain;

p. 261blanchblanch (blanch) v. to turn white or become pale;

p. 78

ailment/blanch dolencia/blanqueado(a)


R66 GLOSSARY

bleak/ helado(a)bleak/ helado(a) adj. crudo; brutal; riguroso; p. 721blight/royablight/roya s. hongo parásito que ataca plantas y

árboles; p. 954blithe/alegreblithe/alegre adj. despreocupado; tranquilo p. 187bombast/lenguaje pomposobombast/lenguaje pomposo s. expresiones ostentosas

o pedantes; p. 548brandish/blandirbrandish/blandir v. levantar o mover de modo

amenazante, como un arma; p. 203brevity/brevedadbrevity/brevedad s. corta extensión o duración de un

discurso o escrito; p. 1196

Ccalamity/calamidadcalamity/calamidad s. desgracia; infortunio;

p. 307callousness/insensibilidadcallousness/insensibilidad s. dureza al pensar o

actuar; crueldad; p. 1195career/apresurarsecareer/apresurarse v. moverse o correr de prisa;

avanzar con rapidez; p. 1299cavalcade/cabalgatacavalcade/cabalgata s. desfile ceremonial;

p. 555censure/censuracensure/censura s. reprobación; crítica o juicio

negativos; p. 302chaste/puro(a)chaste/puro(a) adj. casto; modesto; virtuoso; p. 471cleave/partircleave/partir v. rajar o hender; dividir algo en dos o

más partes; p. 856commend/elogiarcommend/elogiar v. ensalzar; alabar; p. 589

commiseration/conmiseracióncommiseration/conmiseración s. sentimiento o expresión de compasión; lástima; p. 1195

compensation/compensacióncompensation/compensación s. algo que se da para compensar, remunerar o retribuir algo; p. 1073

complaisance/afabilidadcomplaisance/afabilidad s. amabilidad; deseo de complacer o ser cortés; p. 618

composure/composturacomposure/compostura s. estado mental de tranquilidad o calma; p. 149

compulsory/obligatorio(a)compulsory/obligatorio(a) adj. que tiene que ser hecho, cumplido u obedecido; p. 1250

concede/concederconcede/conceder v. admitir; reconocer, convenir; p. 128

concord/pactoconcord/pacto s. acuerdo, convenio, lo que se decide entre dos partes; p. 257

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makes plants and trees wither and die; p. 954blitheblithe (bl� th) adj. carefree; lighthearted; p. 187bombastbombast (bom� bast) n. pretentious language;

p. 548brandishbrandish (bran� dish) v. to shake or swing

threateningly, as a weapon; p. 203brevitybrevity (brev� ə te) n. shortness in speech or writing;

p. 1196

Ccalamitycalamity (kə lam� ə te) n. disaster; extreme

misfortune; p. 307callousnesscallousness (kal� əs nəs) n. hardness in mind or

feelings; insensitivity; p. 1195careercareer (kə rer�) v. to move or run with a swift

headlong motion; to rush or dash along; p. 1299cavalcadecavalcade (kav əl kad�) n. a ceremonial procession;

p. 555censurecensure (sen shər) n. strong disapproval;

condemnation as wrong; p. 302chastechaste (chast) adj. pure; virtuous; modest; p. 471cleavecleave (klev) v. to tear or rip; to split something

apart; p. 856commendcommend (kə mend�) v. to praise; to express

approval of; p. 589commiserationcommiseration (kə miz ə ra� shən) n. a feeling or

expression of sympathy; compassion; p. 1195compensationcompensation (kom pən sa� shən) n. something

that offsets, counterbalances, or makes up for; p. 1073

complaisancecomplaisance (kəm pla� səns) n. a willingness to please, be gracious, or be courteous; p. 618

composurecomposure (kəm po� zhər) n. a calm or tranquil state of mind; p. 149

compulsorycompulsory (kəm pul� sər e) adj. obligatory; required; p. 1250

concedeconcede (kən sed�) v. to admit as true; acknowledge; p. 128

concordconcord (kon� k�ord) n. an agreement of interests or feelings; p. 257

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GLOSSARY R67

condescend/condescendercondescend/condescender v. dignarse; acceder; p. 730

confining/restrictivoconfining/restrictivo adj. que restringe; p. 625

confound/confundirconfound/confundir v. turbar; desconcertar; p. 597, 748

congeal/congelar(se)congeal/congelar(se) v. solidificar(se); cuajar(se); espesar(se); p. 267

congenial/compatiblecongenial/compatible adj. afín; que concuerda; p. 730

congregation/congregacióncongregation/congregación s. grupo de personas que se reúne para orar; p. 439

conjecture/conjeturarconjecture/conjeturar v. inferir sin evidencias suficientes o claras; suponer; p. 575

conspiring/conspirarconspiring/conspirar v. unirse o aliarse para preparar una acción contra algo; p. 877

constant/constanteconstant/constante adj. que se repite continuamente; que permanece igual; que no deja de hacer lo empezado; p. 466

constellation/constelaciónconstellation/constelación s. uno de ochenta y ocho grupos de estrellas, que en muchos casos representan personajes y objetos de la mitología antigua; p. 1335

constituted/constituióconstituted/constituió v. formó; compuso; p. 1120

contemplation/contemplacióncontemplation/contemplación s. consideración o reflexión cuidadosa; meditación; p. 440

continual/continuo(a)continual/continuo(a) adj. constante; sin interrupción; p. 261

converge/convergerconverge/converger v. llegar a una conclusión o interés común; dirigirse a un mismo punto; p. 1142

conviction/convicciónconviction/convicción s. ideas en las que se cree firmemente; p. 1113

copiously/copiosamentecopiously/copiosamente adv. de modo abundante; p. 175

cordial/cordialcordial/cordial adj. afectuoso, amable; p. 1161countenance/semblantecountenance/semblante s. cara; expresión del rostro;

p. 981covetousness/codiciacovetousness/codicia s. deseo intenso de obtener algo

que pertenece a otro; p. 440

condescendcondescend (kon di send�) v. to lower oneself; p. 730

confiningconfining (kən� f �n in�) adj. restricting; limiting; p. 625

confoundconfound (kən found�) v. to confuse; to defeat or overthrow; to bewilder; p. 597, 748

congealcongeal (kən jel�) v. harden; thicken; p. 267

congenialcongenial (kən jen� e əl) adj. compatible; agreeable; p. 730

congregationcongregation (kon� �rə �a� shən) n. a group of people who gather for religious worship; p. 439

conjectureconjecture (kən jek� chər) v. to infer from inconclusive evidence; to guess; p. 575

conspiringconspiring (kən sp �r� in�) adj. planning or plotting secretly; p. 877

constantconstant (kon� stənt) adj. never stopping, continuous; faithful, steadfast; p. 466

constellationconstellation (kon stə la� shən) n. any of eighty-eight groups of stars, many of which traditionally represent characters and objects in ancient mythology; p. 1335

constituteconstitute (kon� stə t¯¯¯oot ) v. make up; form; p. 1120

contemplationcontemplation (kon təm pla� shən) n. careful thought or consideration; meditation; p. 440

continualcontinual (kən tin� u əl) adj. ongoing; repeated frequently; p. 261

convergeconverge (kən vurj�) v. to come together in a common interest or conclusion; to center; p. 1142

convictionconviction (kən vik� shən) n. a strong belief; p. 1113

copiouslycopiously (ko� pe əs le) adv. plentifully; p. 175

cordialcordial (ko�r� jəl) adj. personable and likeable; p. 1161countenancecountenance (koun� tə nəns) n. someone’s face; the

expression on someone’s face; p. 981covetousnesscovetousness (kuv� it əs nəs) n. great desire for

something belonging to another; p. 440

condescend/covetousness condescender/codicia GLO

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R68 GLOSSARY

Ddappled/moteado(a)dappled/moteado(a) adj. adornado con manchas o

lunares; p. 953dauntless/intrépidodauntless/intrépido adj. sin miedo; atrevido;

p. 186deem/considerardeem/considerar v. estimar; juzgar; p. 272deference/deferenciadeference/deferencia s. tratamiento cortés o

respetuoso; p. 569deftly/diestramentedeftly/diestramente adv. hábilmente; ágilmente;

p. 122defunct/difuntodefunct/difunto adj. que ya no existe; muerto;

p. 1348defying/desafiantedefying/desafiante adj. que se niega a cooperar;

p. 627deities/deidadesdeities/deidades s. dioses o diosas; divinidades;

p. 872

deluge/diluviodeluge/diluvio s. torrente; algo que abruma o cae como un diluvio; p. 523

demolition/demolicióndemolition/demolición s. derribo o destrucción; p. 986

denigration/denigracióndenigration/denigración s. acción de ofender o desacreditar a alguien; calumnia; p. 1307

desolate/desolado(a)desolate/desolado(a) adj. falto de habitantes; desierto; p. 873

despotic/déspotadespotic/déspota adj. tiránico; opresivo; p. 1080

destiny/destinodestiny/destino n. fortuna; encadenamiento de sucesos necesario e inevitable; p. 1095

diffusive/difuso(a)diffusive/difuso(a) adj. difundido o esparcido; p. 927

digress/divagardigress/divagar v. desviarse del tema principal; p. 570

dilemma/dilemadilemma/dilema s. situación de duda en la que hay que elegir; p. 1154

diligently/diligentementediligently/diligentemente adv. de modo persistente; p. 86

direful/espantoso(a)direful/espantoso(a) adj. terrible; atroz; p. 320dirge/endechadirge/endecha s. canción triste o de lamento; himno

fúnebre; p. 855disabuse/desengañardisabuse/desengañar v. sacar a alguien del error;

p. 590discern/discernirdiscern/discernir v. percibir; detectar; p. 523

Ddappleddappled (dap� əld) adj. marked with spots; p. 953

dauntlessdauntless (d�ont� lis) adj. daring; not easily discouraged; p. 186

deemdeem (dem) v. regard as; consider; p. 272deferencedeference (def� ər əns) n. courteous respect;

p. 569deftlydeftly (deft� le) adv. skillfully; nimbly; p. 122

defunctdefunct (di fun�kt�) adj. no longer existing or active; dead; p. 1348

defydefy (di f ��) v. to resist; to refuse to cooperate with; p. 627

deitiesdeities (de� ə tez) n. gods or goddesses; divinities; p. 872

delugedeluge (del� uj) n. anything that overwhelms as if by a flood; p. 523

demolitiondemolition (dem ə lish� ən) n. the state of being demolished or obliterated; p. 986

denigrationdenigration (den i �ra� shən) n. defamation of one’s character or reputation; slander; p. 1307

desolatedesolate (des� ə lit) adj. destitute of inhabitants; deserted; p. 873

despoticdespotic (des pot� ik) adj. tyrannical; oppressive; p. 1080

destinydestiny (des� tə ne) n. fate; what will necessarily happen; p. 1095

diffusivediffusive (di fu� siv) adj. spread out or widely scattered; p. 927

digressdigress (d�� res) v. to stray from the main subject; p. 570

dilemmadilemma (di lem� ə) n. a situation requiring a choice between equally undesirable alternatives; p. 1154

diligentlydiligently (dil� ə jənt le) adv. persistently; p. 86

direfuldireful (d�r� fəl) adj. terrible; dreadful; p. 320dirgedirge (durj) n. a song sung in grief; a mournful

hymn; p. 855disabusedisabuse (dis ə buz�) v. to free from a falsehood or

misconception; p. 590discerndiscern (di surn�) v. to perceive; to detect; p. 523

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GLOSSARY R69

discord/discordiadiscord/discordia s. sin acuerdo en las opiniones; sin armonía; p. 589

discourse/discursodiscourse/discurso s. comunicación oral o escrita; p. 285

discreet/discretodiscreet/discreto adj. cuidadoso al hablar o actuar; prudente; p. 102

discretion/discrecióndiscretion/discreción s. tacto, sensatez; p. 426disdainful/desdeñosodisdainful/desdeñoso adj. que siente o muestra

desprecio; p. 107dismal/sombrío(a)dismal/sombrío(a) adj. con poca luz y melancólico;

p. 808disperse/dispersar(se)disperse/dispersar(se) v. separado; extendido o

repartido; p. 132distill/destilardistill/destilar v. extraer la esencia; p. 1336diverge/divergirdiverge/divergir v. moverse en diferentes direcciones

desde un punto común; desviarse; p. 1141diverse/diversodiverse/diverso adj. patentemente diferente; p. 535diversion/diversióndiversion/diversión s. entretenimiento; distracción;

p. 605divulge/divulgardivulge/divulgar v. dar a conocer; revelar; p. 148doleful/afligidodoleful/afligido adj. triste; p. 200dominion/dominiodominion/dominio s. poder o control sobre algo;

p. 720doom/sinodoom/sino s. fuerza desconocida que actúa sobre las

cosas y determina sucesos; fatalidad; p. 295droll/risibledroll/risible adj. chistoso; cómico; raro; p. 746dwell/residirdwell/residir v. habitar, morar; p. 213

Eecstasy/éxtasisecstasy/éxtasis s. arrobamiento; un estado más alla de

razón o dominio de sí mismo; p. 1099edifice/edificioedifice/edificio s. construcción alta; se refiere

particularmente a un edificio alto y de aspecto imponente; p. 604

elate/regocijarelate/regocijar v. hacer feliz; p. 608emanate/emanaremanate/emanar v. salir de una fuente; expedir;

p. 1181emancipate/emanciparemancipate/emancipar v. liberar; poner en libertad;

p. 1133emphatic/enfático(a)emphatic/enfático(a) adj. que se expresa con énfasis;

p. 772

discorddiscord (dis� k�ord) n. a lack of agreement or harmony; p. 589

discoursediscourse (dis� k�ors ) n. verbal communication in speech or writing; p. 285

discreetdiscreet (dis kret�) adj. having or showing careful judgment in speech and action; prudent; p. 102

discretiondiscretion (dis kresh� ən) n. good judgment; p. 426disdainfuldisdainful (dis dan� fəl) adj. feeling or showing

contempt; scornful; p. 107dismaldismal (diz� məl) adj. dark and gloomy; p. 808

dispersedisperse (dis purs�) v. to scatter about; distribute widely; p. 132

distilldistill (dis til�) v. to extract the essence of; p. 1336divergediverge (d� vurj�) v. to move in different directions

from a common point; to branch out; p. 1141diversediverse (di vurs�) adj. markedly different; p. 535diversiondiversion (di vur� zhən) n. an amusement; an

entertainment; p. 605divulgedivulge (di vulj�) v. to make known; disclose; p. 148dolefuldoleful (dol� fəl) adj. sad; p. 200dominiondominion (də min� yən) n. control or the exercise of

control; p. 720doomdoom (d¯ ¯oom) n. that which cannot be escaped;

death, ruin, or destruction; p. 295drolldroll (drol) adj. amusingly odd; p. 746dwelldwell (dwel) v. to live as a resident; p. 213

Eecstasyecstasy (ek� stə se) n. a state beyond reason or self-

control; p. 1099edificeedifice (ed� ə fis) n. a building, especially a large

one; p. 604

elateelate (i lat�) v. to make happy; p. 608emanateemanate (em� ə nat ) v. to come forth from a

source; to issue; p. 1181emancipateemancipate (i man� sə pat ) v. to free; to liberate;

p. 1133emphaticemphatic (em fat� ik) adj. with strong emphasis;

p. 772

discord/emphatic discordia/enfático(a)


R70 GLOSSARY

endure/soportarendure/soportar v. resistir; tolerar; aguantar; p. 426enmity/enemistadenmity/enemistad s. hostilidad; p. 420envious/envidioso(a)envious/envidioso(a) adj. que siente dolor o pesar

del bien de otros; que desea lo que no posee; p. 1252

esteem/estimaesteem/estima s. opinión o actitud favorable; aprecio; p. 549

estimable/estimableestimable/estimable adj. que merece aprecio; admirable; p. 102

execute/ejecutarexecute/ejecutar v. llevar a cabo; realizar; p. 285exotic/exótico(a)exotic/exótico(a) adj. extrañamente hermoso o

fascinante; p. 1048explicit/explícito(a)explicit/explícito(a) adj. que expresa claramente y

determinadamente; p. 1250exploit/hazañaexploit/hazaña s. proeza; p. 376expound/exponerexpound/exponer v. presentar en detalle; explicar;

p. 86extraordinary/extraordinario(a)extraordinary/extraordinario(a) adj. que excede lo

normal o lo ordinario; p. 987exultation/exultaciónexultation/exultación s. júbilo; regocijo; p. 655

Ffaculty/facultadfaculty/facultad s. capacidad mental; habilidad;

aptitud; p. 729fallow/barbechofallow/barbecho s. tierra arada y sin sembrar para

dejarla descansar; p. 953farce/farsafarce/farsa s. comedia humorística en la que se

exagera la situación de los personajes; p. 1074fatal/crucialfatal/crucial adj. que es decisivo o muy importante

porque condiciona el desarrollo de algo; p. 1095feigned/fingido(a)feigned/fingido(a) adj. simulado; imaginado; p. 929feuds/contiendas.feuds/contiendas. adj. lidia, pelea; disputa o

discusión; p. 1095fidelity/fidelidadfidelity/fidelidad s. lealtad y constancia que se debe a

las ideas, afectos, obligaciones; p. 1329flee/huirflee/huir v. escapar(se); p. 261fleet/ligero(a)fleet/ligero(a) adj. apresurado; rápido; p. 1000floundering/tambaleandofloundering/tambaleando v. moviéndose como si

fuese a caer; p. 1269

endureendure (en door�) v. bear; tolerate; put up with; p. 426

enmityenmity (en� mə te) n. ill will; hostility; p. 420enviousenvious (en� ve əs) adj. feeling jealous or

discontented because of the good fortune or superior abilities of another; p. 1252

esteemesteem (es tem�) n. favorable opinion; p. 549estimableestimable (es� tə mə bəl) adj. deserving of esteem;

admirable; p. 102executeexecute (ek� sə kut ) v. to carry out; to put into

effect; p. 285exexototicic (i� zot� ik) adj. strangely beautiful or

fascinating; p. 1048explicitexplicit (eks plis� it) adj. plainly and clearly expressed;

definite; p. 1250exploitexploit (eks� ploit) n. bold deed; p. 376expoundexpound (iks pound�) v. to set forth in detail;

explain; p. 86extraordinaryextraordinary (iks tro� r� də ner e) adj. very unusual

or remarkable; p. 987exultationexultation (e� zul ta� shən) n. joy; elation; p. 655

Ffacultyfaculty (fak� əl te) n. capacity of the mind; ability;

aptitude; p. 729fallowfallow (fal� o) n. land plowed but left unseeded;

p. 953fafarcerce (f�ars) n. a humorous drama in which the situation

and characters are greatly exaggerated; p. 1074fatalfatal (fat� əl) adj. causing death, destruction, or

harm; p. 1095feignedfeigned (fand) adj. pretended; imagined; p. 929feudfeud (fud) n. lengthy, bitter conflict or dispute;

p. 1095fidelityfidelity (fi del� ə te) n. the quality or state of being

faithful; p. 1329fleeflee (fle) v. to run away; p. 261fleetfleet (flet) adj. swift; fast; p. 1000flounderflounder (floun� dər) v. struggle to obtain footing;

p. 1269

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GLOSSARY R71

flourish/florecerflourish/florecer v. alcanzar el máximo desarrollo o progreso; prosperar; p. 77

folly/locurafolly/locura s. disparate; hecho o dicho imprudentes o insensatos; p. 303

foremost/primer(o-a)foremost/primer(o-a) adj. antes de todo, destacado o en primer lugar; p. 216

foresight/previsiónforesight/previsión s. preparación o preocupación para atender contingencias o evitar males futuros; p. 721

forged/forjadoforged/forjado adj. formado o moldeado, a menudo mediante golpes o presión después de calentarse; p. 25

forsaken/desolado(a)forsaken/desolado(a) adj. despoblado, desierto; p. 1186

frail/frágilfrail/frágil adj. delicado; débil; p. 1204fray/riñafray/riña s. disputa o contienda ardiente; p. 1349friction/fricciónfriction/fricción n. enfrentamientos o desacuerdos

entre personas o colectividades; p. 1316frivolous/frívolofrivolous/frívolo adj. que no es serio; tonto; p. 87furrow/surcofurrow/surco s. hendidura hecha en la tierra con el

arado; ranura; arruga en la cara; p. 878

Ggarish/chillóngarish/chillón adj. excesivamente brillante;

llamativo; p. 1082genial/cordialgenial/cordial adj. afectuoso y amable; agradable y

amistoso; p. 712glean/cosecharglean/cosechar v. conseguir o lograr resultados luego

de trabajar por ellos; recoger cultivos cuando están maduros; p. 869

grapple/forcejeargrapple/forcejear v. tratar de resolver; luchar; p. 1169

gratify/gratificargratify/gratificar v. satisfacer; complacer; p. 121grimace/muecagrimace/mueca s. mirada de dolor o disgusto;

p. 1269guffaw/carcajearguffaw/carcajear v. reír a carcajadas o vulgarmente;

p. 1153

Hhail/vitorearhail/vitorear v. ovacionar; aclamar; p. 1202heedless/indiferenteheedless/indiferente adj. despreocupado; sin prestar

atención; p. 1203

flourishflourish (flur� ish) v. to exist at the peak of development or achievement; to thrive; p. 77

follyfolly (fol� e) n. foolishness; an irrational and useless undertaking; p. 303

foremostforemost (fo� r� most ) adj. ahead of all others or in the first position; p. 216

foresightforesight (fo�r� s � t ) n. preparation or concern for the future; p. 721

forgedforged (fo� rjd) adj. formed or shaped, often with blows or pressure after heating; p. 25

forsakenforsaken (fo� r sak� ən) adj. deserted or lonely; p. 1186

frailfrail (fral) adj. delicate; fragile; p. 1204frayfray (fra) n. a heated dispute or contest; p. 1349frictionfriction (frik� shən) n. the clashing between two

people or groups of opposed views; p. 1316frivolousfrivolous (friv� ə ləs) adj. not serious; silly; p. 87furrowfurrow (fur� o) n. a long, narrow trench in the ground

made by a plow; a rut, groove, or wrinkle; p. 878

Ggarishgarish (�ar� ish) adj. excessively bright; flashy; gaudy;

p. 1082genialgenial (je� ne əl) adj. giving warmth and comfort;

pleasant or cheerful; p. 712gleanglean (�len) v. to collect slowly and carefully; to gather

crops left on a field after reaping; p. 869

grapplegrapple (�rap� əl) v. to attempt to deal with; to struggle; p. 1169

gratifygratify (�rat� ə f � ) v. to satisfy; indulge; p. 121grimacegrimace (�rim� is) n. a look of pain or disgust;

p. 1269guffawguffaw (�u f�o�) v. to laugh loudly and boisterously;

p. 1153

Hhailhail (hal) v. acclaim; pay tribute to; p. 1202heedlessheedless (hed� lis) adj. careless; not paying

attention; p. 1203

flourish/heedless florecer/indiferente


R72 GLOSSARY

hinder/estorbarhinder/estorbar v. impedir el progreso; obstaculizar; p. 1154

hospitable/hospitalariohospitable/hospitalario adj. que acoge a sus huéspedes con amabilidad y generosidad; p. 1333

hue/matiz(ces)hue/matiz(ces) s. color, grado o tono; p. 477hypocritical/hipócritahypocritical/hipócrita adj. persona que finge ideas,

sentimientos o cualidades diferentes de los que tiene en realidad; p. 772

Iillustrious/ilustreillustrious/ilustre adj. famoso y distinguido; p. 838

imminent/inminenteimminent/inminente adj. que está por ocurrir; próximo; p. 1291

immutably/inmutablementeimmutably/inmutablemente adv. de un modo que no cambia; permanentemente; p. 651

impart/impartirimpart/impartir v. dar; repartir; p. 823impassively/impasiblementeimpassively/impasiblemente adv. sin mostrar

emoción; p. 1181impediment/impedimentoimpediment/impedimento s. obstáculo;

tropiezo; p. 286imperious/imperiosoimperious/imperioso adj. imperativo; urgente;

p. 1171imperturbable/imperturbableimperturbable/imperturbable adj. que no se

emociona o molesta fácilmente; calmado; p. 1141impetuous/impetuosoimpetuous/impetuoso adj. apresurado;

impulsivo; p. 665impinge/tropezarimpinge/tropezar v. golpear; chocar; p. 1142

incensed/indignado(a)incensed/indignado(a) adj. enfadado; irritado; p. 356

incite/incitarincite/incitar v. urgir o provocar; p. 836inconstancy/inconstanciainconstancy/inconstancia s. falta de estabilidad y

permanencia; facilidad para cambiar de opinión, de amigos, etc.; p. 471

indictment/acusaciónindictment/acusación s. denuncia formal; p. 537

indignation/indignaciónindignation/indignación s. ira provocada por algo injusto o malo; p. 727

indissoluble/indisolubleindissoluble/indisoluble adj. que no se puede desunir o separar; p. 353

indomitable/indomableindomitable/indomable adj. incapaz de ser gobernado o sometido; rebelde; p. 1171

hinderhinder (hin� dər) v. to make difficult the progress of; to hold back; p. 1154

hospitablehospitable (hos� pi tə bəl) adj. offering generous and cordial welcome to guests; p. 1333

huehue (hu�) n. color, shade, or tint; p. 477hypocriticalhypocritical (hip ə krit� i kəl) adj. pretending to

believe one thing but doing the opposite; p. 772

Iillustriousillustrious (i lus� tre əs) adj. famous and

distinguished; p. 838imminentimminent (im� ə nənt) adj. about to happen;

impending; p. 1291immutablyimmutably (i mu� tə ble) adv. unchangeably;

permanently; p. 651impartimpart (im p�art�) v. to give; donate; p. 823impassivelyimpassively (im pas� iv le) adv. in an emotionless

manner; p. 1181impedimentimpediment (im ped� ə mənt) n. an obstruction; an

obstacle; p. 286imperiousimperious (im per� e əs) adj. imperative; urgent;

p. 1171imperturbableimperturbable (im pər tur� bə bəl) adj. not easily

excited or disturbed; calm; p. 1141impetuousimpetuous (im pech� ¯ ¯oo əs) adj. characterized by

rushing headlong into things; impulsive; p. 665impingeimpinge (im pinj�) v. to strike or dash; to collide;

p. 1142incensedincensed (in sensd�) v. to make enraged; filled with

anger; p. 356inciteincite (in s� t�) v. to urge or provoke; p. 836inconstancyinconstancy (in kon� stən se) n. changeable nature;

disloyalty; p. 471

indictmentindictment (in d� t� mənt) n. a formal accusation; p. 537

indignationindignation (in di� na� shən) n. anger aroused by something unjust or mean; p. 727

indissolubleindissoluble (in di sol� yə bəl) adj. incapable of being broken; permanent; p. 353

indomitableindomitable (in dom� ə tə bəl) adj. incapable of being subdued or overcome; p. 1171

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GLOSSARY R73

inevitable/inevitableinevitable/inevitable adj. que no se puede evitar o prevenir; p. 711

infamous/infameinfamous/infame adj. desacreditado; de mala reputación; p. 31

infinitely/infinitamenteinfinitely/infinitamente adv. ilimitadamente; sin termino; p. 1120

infirmity/enfermedadinfirmity/enfermedad s. padecimiento; dolencia o alteración de la salud; p. 310

ingenuity/ingenioingenuity/ingenio s. talento; inventiva; p. 666

inseperable/inseparableinseperable/inseparable adj. persona estrechamente unida a otra por vínculos de amor o amistad; imposible de separar; p. 988

insipid/insípidoinsipid/insípido adj. falto de interés; soso; p. 548instigation/instigacióninstigation/instigación s. acto de incitar o impulsar;

p. 148intermittent/intermitenteintermittent/intermitente adj. que se inicia y se

detiene alternativamente; p. 1178intrepid/intrépidointrepid/intrépido adj. temerario; valiente; p. 177

intrinsically/intrínsecamenteintrinsically/intrínsecamente adv. de modo inherente o esencial; dentro de su misma naturaleza; p. 1196

intuitive/intuitivointuitive/intuitivo adj. que se piensa o percibe de inmediato sin necesidad de razonar; p. 651

inveterate/arraigadoinveterate/arraigado adj. firmemente establecido; crónico; empedernido; p. 606

irrational/irracionalirrational/irracional adj. absurdo; incoherente; p. 619

irremediable/irremediableirremediable/irremediable adj. que no se puede evitar o remediar; p. 1289

Jjeopardy/riesgojeopardy/riesgo s. peligro; p. 203jest/bromajest/broma s. lo que se hace o se dice para que alguien

se ría sin mala intención; p. 432jovial/jovialjovial/jovial adj. de buen humor; alegre y festivo;

p. 358

Kkeen/agudo(a)keen/agudo(a) adj. que tiene un punto o filo afilado;

p. 303

inevitableinevitable (i nev� ə tə bəl) adj. incapable of being avoided or prevented; certain; p. 711

infamousinfamous (in� fə məs) adj. having a bad reputation; notorious; p. 31

infinitelyinfinitely (in� fə nit le) adv. boundlessly; endlessly; p. 1120

infirmityinfirmity (in fur� mə te) n. weakness; state of being feeble or unable; p. 310

ingenuityingenuity (in jə n¯¯¯oo� ə te) n. cleverness; inventiveness; p. 666

inseparableinseparable (in sep� ər ə bəl) adj. linked so closely that it is almost impossible to separate; p. 988

insipidinsipid (in sip� id) adj. lacking interest; dull; p. 548instigationinstigation (in stə �a� shən) n. the act of inciting or

urging on; p. 148intermittentintermittent (in tər mit� ənt) adj. alternately

starting and stopping; p. 1178intrepidintrepid (in trep� id) adj. fearless; courageous;

p. 177intrinsicallyintrinsically (in trin� zik le) adv. inherently; in its very

nature; p. 1196intuitiveintuitive (in t¯¯¯oo� ə tiv) adj. known or perceived

without deliberate thought; p. 651inveterateinveterate (in vet� ə rit) adj. firmly established; deep-

rooted; p. 606irrationalirrational (i rash� ən əl) adj. lacking reason; ill-

advised; p. 619irremediableirremediable (ir i me� de ə bəl) adj. not subject to

remedy or cure; p. 1289

Jjeopardyjeopardy (jep� ər de) n. danger; p. 203jestjest ( jest) n. an utterance or act offered humorously or

mockingly; p. 432jovialjovial ( jo� ve al) adj. full of good humor; genial and

playful; p. 358

Kkeenkeen (ken) adj. having a sharp edge or point; p. 303

inevitable/keen inevitable/agudo(a)


R74 GLOSSARY

kindred/semejantekindred/semejante adj. casi igual; análogo; similar; p. 713

Llabyrinth/laberintolabyrinth/laberinto s. lugar que tiene pasajes o

recovecos interconectados; p. 1080lament/lamentolament/lamento s. expresión de pesar; canción o

composición literaria que expresa dolor por una pérdida o muerte; p. 25

languished/lánguido(a)languished/lánguido(a) adj. falto de ánimo; sin fuerzas; p. 272

license/libertinajelicense/libertinaje s. abuso de la libertad sin tener en cuenta a los demás; p. 925

loath/reacioloath/reacio adj. que se opone a hacer algo; remiso; p. 556

loitering/vagandoloitering/vagando v. andar libre y sin rumbo; holgazaneando; p. 868

lugubrious/lúgubrelugubrious/lúgubre adj. afligido, sombrío o tétrico; p. 1351

lumbering/moverse pesadamentelumbering/moverse pesadamente frase verbal. moviéndose trabajosa y torpemente; p. 1358

luminous/luminoso(a)luminous/luminoso(a) adj. que despide luz; p. 1269

Mmagnitude/magnitudmagnitude/magnitud s. de gran tamaño o extensión;

p. 580malicious/maliciosomalicious/malicioso adj. que provoca daño

deliberadamente; p. 559mar/estropearmar/estropear v. maltratar o deteriorar; p. 846meek/sumiso(a)meek/sumiso(a) adj. dócil; obediente; p. 261monarch/monarcamonarch/monarca s. el que rige un estado o territorio,

usualmente por derecho heredado, como un rey o reina; p. 550

morbid/mórbidomorbid/mórbido adj. muy sensible a la muerte o descomposición; que no es saludable ni alegre; p. 1154

mortal/mortalmortal/mortal adj. que ha de morir; p. 268mourn/acongojarmourn/acongojar v. mostrar tristeza o dolor por la

muerte de alguien; lamentar una pérdida; p. 544

kindredkindred (kin� drid) adj. like; allied; similar; p. 713

Llabyrinthlabyrinth (lab� ə rinth ) n. a place containing

winding, interconnected passages; p. 1080lamentlament (lə ment�) n. expression of sorrow; song or

literary composition that mourns a loss or death; p. 25

languishlanguish (lan�� wish) adj. dispirited; lacking vitality; p. 272

licenselicense (l�� səns) n. freedom used irresponsibly; p. 925

loathloath (loth) adj. reluctant; unwilling; p. 556

loiteringloitering (loi� tər in�) adj. standing or lingering idly about a place; p. 868

lugubrious (loo �¯¯¯oo� bre əs) adj. excessively mournful or sorrowful; p. 1351

lumberinglumbering (lum� bər in�) v. moving heavily and clumsily; p. 1358

luminousluminous (l¯¯¯oo� mə nəs) adj. emitting a glowing light; p. 1269

Mmagnitudemagnitude (ma�� nə t¯¯¯ood ) n. greatness of size or

extent; p. 580maliciousmalicious (mə lish� əs) adj. deliberately harmful;

p. 559marmar (ma�r) v. to spoil or damage; p. 846meekmeek (mek) adj. mild; gentle; p. 261monarchmonarch (mon� ərk ) n. one who rules over a state

or a territory, usually by hereditary right, as a king or a queen; p. 550

morbidmorbid (m�or� bid) adj. overly sensitive to death and decay; not cheerful or wholesome; p. 1154

mortalmortal (m�ort� əl) adj. destined to die; p. 268mournmourn (m�orn) v. to show or feel sadness; grieve;

p. 544

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GLOSSARY R75

munificence/munificenciamunificence/munificencia s. gran generosidad; p. 982

mute/mudo(a)mute/mudo(a) adj. incapacidad que impide el habla; sin palabras, sin voz o sin sonidos; p. 256

myriad/miríadamyriad/miríada s. multitud o infinidad de personas, cosas o asuntos; p. 524

Nnegligence/neglicencianegligence/neglicencia s. actitud de descuido o

indiferencia; p. 618

Ooblivion/inconscienciaoblivion/inconsciencia s. estado en que la persona no

se da cuenta de las cosas; p. 309obsolete/obsoleto(a)obsolete/obsoleto(a) adj. desusado, inadecuado;

anticuado, caduco; p. 1358obstinately/obstinadamenteobstinately/obstinadamente adv. de modo que no

cede a ningún razonamiento o persuasión; inflexiblemente; p. 1129

odious/odioso(a)odious/odioso(a) adj. que causa odio, disgusto, o repugnancia; p. 1048

oppressed/oprimidooppressed/oprimido adj. agobiado; abatido; p. 626

Ppageant/espectáculopageant/espectáculo s. función o diversión públicas;

p. 310pall/paliopall/palio s. manto; atmósfera obscura y sombría;

p. 1321parry/esquivarparry/esquivar v. desviar la conversación cuando no se

quiere tratar un tema; p. 1127passion/pasiónpassion/pasión s. sentimiento intenso; afección;

p. 544patronize/ir a un negociopatronize/ir a un negocio v. ser cliente de un

negocio; p. 1336peerless/incomparablepeerless/incomparable adj. sin par; sin igual;

p. 329penance/penitenciapenance/penitencia s. acto realizado para mostrar

arrepentimiento por los pecados; p. 820

munificencemunificence (mu nif� ə səns) n. great generosity; p. 982

mutemute (mut) adj. unable to speak; refraining from producing vocal sounds; p. 256

myriadmyriad (mir� e əd) n. a great or countless number; p. 524

Nnegligencenegligence (ne�� li jəns) n. an air of careless ease or

casualness; p. 618

Ooblivionoblivion (ə bliv� e ən) n. a state of forgetting;

p. 309obsoleteobsolete (ob sə let�) adj. no longer in use; out-

dated; p. 1358obstinatelyobstinately (ob� stə nit le ) adv. in a manner not

yielding to argument, persuasion, or reason; inflexibly; p. 1129

odiousdious (o� de əs) adj. causing hate, disgust, or repugnance; p. 1048

oppressedoppressed (ə prest�) adj. burdened; weighed down; p. 626

Ppageantpageant (paj� ənt) n. an elaborately staged drama or

spectacular exhibition; p. 310pallpall (p�ol) n. an atmosphere of dark and gloom;

p. 1321parryparry (par� e) v. to respond, as to a question or

argument, by warding off or diverting; p. 1127passionpassion (pash� ən) n. powerful emotion; love;

p. 544patronizepatronize (pa� trə n�z ) v. to be a customer of;

p. 1336peerlesspeerless (per� lis) adj. unrivaled; without equal;

p. 329penancepenance (pen� əns) n. an act of self-punishment to

show repentance for a sin; p. 820

munificence/penance munificencia/penitencia


R76 GLOSSARY

perceive/percibirperceive/percibir v. ser consciente de algo; comprender; p. 156

peril/peligroperil/peligro s. riesgo de herida, pérdida o destrucción; p. 201

periphery/periferiaperiphery/periferia s. espacio que rodea un núcleo cualquiera; p. 1358

pernicious/pernicioso(a)pernicious/pernicioso(a) adj. perjudicial; gravemente dañoso; p. 375

perpetual/perpetuo(a)perpetual/perpetuo(a) adj. que dura y permanece; p. 1160

pertain/relacionarpertain/relacionar v. que está conectado o asociado a algo; p. 385

philosophical/filosófico(a)philosophical/filosófico(a) adj. relacionado a los aspectos esenciales de la vida; p. 987

piety/piedadpiety/piedad s. devoción; reverencia; p. 783pivotal/centralpivotal/central adj. de enorme importancia; p. 1306

plenteous/abundanteplenteous/abundante adj. en gran cantidad; copioso; p. 328

plodding/caminar trabajosamenteplodding/caminar trabajosamente frase verbal; moviéndose lenta y pesadamente, con trabajo; p. 1358

pomp/pompapomp/pompa s. acompañamiento suntuoso y solemne; p. 711

precept/preceptoprecept/precepto s. regla o pauta de comportamiento o acción; p. 665

precipice/precipicioprecipice/precipicio s. despeño o caída violenta y profunda, casi vertical; p. 1329

precipitately/precipitadamenteprecipitately/precipitadamente adv. sin pensarlo; apresuradamente; abruptamente; p. 1178

predominance/predominanciapredominance/predominancia s. condición de ser lo más importante, común o notorio; p. 348

presumably/es de suponerpresumably/es de suponer adv. se puede conjeturar o calcular según los indicios; p. 1159

prevail/prevalecerprevail/prevalecer v. perdurar, subsistir; sobresalir, tener superioridad; p. 467

prevarication/engañoprevarication/engaño s. acto de evadir la verdad; mentira; p. 111

prodigious/descomunalprodigious/descomunal adj. extraordinario en tamaño, número o grado; enorme; p. 627

profound/profundoprofound/profundo adj. que se cararacteriza por una gran comprensión o conocimiento; p. 744

prophetic/proféticoprophetic/profético adj. que tiene la cualidad de anticipar futuros sucesos; p. 324

perceiveperceive (pər sev�) v. to become aware of; comprehend; p. 156

perilperil (per� əl) n. risk of injury, loss, or destruction; p. 201

peripheryperiphery (pə rif� ər e) n. the outward or farthest boundary; p. 1358

perniciouspernicious (pər nish� əs) adj. destructive; deadly; p. 375

perpetualperpetual (pər pech� ¯¯¯oo əl) adj. constantly occurring; p. 1160

pertainpertain (pər tan�) v. to be connected to or have relevance to; p. 385

philosophicalphilosophical (phil ə sof� i kəl) adj. concerned with the deeper meaning of life; p. 987

pietypiety (p�� ə te) n. devoutness; reverence; p. 783pivotalpivotal (piv� ət əl) adj. of central or vital importance;

p. 1306plenteousplenteous (plen� te əs) adj. abundant; fruitful;

p. 328ploddingplodding (plod in�) v. walking heavily and/or

slowly; p. 1358

pomppomp (pomp) n. splendid or dignified display; p. 711preceptprecept (pre� sept) n. a rule intended as a guide for

conduct or action; p. 665precipiceprecipice (pres� ə pis) n. a very steep or overhanging

mass of rock as on a cliff; p. 1329precipitatelyprecipitately (pri sip� ə tət le) adv. without

deliberation; hastily; abruptly; p. 1178predominancepredominance (pri dom� ə nəns) n. the state of

being most important, common, or noticeable; p. 348presumablypresumably (pri z¯¯¯oo� mə ble) adv. by reasonable

assumption; p. 1159prevailprevail (pri val�) v. be in general use; succeed;

p. 467prevaricationprevarication (pri var� ə ka shən) n. the act of

evading the truth; lying; p. 111prodigiousprodigious (prə dij� əs) adj. great in size, number, or

degree; enormous; p. 627profoundprofound (prə found�) adj. characterized by deep

understanding or insight; p. 744propheticprophetic (prə fet� ik) adj. having the quality of

foretelling future events; p. 324

GLO

SS

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Y/G

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IOperceive/prophetic percibir/profético


GLO

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GLOSSARY R77

prosaic/prosaicoprosaic/prosaico adj. común; ordinario o vulgar; p. 1177

provoke/provocarprovoke/provocar v. mover o incitar; inducir a alguien a que haga algo; p. 344

prowess/destrezaprowess/destreza s. habilidad para hacer algo bien hecho; arte o primor; p. 401

prudence/prudenciaprudence/prudencia s. buen juicio; sensatez; p. 933

prudent/prudenteprudent/prudente adj. cuidadoso; cauto; p. 120purge/purgapurge/purga s. eliminación de impurezas o elementos

inconvenientes; p. 393

Qquaint/pintoresco(a)quaint/pintoresco(a) adj. agradablemente raro o

peculiar; p. 1047quench/extinguirquench/extinguir v. apagar; aplacar; p. 557

Rradiant/radianteradiant/radiante adj. brillante, como con alegría, amor,

o energía; p. 1251rancid/rancio(a)rancid/rancio(a) adj. que ha adquirido olor o sabor

más fuertes, mejorándose o echándose a perder; p. 1316

rancor/rencorrancor/rencor s. fuerte resentimiento u odio; p. 77

rational/racionalrational/racional adj. que es capaz de razonar; sensible; p. 727

ravage/asolarravage/asolar v. arruinar; destruir; p. 1169reckoning/ajuste de cuentasreckoning/ajuste de cuentas s. calcular ganancias y

pérdidas; p. 156reconciled/reconciliadoreconciled/reconciliado adj. que ha aceptado o

perdonado; p. 537redress/repararredress/reparar v. arreglar; remediar o corregir; p. 379refine/refinarrefine/refinar v. eliminar impurezas; hacer más fino o

más puro; p. 434reiterate/reiterarreiterate/reiterar v. decir o hacer de nuevo; repetir;

p. 1130relinquish/renunciarrelinquish/renunciar v. ceder; rendirse; abandonar;

p. 838repentance/arrepentimientorepentance/arrepentimiento s. pena o pesar de haber

hecho algo; remordimiento; p. 327

prosaicprosaic (pro za� ik) adj. commonplace; ordinary; p. 1177

provokeprovoke (prə vok�) v. to call forth; to stir to action or feeling; p. 344

prowessprowess (prou� is) n. superior ability; skill; p. 401

prudenceprudence (pr¯¯¯ood� əns) n. sound judgment; careful management; p. 933

prudentprudent (pr¯¯¯ood� ənt) adj. cautious; careful; p. 120purgepurge (purj) n. the process of getting rid of impurities

or undesirable elements; p. 393

Qququaintaint (kwant) adj. pleasingly unusual or odd;

p. 1047quenchquench (kwench) v. to put out; to extinguish; p. 557

Rradiantradiant (ra� de ənt) adj. beaming, as with joy, love,

or energy; p. 1251rancidrancid (ran� sid) adj. having an offensive or foul odor

or taste; p. 1316

rancorrancor (ran�� kər) n. bitter malice or resentment; p. 77

rationalrational (rash� ən əl) adj. able to reason; sensible; p. 727

ravageravage (rav ij�) v. to lay waste to; to destroy; p. 1169reckoningreckoning (rek� ən in�) n. a settlement of accounts;

p. 156reconciledreconciled (rek� ən s� ld) adj. brought to acceptance

of; p. 537redressredress (ri dres�) v. to set right; to remedy; p. 379refinedrefined (ri f �nd�) adj. freed from imperfections;

improved; p. 434reiteratereiterate (re it� ə rat ) v. to say or do again; to

repeat; p. 1130 relinquishrelinquish (ri lin�� kwish) v. to give up; put aside;

to abandon; p. 838repentancerepentance (ri pent� əns) n. feeling of sorrow for

wrongdoing; remorse; p. 327

prosaic/repentance prosaico/arrepentimiento


R78 GLOSSARY

replenish/reabastecerreplenish/reabastecer v. llenar o completar de nuevo; agregar o volver a surtir; p. 417

repose/reposarrepose/reposar v. permanecer en quietud; descansar en medio de un trabajo o fatiga; p. 786

reprove/reprenderreprove/reprender v. corregir, regañar o amonestar a alguien desaprobando su conducta; p. 126

respite/pausarespite/pausa s. postergación o intervalo; p. 158restrain/refrenarrestrain/refrenar v. aguantar; reprimir; p. 149retaliation/represaliaretaliation/represalia s. revancha por una agresión;

venganza; p. 973retort/replicarretort/replicar v. responder en una manera ingeniosa,

rápida, o aguda; p. 1052revelation/revelaciónrevelation/revelación s. descubrimiento de algo

secreto u oculto; manifestación de algo oculto; p. 1316

reverently/reverentementereverently/reverentemente adv. con respeto; que muestra veneración; p. 1186

rue/arrepentir(se)rue/arrepentir(se) v. sentir gran pena por algo; desear que algo no hubiera ocurrido; p. 1001

Ssanguine/optimistasanguine/optimista adj. confiado; esperanzado;

p. 746satiety/hartazgosatiety/hartazgo s. sensación de molestia o cansancio

que puede darse por la satisfacción completa o excesiva, esp. de comida o bebida; p. 860

scorn/despreciarscorn/despreciar v. desairar, desdeñar; no apreciar el valor de algo; p. 272

scruple/escrúpuloscruple/escrúpulo s. principio moral o ético que limita una acción; p. 347

scrutiny/escrutinioscrutiny/escrutinio s. examen y averiguación exacta de algo; p. 970

secluded/apartado(a)secluded/apartado(a) adj. retirado, separado, remoto; p. 786

sensible/sensato(a)sensible/sensato(a) adj. prudente, de buen juicio, que piensa antes de actuar; p. 1188

shroud/mortajashroud/mortaja s. tela o paño para el entierro; p. 30siege/sitiosiege/sitio s. asedio; cerco puesto a una plaza o

fortaleza para combatirla o apoderarse de ella; p. 396

sinew/tendónsinew/tendón s. tejido fibroso; p. 1301slander/calumniarslander/calumniar v. desacreditar; difamar; p. 148

replenishreplenish (ri plen� ish) v. to refill or make complete again; to add a new supply to; p. 417

reposerepose (ri poz�) v. lie at rest; rest from work or toil; p. 786

reprovereprove (ri pr¯¯¯oov�) v. to scold or correct, usually gently or out of kindness; p. 126

respiteespite (res� pit) n. a delay or extension; p. 158restrainrestrain (ri stran�) v. to hold back; restrict; p. 149retaliationretaliation (ri tal e a� shən) n. getting even with;

revenge; p. 973retoretortrt (ri to�rt�) v. to reply in a witty, quick, or sharp

manner; p. 1052revelationrevelation (rev ə la� shən) n. the act of making

something known; something that is revealed; p. 1316

reverentlyreverently (rev� rənt le) adv. respectfully; with deep affection or veneration; p. 1186

ruerue (r¯¯¯oo) n. sorrow; remorse; p. 1001

Ssanguinesanguine (san�� win) adj. confident; optimistic;

p. 746satietysatiety (sə t�� ə te) n. a feeling of weariness or even

dislike of something caused by satisfying an appetite or desire for it in excess; p. 860

scornscorn (sk�orn) v. to reject as contemptible or unworthy; p. 272

scruplescruple (skr¯¯¯oo� pəl) n. a moral or ethical principle that restrains action; p. 347

scrutinyscrutiny (skr¯¯¯oot� ən e) n. close watch or examination; p. 970

secludedsecluded (si kl¯¯¯oo� did) adj. shut off from others; undisturbed; p. 786

sensiblesensible (sen� sə bəl) adj. having good judgment or sound thinking; p. 1188

shroudshroud (shroud) n. burial cloth; p. 30siegesiege (sej) n. blockade; the surrounding of a fortified

place by an opposing army intending to invade it; p. 396

sinewsinew (sin� u) n. a tendon; p. 1301slanderslander (slan� dər) v. to utter false or malicious

statements about; p. 148

GLO

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IOreplenish/slander reabastecer/calumniar


GLO

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GLOSSARY R79

sloth/flojerasloth/flojera s. pereza; p. 285solemn/solemnesolemn/solemne adj. serio, formal; grave, sombrío;

p. 1157solicitous/solícitosolicitous/solícito adj. preocupado o interesado;

deseoso de servir; p. 98sordid/sórdido(a)sordid/sórdido(a) adj. sucio; mísero; avariento;

mezquino; p. 782spellbound/embelesado(a)spellbound/embelesado(a) adj. fascinado; que arroba

y cautiva los sentidos; p. 1203spite/maliciaspite/malicia s. mala intención; maldad; p. 466

spurn/rechazarspurn/rechazar v. despreciar; ahuyentar; p. 845squalid/míserosqualid/mísero adj. sucio o deteriorado debido a la

pobreza y el descuido; p. 1080stalking/acechandostalking/acechando v. observar y mirar a escondidas;

vigilar o aguardar; p. 261stealthy/furtivo(a)stealthy/furtivo(a) adj. hecho a escondidas; sigiloso;

p. 339strategem/estratagemastrategem/estratagema s. engaño o fingimiento; ardid

de guerra para conseguir un objetivo; p. 595stridently/estridentementestridently/estridentemente adv. de modo áspero y

chirriante; p. 1346strife/conflictostrife/conflicto n. combate, contienda, disputa; p. 477subdue/sometersubdue/someter v. conquistar; subyugar; pacificar;

p. 268, 544subside/decaersubside/decaer v. calmar(se), pasar(se); p. 974subterranean/subterráneosubterranean/subterráneo adj. que opera o existe

bajo la superficie; debajo de la tierra; p. 528suffice/bastarsuffice/bastar v. ser suficiente; p. 137superannuated/anticuadosuperannuated/anticuado adj. pasado de moda o

fuera de uso; p. 1307superfluous/superfluosuperfluous/superfluo adj. innecesario; sobrante;

p. 549supplant/suplantarsupplant/suplantar v. tomar el lugar de; p. 1080

suppressed/contenido(a)suppressed/contenido(a) adj. reprimir; refrenar; p. 256

suppressing/supresiónsuppressing/supresión s. prohibición de la publicación o circulación; censura; p. 1073

surfeited/saciado(a)surfeited/saciado(a) adj. harto; que ha satisfecho el apetito con comida y bebida; p. 340

sustenance/sustentosustenance/sustento s. alimento y otros medios que conservan la vida; p. 566

slothsloth (sl�oth) n. laziness; p. 285solemnsolemn (sol� əm) adj. serious; somber; p. 1157

solicitoussolicitous (sə lis� ə təs) adj. full of concern; p. 98

sordidsordid (so�r� did) adj. filthy; selfish; greedy; mean; p. 782

spellboundpellbound (spel� bound) adj. fascinated; affected as if by enchantment; p. 1203

spitespite (sp� t) n. desire to annoy or harm; ill will; p. 466spurnspurn (spurn) v. to reject or drive off; p. 845squalidsqualid (skwol� id) adj. dirty or broken down due to

poverty or neglect; p. 1080stalkingstalking (st�o� kin�) v. tracking; pursuing; p. 261

stealthystealthy (stel� the) adj. secret; sly; p. 339

stratagemstratagem (strat� ə jəm) n. a deception; a military tactic designed to surprise an enemy; p. 595

stridentlystridently (str �d� ənt le) adv. in a harsh, grating manner; p. 1346

strifestrife (str � f) n. unrest or violent conflict; p. 477subduesubdue (səb d¯¯¯oo�) v. conquer; overcome; quiet;

p. 268, 544subsidesubside (səb s�d�) v. to give way or end; p. 974subterraneansubterranean (səb tə ra� ne ən) adj. below the

earth’s surface; underground; p. 528sufficesuffice (sə f �s�) v. to be enough for; p. 137superannuatedsuperannuated (s¯¯¯oo pər an� u a tid) adj. out of

date; p. 1307superfluoussuperfluous (soo pur� fl¯¯¯oo əs) adj. beyond what is

necessary; p. 549supplantsupplant (sə plant�) v. to take the place of, often

unfairly; p. 1080suppressedsuppressed (sə presd�) adj. subdued; held back;

p. 256suppressingsuppressing (sə pres� in�) n. prohibiting publication

or circulation; censoring; p. 1073surfeitedsurfeited (sur� fit əd) adj. overfed; p. 340

sustenancesustenance (sus� tə nəns) n. food or other items that support life; p. 566

sloth/sustenance flojera/sustento


R80 GLOSSARY

GLO

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AR

IO Tteemingteeming (tem� in�) adj. full; at the point of

overflowing; p. 869temeritytemerity (tə mer� ə te) n. excessive or reckless

boldness; rashness; p. 1348tempesttempest (tem� pist) n. a violent storm; a violent

outburst or disturbance; p. 295thresholdthreshold (thresh� hold ) n. doorway; entranceway;

p. 1000thwartthwart (thw�ort) v. to prevent from doing or achieving

something; p. 1154transgresstransgress (trans �res�) v. to break or violate a law;

to go beyond a limit; p. 522transienttransient (tran� shənt) adj. lasting only a brief time;

temporary; p. 839treacherytreachery (treach� ər e) n. willful betrayal of trust;

treason; p. 257treadtread (tred) v. to walk or step upon; p. 296trifltriflinging (tr�� flin�) n. treating someone or something

as unimportant; showing a lack of proper respect; p. 982

trudgetrudge (truj) v. to walk wearily or laboriously; p. 1099

tumulttumult (t¯¯¯oo� məlt) n. disorder; an uproar; p. 857tyranttyrant (t �� rənt) n. a cruel, oppressive ruler; a ruler

with unlimited power; p. 302

Uunconfinedunconfined (un kən f �nd�) adj. not shut in;

unrestricted; p. 472uncouthuncouth (un k¯¯¯ooth�) adj. crude; lacking polish,

culture, or refinement; p. 713unperturbedunperturbed (un pər turbd�) adj. undisturbed; not

troubled; p. 1322unsavoryunsavory (un sa� vər e) adj. sinister; morally

questionable; p. 1071usurperusurper (u surp� ər) n. one who seizes the power,

position, or rights of another by force; p. 402

Tteeming/rebosanteteeming/rebosante adj. muy lleno; lleno en grado

extremo; p. 869temerity/temeridadtemerity/temeridad s. excesivo atrevimiento o

imprudencia; audacia; p. 1348tempest/tempestadtempest/tempestad s. tormenta fuerte y violenta;

agitación de los ánimos; p. 295threshold/umbralthreshold/umbral s. entrada; parte inferior o escalón;

p. 1000thwart/obstruirthwart/obstruir v. impedir que se haga o logre algo;

p. 1154transgress/transgredirtransgress/transgredir v. violar una ley; sobrepasar un

límite; p. 522transient/transitoriotransient/transitorio adj. que tan sólo dura un tiempo

breve; temporal; p. 839treachery/traicióntreachery/traición s. acción que rompe la confianza o

fidelidad; deslealtad; p. 257tread/pisartread/pisar v. caminar o poner el pie encima; p. 296trifling/jugando (con)trifling/jugando (con) v. tratar algo o a alguien sin la

consideración o el respeto que merece; no respetar o burlarse de alguien; p. 982

trudge/caminar (con dificultad)trudge/caminar (con dificultad) frase verbal marchar penosamente y con mucho trabajo; p. 1099

tumult/tumultotumult/tumulto s. confusión; alboroto; p. 857tyrant/tirano(a)tyrant/tirano(a) s. gobernante que abusa de su poder

y autoridad de manera injusta; quien tiene el poder absoluto; p. 302

Uunconfined/ilimitado(a)unconfined/ilimitado(a) adj. que no tiene límites; sin

restricciones p. 472uncouth/tosco(a)uncouth/tosco(a) adj. burdo, grosero; sin delicadeza,

cultura o educación; p. 713unperturbed/imperturbableunperturbed/imperturbable adj. sereno; tranquilo;

p. 1322unsavory/ultrajanteunsavory/ultrajante adj. ofensivo; deshonroso;

p. 1071usurper/usurpadorusurper/usurpador s. quien toma el poder, la posición

o los derechos de otro mediante la fuerza; p. 402

teeming/usurper rebosante/usurpador


GLO

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GLOSSARY R81

Vvacantvacant (va� kənt) adj. empty; p. 969vainvain (van) adj. conceited; excessively pleased with

oneself; p. 268

valorvalor (val� ər) n. courage and boldness, as in battle; bravery; p. 257

vendorvendor (ven� dər) n. one who sells goods; p. 1297venerationveneration (ven ə ra� shən) n. deep respect or

reverence; p. 661vexvex (veks) v. disturb; trouble; irritate; p. 1113

vigilancevigilance (vij� ə ləns) n. careful watchfulness; p. 651vilevile (v �l) adj. repulsive or disgusting; p. 1099

Wwanwan (won) adj. pale; p. 272witheringwithering (with� ər in�) v. becoming dry; shriveling

from lack of moisture; p. 1357writhingwrithing (r� th� in�) adj. twisting, as in pain; p. 31

wrylywryly (r�� le) adv. in a twisted or distorted manner; p. 1301

Zzealouszealous (zel� əs) adj. filled with intense, enthusiastic

devotion; p. 664zenithzenith (ze� nith) n. a peak; the greatest point; p. 744

Vvacant/desocupado(a)vacant/desocupado(a) adj. vacío; p. 969vain/vanidoso(a)vain/vanidoso(a) adj. presuntuoso; deseo excesivo

de mostrar las cualidades y de que se le reconozcan y alaben; p. 268

valor/valentíavalor/valentía s. hecho heroico con arrojo y coraje; bravura; p. 257

vendor/vendedorvendor/vendedor s. el que vende algo; p. 1297veneration/veneraciónveneration/veneración s. profundo respeto o

adoración; p. 661vex/enfadarvex/enfadar v. disgustar; enojar; irritar;

p. 1113vigilance/vigilanciavigilance/vigilancia s. atención cuidadosa; p. 651vile/repugnantevile/repugnante adj. asqueroso o desagradable;

p. 1099

Wwan/pálido(a)wan/pálido(a) adj. decolorado; p. 272withering/marchitandowithering/marchitando v. ponerse mustio; resecarse y

perder frescura; p. 1357writhing/retorcidowrithing/retorcido adj. que flexiona el cuerpo, como

cuando se siente dolor; p. 31wryly/tergiversadamentewryly/tergiversadamente adv. de modo distorsionado

o enredado; p. 1301

Zzealous/fervorosozealous/fervoroso adj. lleno de entusiasmo y

devoción; p. 664zenith/cenitzenith/cenit s. apogeo; punto máximo; p. 744

vacant/zenith desocupado(a)/cenit


ACADEMIC WORD LIST

R82 ACADEMIC WORD LIST

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

analysisapproachareaassessmentassumeauthorityavailablebenefitconceptconsistentconstitutionalcontextcontractcreatedatadefinitionderiveddistributioneconomicenvironmentestablishedestimateevidenceexportfactorsfinancialformulafunctionidentifiedincomeindicateindividual

interpretationinvolvedissueslaborlegallegislationmajormethodoccurpercentperiodpolicyprincipleprocedureprocessrequiredresearchresponserolesectionsectorsignificantsimilarsourcespecificstructuretheoryvariables

Sublist Two

achieveacquisitionadministration

affectappropriateaspectsassistancecategorieschaptercommissioncommunitycomplexcomputerconclusionconductconsequencesconstructionconsumercreditculturaldesigndistinctionelementsequationevaluationfeaturesfinalfocusimpactinjuryinstituteinvestmentitemsjournalmaintenancenormal

obtainedparticipationperceivedpositivepotentialpreviousprimarypurchaserangeregionregulationsrelevantresidentresourcesrestrictedsecurityselectsitesoughtstrategiessurveytexttraditionaltransfer

Sublist Three

alternativecircumstancescommentscompensationcomponentsconsentconsiderable

constantconstraintscontributionconventioncoordinationcorecorporatecorrespondingcriteriadeductiondemonstratedocumentdominantemphasisensureexcludedframeworkfundsillustratedimmigrationimpliesinitialinstanceinteractionjustificationlayerlinklocationmaximumminoritiesnegativeoutcomespartnership

Sublist One

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ACADEMIC WORD LIST R83

AC

AD

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D L

IST

philosophyphysicalproportionpublishedreactionregisteredrelianceremovedschemesequencesexshiftspecifiedsufficienttasktechnicaltechniquestechnologyvalidityvolume

Sublist Four

accessadequateannualapparentapproximatedattitudesattributedcivilcodecommitmentcommunicationconcentrationconferencecontrastcycledebatedespitedimensionsdomesticemergederror

ethnicgoalsgrantedhencehypothesisimplementationimplicationsimposedintegrationinternalinvestigationjoblabelmechanismobviousoccupationaloptionoutputoverallparallelparametersphasepredictedprincipalpriorprofessionalprojectpromoteregimeresolutionretainedseriesstatisticsstatusstresssubsequentsumsummaryundertaken

Sublist Five

academicadjustment

alteramendmentawarecapacitychallengeclausecompoundsconflictconsultationcontactdeclinediscretiondraftenableenergyenforcemententitiesequivalentevolutionexpansionexposureexternalfacilitatefundamentalgeneratedgenerationimageliberallicenselogicmarginalmedicalmentalmodifiedmonitoringnetworknotionobjectiveorientationperspectivepreciseprimepsychology

pursueratiorejectedrevenuestabilitystylessubstitutionsustainablesymbolictargettransitiontrendversionwelfarewhereas

Sublist Six

abstractaccurateacknowledgedaggregateallocationassignedattachedauthorbondbriefcapablecitedcooperativediscriminationdisplaydiversitydomaineditionenhancedestateexceedexpertexplicitfederalfeesflexibility

furthermoregenderignoredincentiveincidenceincorporatedindexinhibitioninitiativesinputinstructionsintelligenceintervallecturemigrationminimumministrymotivationneutralneverthelessoverseasprecedingpresumptionrationalrecoveryrevealedscopesubsidiarytapestracetransformationtransportunderlyingutility

Sublist Seven

adaptationadultsadvocateaidchannelchemicalclassical


R84 ACADEMIC WORD LIST

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compriseconfirmedcontraryconvertedcoupledecadesdefinitedenydifferentiationdisposaldynamiceliminateempiricalequipmentextractfilefinitefoundationglobalgradeguaranteehierarchicalidenticalideologyinferredinnovationinsertinterventionisolatedmediamodeparadigmphenomenonpriorityprohibitedpublicationquotationreleasereversesimulationsolelysomewhat

submittedsuccessivesurvivethesistopictransmissionultimatelyuniquevisiblevoluntary

Sublist Eight

abandonaccompaniedaccumulationambiguousappendixappreciationarbitraryautomaticallybiaschartclarityconformitycommoditycomplementcontemporarycontradictioncrucialcurrencydenotedetecteddeviationdisplacementdramaticeventuallyexhibitexploitationfluctuationsguidelineshighlightedimplicitinduced

inevitablyinfrastructureinspectionintensitymanipulationminimizednuclearoffsetparagraphpluspractitionerspredominantlyprospectradicalrandomreinforcedrestorerevisionscheduletensionterminationthemetherebyuniformvehicleviavirtuallyvisualwidespread

Sublist Nine

accommodationanalogousanticipatedassuranceattainedbehalfbulkceasescoherencecoincidecommencedconcurrent

confinedcontroversyconverselydevicedevoteddiminisheddistorteddurationerosionethicalformatfoundedincompatibleinherentinsightsintegralintermediatemanualmaturemediationmediummilitaryminimalmutualnormsoverlappassiveportionpreliminaryprotocolqualitativerefinerelaxedrestraintsrevolutionrigidroutescenariospheresubordinatesupplementarysuspendedteam

temporarytriggerunifiedviolationvision

Sublist Ten

adjacentalbeitassemblycollapsecolleaguescompiledconceivedconvinceddepressionencounteredenormousforthcominginclinationintegrityintrinsicinvokedlevylikewisenonethelessnotwithstandingoddongoingpanelpersistentposedreluctantso-calledstraightforwardundergowhereby


INDEX OF SKILLS

References beginning with R refer to handbook pages.

INDEX OF SKILLS R85

Literary ConceptsAbsurd, Theater of theAbsurd, Theater of the. . SeeSee Theater of Theater of

the Absurd.the Absurd.Act Act R1R1Allegory Allegory 154, 169, 533, 539, R1154, 169, 533, 539, R1Alliteration Alliteration 192, 276, 278, 451, 794, 800, 192, 276, 278, 451, 794, 800,

803, 876, 936, 1206, 1356, 1359, R1803, 876, 936, 1206, 1356, 1359, R1Allusion Allusion 520, 530, 600, 733, 1118, R1520, 530, 600, 733, 1118, R1Ambiguity Ambiguity 1340, R11340, R1Analogy Analogy 23, 52, 89, 124, 140, 197, 206, 23, 52, 89, 124, 140, 197, 206,

210, 217, 260, 264, 271, 274, 289, 438, 210, 217, 260, 264, 271, 274, 289, 438, 442, 444, 475, 479, 553, 561, 593, 600, 442, 444, 475, 479, 553, 561, 593, 600, 843, 847, 923, 999, 1046, 1078, 1123, 843, 847, 923, 999, 1046, 1078, 1123, 1137, 1155, 1185, 1190, 1268, 1305, 1137, 1155, 1185, 1190, 1268, 1305, 1332, R11332, R1

Anapest Anapest R1, R7R1, R7Anecdote Anecdote R1R1Antagonist Antagonist 191, 1075, R1191, 1075, R1Anthropomorphism Anthropomorphism 1319, 1324, R11319, 1324, R1Antithesis Antithesis 601601Aphorism Aphorism R1R1Apostrophe Apostrophe 271, 274, R1271, 274, R1Archetype Archetype 172, 191, 205, R1–R2172, 191, 205, R1–R2Argument Argument 124, 140, 352, 368, 425, 427, 124, 140, 352, 368, 425, 427,

428, 443, 456, 458, 603, 674, 733, 428, 443, 456, 458, 603, 674, 733, 1150, 1155, 1189, R21150, 1155, 1189, R2

Aside Aside 305, 336, R2305, 336, R2Assonance Assonance 794, 876, 931, 936, 1201, 794, 876, 931, 936, 1201,

1206, 1261, R21206, 1261, R2Assumption Assumption 1069, 1076, 13401069, 1076, 1340Atmosphere Atmosphere 316, 336, 798, R2316, 336, 798, R2Attributions Attributions 13111311Author’s craft Author’s craft 22, 58, 82, 92, 145, 196, 22, 58, 82, 92, 145, 196,

254, 259, 265, 270, 275, 279, 283, 254, 259, 265, 270, 275, 279, 283, 292–293, 336, 351, 414, 424, 430, 445, 292–293, 336, 351, 414, 424, 430, 445, 455, 464, 469, 474, 479, 516, 532, 542, 455, 464, 469, 474, 479, 516, 532, 542, 546, 552, 564, 574, 585, 586, 602, 614, 546, 552, 564, 574, 585, 586, 602, 614, 623, 628, 648, 659, 708, 717, 725, 742, 623, 628, 648, 659, 708, 717, 725, 742, 754, 768, 780, 795, 799, 833, 842, 847, 754, 768, 780, 795, 799, 833, 842, 847, 850, 865, 879, 922, 930, 939, 951, 956, 850, 865, 879, 922, 930, 939, 951, 956, 966, 977, 979, 984, 994, 998, 1003, 966, 977, 979, 984, 994, 998, 1003, 1045, 1068, 1077, 1089, 1093, 1097, 1045, 1068, 1077, 1089, 1093, 1097,

1106, 1116, 1117, 1122, 1138, 1149, 1106, 1116, 1117, 1122, 1138, 1149, 1155, 1166, 1174, 1184, 1192, 1200, 1155, 1166, 1174, 1184, 1192, 1200, 1242, 1245, 1246, 1258, 1267, 1271, 1242, 1245, 1246, 1258, 1267, 1271, 1275, 1278, 1284, 1295, 1304, 1313, 1275, 1278, 1284, 1295, 1304, 1313, 1318, 1327, 1331, 1344, 1354, 13551318, 1327, 1331, 1344, 1354, 1355

Author’s meaning Author’s meaning 1107, 11091107, 1109Author’s purpose Author’s purpose 115, 154, 169, 170, 115, 154, 169, 170,

280, 282, 288, 573, 609, 765, 854, 280, 282, 288, 573, 609, 765, 854, 863, 1009, 1087, 1098, 1100, R2, R24863, 1009, 1087, 1098, 1100, R2, R24

Author’s style Author’s style 53, 141, 170, 192, 289, 313, 53, 141, 170, 192, 289, 313, 405, 443, 531, 540, 562, 585, 601, 615, 405, 443, 531, 540, 562, 585, 601, 615, 620, 621, 643, 657, 668, 669, 734, 765, 620, 621, 643, 657, 668, 669, 734, 765, 778, 794, 864, 937, 977, 992, 1087, 778, 794, 864, 937, 977, 992, 1087, 1116, 1164, 1191, 1207, 1256, 1294, 1116, 1164, 1191, 1207, 1256, 1294, 1311, 1325, 13541311, 1325, 1354

Autobiography Autobiography 146, R2146, R2Ballad Ballad 866, R2866, R2

folk folk 208–209208–209literary literary 827827

Ballad stanza Ballad stanza 210, 217, 827, R2210, 217, 827, R2Bias Bias 1173, 1193, 1198, R2, R251173, 1193, 1198, R2, R25Biography Biography 660, 668, 794, R2–R3660, 668, 794, R2–R3Blank verse Blank verse 315, 405, R3315, 405, R3Byronic hero Byronic hero 848–849 848–849

See alsoSee also Hero. Hero.Cadence Cadence R3R3Caesura Caesura 591, R3591, R3Caricature Caricature 620620Carpe diemCarpe diem 453, 456, 458, 478, R3453, 456, 458, 478, R3Cavalier poetry Cavalier poetry 452–453, R3452–453, R3Character Character 210, 217, 218–225, 387, 405, 210, 217, 218–225, 387, 405,

620, 1123, 1137, 1193, 1198, 1210, 1212, 620, 1123, 1137, 1193, 1198, 1210, 1212, 1272, 1275, 1294, 1305, 1339, R3 1272, 1275, 1294, 1305, 1339, R3 See alsoSee also Characterization; Stereotype. Characterization; Stereotype.dynamic dynamic 217, R3217, R3fl at fl at 1198, R31198, R3foil foil 352, 368, R7352, 368, R7main main 1193, R31193, R3minor minor 1193, R31193, R3round round 1198, R31198, R3static static 217, R3217, R3

Characterization Characterization 93, 140, 539, 769, 777, 93, 140, 539, 769, 777, 967, 976, 1053, 1137, 1305, 1310, R3967, 976, 1053, 1137, 1305, 1310, R3direct direct 115, 539, 769, 967, 1137, R3115, 539, 769, 967, 1137, R3indirect indirect 115, 539, 769, 967, 1137, R3115, 539, 769, 967, 1137, R3

Chronicle Chronicle 8383

Classicism Classicism 452–453452–453Cliché Cliché R3R3Climax Climax 369, 1053, 1075, 1211, 1213 369, 1053, 1075, 1211, 1213

See alsoSee also Plot. Plot.Closed couplet Closed couplet 591591Colloquialism Colloquialism R3R3Comedy Comedy R3R3

heroic heroic R3R3Comic devices Comic devices 11981198Comic relief Comic relief 351, R4351, R4Conceits Conceits 428, 442, R4428, 442, R4

elaborate elaborate 452452metaphysical metaphysical 428, 438, 442, R4428, 438, 442, R4

Conclusion Conclusion 851, 853851, 853Confl ict Confl ict 351, 1208–1215, 1285, R13351, 1208–1215, 1285, R13

external external 23, 52, 79, 191, 530, 1075, 23, 52, 79, 191, 530, 1075, 1212, 1293, 1305, 1310, R41212, 1293, 1305, 1310, R4internal internal 23, 52, 79, 191, 530, 1075, 23, 52, 79, 191, 530, 1075, 1164, 1212, 1293, R41164, 1212, 1293, R4

Connotation Connotation 271, 274, 611, 660, 668, 271, 274, 611, 660, 668, 726, 733, 948, 1173, 1247, 1255, R4, 726, 733, 948, 1173, 1247, 1255, R4, R20R20

Consonance Consonance 794, 876, 931, 936, 1201, 794, 876, 931, 936, 1201, 1206, 1261, R41206, 1261, R4

Context Context 55, 5855, 58cultural cultural 10–11, 68, 242–243, 409, 10–11, 68, 242–243, 409, 463, 506–507, 698–699, 743, 752, 463, 506–507, 698–699, 743, 752, 912–913, 992, 1034–1035, 1061, 1076, 912–913, 992, 1034–1035, 1061, 1076, 1232–1233, 1257, 12661232–1233, 1257, 1266historical historical 10–11, 193, 242–243, 10–11, 193, 242–243, 506–507, 698–699, 760, 764, 912–913, 506–507, 698–699, 760, 764, 912–913, 938, 947, 992, 1034–1035, 1076, 938, 947, 992, 1034–1035, 1076, 1232–12331232–1233social social 10–11, 242–243, 506–507, 10–11, 242–243, 506–507, 698–699, 912–913, 1034–1035, 698–699, 912–913, 1034–1035, 1232–12331232–1233

Conversational style Conversational style 452452Couplet Couplet 253, 300, 591, R4, R16253, 300, 591, R4, R16

closed closed 591591end-stopped end-stopped 591591heroic heroic 453, 585, 591453, 585, 591

CrisisCrisis. . SeeSee Plot. Plot.Cultural context Cultural context 10–11, 68, 242–243, 10–11, 68, 242–243,

409, 454, 463, 506–507, 643, 409, 454, 463, 506–507, 643, 698–699, 743, 752, 912–913, 992, 698–699, 743, 752, 912–913, 992,

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R86 INDEX OF SKILLS

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1034–1035, 1061, 1076, 1232–1233, 1034–1035, 1061, 1076, 1232–1233, 1257, 12661257, 1266

Dactyl Dactyl R4, R7R4, R7Denotation Denotation 271, 274, 611, 660, 668, 726, 271, 274, 611, 660, 668, 726,

733, 948, 1173, 1247, 1255, R4, R20733, 948, 1173, 1247, 1255, R4, R20Dénouement (resolution) Dénouement (resolution) 369 369

See alsoSee also Plot. Plot.Description Description 967, 976, 1163, R4967, 976, 1163, R4

spatial order spatial order 531531Dialect Dialect 718, 723, 1247, 1332, 1338, R4718, 723, 1247, 1332, 1338, R4Dialogue Dialogue 53, 170, 205, 562, 769, 777, 53, 170, 205, 562, 769, 777,

778, 1209, 1212, 1215, 1311, R4778, 1209, 1212, 1215, 1311, R4Diary Diary 553, 561, R4553, 561, R4Diction Diction 405, 585, 786, 793, 854, 863, 405, 585, 786, 793, 854, 863,

1190, 1324, R51190, 1324, R5Dimeter Dimeter R5R5Drama Drama R5R5

absurdists absurdists 12771277classical Greek classical Greek 20–2120–21contemporary contemporary 12771277kitchen-sink kitchen-sink 12761276medieval medieval 152–153152–153

Dramatic irony Dramatic irony 116, 123, 404, 851, 1004, 116, 123, 404, 851, 1004, 1185, 1190 1185, 1190 See alsoSee also Irony. Irony.

Dramatic monologue Dramatic monologue 937, 980, 983, 937, 980, 983, 1008, R51008, R5

Dramatic poetry Dramatic poetry R5R5Dramatic structure Dramatic structure R5R5Dynamic character Dynamic character 217, R3217, R3Elegy Elegy 446, 448, 709, 715, 923, R5446, 448, 709, 715, 923, R5Emotional appeals Emotional appeals 427, 675427, 675End rhyme End rhyme R5, R15R5, R15End-stopped couplet End-stopped couplet 591, R5591, R5English languageEnglish language

Middle English Middle English 90–9190–91Old English Old English 80, 9080, 90

English (Shakespearean) Sonnet English (Shakespearean) Sonnet 252, 252, 253, 866, R16253, 866, R16

Enjambment Enjambment 781, 785, R5781, 785, R5EpicEpic. . SeeSee alsoalso Mock-epic. Mock-epic.

folk folk R5R5form form 20–2120–21hero hero 21, 52, 53, R521, 52, 53, R5literary literary R5R5

Epigram Epigram 587, R5587, R5Epigraph Epigraph R5R5Epilogue Epilogue R6R6Epiphany Epiphany 1046, 1067, 1139, 1146, R61046, 1067, 1139, 1146, R6

Epistle Epistle 743, R6743, R6Epistolary novel Epistolary novel 743743Epitaph Epitaph 709, 715, R6709, 715, R6Epithet Epithet R6R6Essay Essay 284, 591, 612284, 591, 612

formal formal 551, 612–613, R6551, 612–613, R6informal (personal) informal (personal) 547, 551, 613, R6547, 551, 613, R6periodical periodical 615615

Ethical appeals Ethical appeals 676676Exaggeration Exaggeration 573 573

See alsoSee also Hyperbole. Hyperbole.Exclamation Exclamation 871, 874871, 874Exemplum Exemplum 116, 141, R6116, 141, R6Exposition Exposition 369, 985, 991 369, 985, 991

See alsoSee also Plot. Plot.Extended metaphor Extended metaphor 603, 609, R6603, 609, R6Fable Fable 1319, R61319, R6Fairy tale Fairy tale R6R6Falling action Falling action 369 369

See alsoSee also Plot. Plot.Fantasy Fantasy R6R6Farce Farce R6R6Fiction Fiction R6R6

historical historical 623, 628623, 628Figurative language Figurative language 260, 263, 600, 843, 260, 263, 600, 843,

879, 1303, R6879, 1303, R6apostrophe apostrophe 271, 274, R1271, 274, R1hyperbole hyperbole 475, 478, 1173, R8475, 478, 1173, R8metaphor metaphor 294, 297, 312, 431, 930, 294, 297, 312, 431, 930, 1098, 1100, 1354, R101098, 1100, 1354, R10oxymoron oxymoron 874, 1201, 1206, R12874, 1201, 1206, R12personifi cation personifi cation 123, 274, 297, 312, 123, 274, 297, 312, 431, 437, 517, 519, 1109, 1206, 1268, 431, 437, 517, 519, 1109, 1206, 1268, 1270, R131270, R13simile simile 294, 297, 298, 300, 312, 431, 294, 297, 298, 300, 312, 431, 930, 1098, 1100, 1354, R16930, 1098, 1100, 1354, R16symbol symbol 51, 297, R1851, 297, R18

Figure of speech Figure of speech 294, 437, 1201, 1206, 294, 437, 1201, 1206, R6R6

Flashback Flashback 1175, 1183, R71175, 1183, R7Flash-forward Flash-forward R7R7Flat character Flat character 1198 1198

See alsoSee also Character. Character.Foil Foil 352, 368, R7352, 368, R7Folk ballads Folk ballads 208–209208–209Folklore Folklore R7R7Folktale Folktale R7R7Foot Foot 431, 764, 995, R7431, 764, 995, R7Foreshadowing Foreshadowing 1123, 1136, 1338, R71123, 1136, 1338, R7

Form Form 465, 752, 866, 870, 874, 942, 1206, 465, 752, 866, 870, 874, 942, 1206, R7R7epic epic 20–2120–21

Formal essay Formal essay 551, 612–613 551, 612–613 See alsoSee also Essay. Essay.

Frame story Frame story 93, R793, R7Free verse Free verse 1314, 1317, R71314, 1317, R7Genre Genre 21, 150, 217, 264, 406, 540, 669, 21, 150, 217, 264, 406, 540, 669,

778, 781, 785, 1092, 1277, 1325, R7778, 781, 785, 1092, 1277, 1325, R7Gothic novel Gothic novel 834, 840, R7834, 840, R7Greek drama, classical Greek drama, classical 20–2120–21Haiku Haiku R7–R8R7–R8Heptameter Heptameter R8R8HeroHero

Byronic Byronic 848–849, R8848–849, R8epic epic 21, 52, 53, R521, 52, 53, R5

Heroic comedy Heroic comedy R3R3Heroic couplet Heroic couplet 453, 585, R8453, 585, R8Heroic stanza Heroic stanza R8R8Hexameter Hexameter R8R8Historical context Historical context 10–11, 193, 242–243, 10–11, 193, 242–243,

506–507, 698–699, 760, 764, 506–507, 698–699, 760, 764, 829–832, 912–913, 938, 947, 992, 829–832, 912–913, 938, 947, 992, 1034–1035, 1076, 1232–12331034–1035, 1076, 1232–1233

Historical fi ction Historical fi ction 623, 628, R8623, 628, R8Historical infl uences Historical infl uences 5, 670, 8295, 670, 829Historical narrative Historical narrative 83, 89, R883, 89, R8HistoryHistory R8 R8Horatian ode Horatian ode 874874Hubris Hubris R8R8Humor Humor 124, 140, 573, 1198, R8124, 140, 573, 1198, R8Hymn Hymn R8R8Hyperbole Hyperbole 475, 478, 1173, R8475, 478, 1173, R8Iamb Iamb R7, R8R7, R8Iambic pentameter Iambic pentameter 252, 1115, R8–R9252, 1115, R8–R9Idiom Idiom 1247, R91247, R9Imagery Imagery 116, 150, 274, 437, 562, 600, 116, 150, 274, 437, 562, 600,

715, 798, 847, 875, 876, 879, 887, 930, 715, 798, 847, 875, 876, 879, 887, 930, 955, 995, 997, 1094, 1096, 1118, 1121, 955, 995, 997, 1094, 1096, 1118, 1121, 1147, 1189, 1328, 1330, 1356, 1359, R91147, 1189, 1328, 1330, 1356, 1359, R9

Implied theme Implied theme 454, 463, 575, 1191, 454, 463, 575, 1191, 1293, R181293, R18

Informal (personal) essay Informal (personal) essay 547, 551, 613 547, 551, 613 See alsoSee also Essay. Essay.

Interior monologue Interior monologue R9R9Internal rhyme Internal rhyme R9, R15R9, R15Inversion Inversion 313, 543, R9313, 543, R9Irony Irony 573, 1339573, 1339

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INDEX OF SKILLS R87

IND

EX

OF

SK

ILLS

dramatic dramatic 116, 123, 404, 851, 1004, 116, 123, 404, 851, 1004, 1185, 1190, R91185, 1190, R9situational situational 116, 123, 404, 584, 851, 116, 123, 404, 584, 851, 1004, 1008, 1198, 1310, R91004, 1008, 1198, 1310, R9verbal verbal 116, 404, 584, 1006, 1185, 116, 404, 584, 1006, 1185, 1190, 1317, R91190, 1317, R9

Irregular ode Irregular ode R12R12Italian (Petrarchan) Sonnet Italian (Petrarchan) Sonnet 252, 253, 252, 253,

517, 1092, R16517, 1092, R16Journal Journal 796, 798, R9796, 798, R9Juxtaposition Juxtaposition 843, 847, R9843, 847, R9Kenning Kenning R9R9Legend Legend 192, 197, 205, R9192, 197, 205, R9Literary ballad Literary ballad 827 827

See alsoSee also Ballad. Ballad.Literary criticism Literary criticism 18, 123, 264, 265, 297, 18, 123, 264, 265, 297,

405, 441, 443, 583, 669, 734, 803, 840, 405, 441, 443, 583, 669, 734, 803, 840, 853, 862, 870, 990, 997, 1085, 1147, 853, 862, 870, 990, 997, 1085, 1147, 1191, 1367, 1372–1373, R10, R241191, 1367, 1372–1373, R10, R24

Literary history Literary history 20–21, 90–91, 152–153, 20–21, 90–91, 152–153, 208–209, 252–253, 314–315, 428–429, 208–209, 252–253, 314–315, 428–429, 452–453, 612–613, 766–767, 848–849, 452–453, 612–613, 766–767, 848–849, 964–965, 1066–1067, 1276–1277964–965, 1066–1067, 1276–1277

Literary infl uences Literary infl uences 960960Literary traditions Literary traditions 875, 887875, 887Loaded words Loaded words 1172, 11731172, 1173Logical appeals Logical appeals 675675Lyric poetry Lyric poetry 449, 450, 793, 999, 1002, 449, 450, 793, 999, 1002,

R10R10Main character Main character 1193, R3 1193, R3

See alsoSee also Character. Character.Maxim Maxim R10R10Medieval drama Medieval drama 152–153152–153Meditative tone Meditative tone 452452Melodrama Melodrama R10R10Memoir Memoir 1264, R101264, R10Metaphor Metaphor 294, 297, 312, 431, 930, 1098, 294, 297, 312, 431, 930, 1098,

1100, 1115, 1354, R101100, 1115, 1354, R10extended extended 603, 609603, 609

Metaphysical conceit Metaphysical conceit 428, 438, 442, R4428, 438, 442, R4Metaphysical poetry Metaphysical poetry 428–429, R10428–429, R10Meter Meter 252, 436, 450, 930, 997, 1115, R10252, 436, 450, 930, 997, 1115, R10

foot foot 431, 764, 995431, 764, 995Metonymy Metonymy R10R10Minor character Minor character 1193, R31193, R3Miracle plays Miracle plays 152–153, R10152–153, R10Mock-epic Mock-epic 593, 600, R10593, 600, R10Modernism Modernism 1038, 1066, R10–R111038, 1066, R10–R11Monologue Monologue R11R11

Mood Mood 74, 79, 80, 169, 205, 278, 796, 74, 79, 80, 169, 205, 278, 796, 798, 923, 930, 976, 1090, 1092, 1163, 798, 923, 930, 976, 1090, 1092, 1163, 1282, 1353, R111282, 1353, R11

Moral Moral R11R11Morality plays Morality plays 153, R11153, R11Motif Motif 313, 337, 351, 442, 478, R11313, 337, 351, 442, 478, R11Motivation Motivation 1046, 1053, 1136, R111046, 1053, 1136, R11Mystery plays Mystery plays 152–153, R10152–153, R10Myth Myth R11R11Narrative Narrative R11R11

historical historical 83, 8983, 89Narrative poetry Narrative poetry 804, 827, R11804, 827, R11Narrator Narrator 1069, 1075, 1255, R111069, 1075, 1255, R11

omniscient omniscient 11361136Narrator commentary Narrator commentary 778778Naturalism Naturalism R11R11Nature imagery Nature imagery 875, 887875, 887Neoclassicism Neoclassicism R11R11Nonce words (nonsense words) Nonce words (nonsense words) 957, 957,

R11R11Nonfi ction Nonfi ction R12R12Nonsense verse Nonsense verse 957, 959, R12957, 959, R12Novel Novel R12R12

epistolary epistolary 743743Gothic Gothic 834, 840834, 840Regionalist Regionalist 965965social-problem social-problem 964–965964–965

Novella Novella R12R12Novel of manners Novel of manners R12R12Octave Octave 253, 517, R12253, 517, R12

See alsoSee also Sonnet. Sonnet.Octet Octet R12R12Ode Ode 459, 871, 874, R12459, 871, 874, R12

Horatian Horatian 874, R12874, R12irregular irregular R12R12

Omniscient narrator Omniscient narrator 1136 1136 See alsoSee also Narrator. Narrator.

Onomatopoeia Onomatopoeia 876, 957, 1270, R12876, 957, 1270, R12Oral tradition Oral tradition R12R12Ottava rima Ottava rima 1115, R121115, R12Oxymoron Oxymoron 874, 1201, 1206, R12874, 1201, 1206, R12Parable Parable 1057, R121057, R12Paradox Paradox 269, 470, 473, 1085, R12269, 470, 473, 1085, R12Parallelism Parallelism 284, 288, 289, 422, 591, 601, 284, 288, 289, 422, 591, 601,

765, 871, 874, 1172, R12765, 871, 874, 1172, R12Parody Parody 294, 575, 584, R13294, 575, 584, R13Pastoral Pastoral R13R13Pathetic fallacy Pathetic fallacy R13R13Patterns Patterns 876876

Pentameter Pentameter R13R13Periodical essay Periodical essay 615615Persona Persona 573, R13573, R13Personal essay Personal essay 613 613

See alsoSee also Essay. Essay.Personifi cation Personifi cation 123, 274, 312, 431, 437, 123, 274, 312, 431, 437,

517, 519, 1109, 1146, 1206, 1268, 1270, 517, 519, 1109, 1146, 1206, 1268, 1270, R13R13

Persuasion Persuasion R13R13Petrarchan Sonnet Petrarchan Sonnet 252, 253, 517, 1092 252, 253, 517, 1092

See alsoSee also Sonnet. Sonnet.Plays Plays 154, 316 154, 316 See alsoSee also Drama. Drama.

miracle miracle 152–153152–153morality morality 153153mystery mystery 152–153152–153

Plot Plot 368, 387, 1183368, 387, 1183climax climax 369, 1053, 1075, 1211, 1213, 369, 1053, 1075, 1211, 1213, R13R13confl ict confl ict R13R13exposition exposition 369, 985, 991, R13369, 985, 991, R13falling action falling action 369, R13369, R13resolution resolution 369, 1211, 1213, R13369, 1211, 1213, R13rising action rising action 369, 1211, 1213, R13369, 1211, 1213, R13

Poetry Poetry 74, 80, 93, 116, 124, 260, 266, 74, 80, 93, 116, 124, 260, 266, 425, 1109, R13 425, 1109, R13 See alsoSee also Sonnet. Sonnet.Cavalier Cavalier 452–453452–453lyric lyric 449, 793, 999, 1002449, 793, 999, 1002metaphysical metaphysical 428–429428–429narrative narrative 804, 827804, 827Romantic Romantic 781781

Point of view Point of view 278, 777, 1075, 1212, 1213, 278, 777, 1075, 1212, 1213, 13451345fi rst-person fi rst-person 276, 889, 892, 976, R13276, 889, 892, 976, R13objective objective R14R14third-person third-person 276, 1353, R13276, 1353, R13third-person limited third-person limited R14R14third-person omniscient third-person omniscient 1353, R131353, R13

Postmodernism Postmodernism R14R14Prologue Prologue R14R14Propaganda Propaganda 1173, R141173, R14Props Props R14R14Prose Prose R14R14Protagonist Protagonist 191, 1075, R14191, 1075, R14Proverbs Proverbs 1309, 1311, R141309, 1311, R14Psalm Psalm R14R14Pun Pun 304, R14304, R14Puritan writing Puritan writing R14R14Quatrains Quatrains 253, R14, R16253, R14, R16


R88 INDEX OF SKILLS

IND

EX

OF

SK

ILLS

RationalismRationalism R14 R14Realism Realism 916, 1066, R14916, 1066, R14Refrain Refrain 304, 1206, R14304, 1206, R14RegionalismRegionalism R14 R14Regionalist novel Regionalist novel 965965RenaissanceRenaissance R15 R15Repetition Repetition 289, 765, 871, 940, 942, 1207, 289, 765, 871, 940, 942, 1207,

1261, R151261, R15Resolution Resolution 369, 1211, 1213 369, 1211, 1213

See alsoSee also Plot. Plot.Restoration AgeRestoration Age R15 R15Rhetoric Rhetoric 1167, 1172, R151167, 1172, R15Rhetorical devices Rhetorical devices 289, 676, 679, 871, 289, 676, 679, 871,

874, R15874, R15analogy analogy R1R1exclamations exclamations 871, 874871, 874parallelism parallelism 284, 288, 289, 422, 601, 284, 288, 289, 422, 601, 681, 765, 871, 874, R12681, 765, 871, 874, R12repetition repetition 289, 765, 871, 940, R15289, 765, 871, 940, R15

Rhetorical question Rhetorical question 871, 874, 1172, R15871, 874, 1172, R15Rhyme Rhyme 465465

end end R5, R15R5, R15internal internal R9, R15R9, R15slant slant 1259, 1261, R161259, 1261, R16

Rhyme scheme Rhyme scheme 252, 266, 269, 450, 723, 252, 266, 269, 450, 723, 847, 863, 1107, R15847, 863, 1107, R15

Rhythm Rhythm 465, 923, 930, R15465, 923, 930, R15sprung sprung 952, 955952, 955

Rising action Rising action 369, 1211, 1213369, 1211, 1213See alsoSee also Plot. Plot.

RomanceRomance R15 R15RomanticismRomanticism R15 R15Romantic poetry Romantic poetry 781, 785781, 785Round character Round character 1198 1198

See alsoSee also Character. Character.Run-on lineRun-on line. . SeeSee Enjambment. Enjambment.Sarcasm Sarcasm R15R15Satire Satire 565, 573, 778, 991, R15565, 573, 778, 991, R15Scansion Scansion 764, R16764, R16Scene Scene R16R16Science fi ction Science fi ction R16R16Sensory details Sensory details 786, 793, 876, 879, 1118, 786, 793, 876, 879, 1118,

1175, 1183 1175, 1183 See alsoSee also Imagery. Imagery.

Septet Septet R16R16Sequence Sequence 23, 52, 1319, 1324 23, 52, 1319, 1324

See alsoSee also Sonnet sequence. Sonnet sequence.Sestet Sestet 253, 517, R16 253, 517, R16

See alsoSee also Sonnet. Sonnet.

Setting Setting 53, 531, 716, 1076, 1210, 1296, 53, 531, 716, 1076, 1210, 1296, 1302, R161302, R16

Shakespearean songs Shakespearean songs R16R16Shakespearean sonnet Shakespearean sonnet 252, 253, 866 252, 253, 866

See alsoSee also Sonnet. Sonnet.Shakespeare’s Theater Shakespeare’s Theater 314–315314–315Short story Short story 1066–1067, 1208–1215, 1066–1067, 1208–1215,

1256, R161256, R16Simile Simile 294, 297, 298, 300, 312, 431, 930, 294, 297, 298, 300, 312, 431, 930,

1098, 1100, 1354, R161098, 1100, 1354, R16Situational irony Situational irony 116, 123, 404, 584, 851, 116, 123, 404, 584, 851,

1004, 1008, 1198, 1310 1004, 1008, 1198, 1310 See alsoSee also Irony. Irony.

Slant rhyme Slant rhyme 1259, 1261, R161259, 1261, R16Social context Social context 10–11, 242–243, 506–507, 10–11, 242–243, 506–507,

698–699, 912–913, 1034–1035, 698–699, 912–913, 1034–1035, 1232–12331232–1233

Social-problem novel Social-problem novel 964–965964–965Soliloquy Soliloquy 305, 336, R16305, 336, R16Song Song 301301Sonnet Sonnet 266266

English (Shakespearean) English (Shakespearean) 252, 253, 252, 253, 866, R16866, R16Italian (Petrarchan) Italian (Petrarchan) 252, 253, 517, 252, 253, 517, 1092, R161092, R16meter and rhyme patterns meter and rhyme patterns 252252Spenserian Spenserian 252, 253, R16252, 253, R16

Sonnet sequence Sonnet sequence 271, R17271, R17Sound devices Sound devices 458, 879, 1328, 1330, R17458, 879, 1328, 1330, R17

alliteration alliteration 192, 276, 278, 451, 794, 192, 276, 278, 451, 794, 800, 876, 936, 1356, 1359, R1800, 876, 936, 1356, 1359, R1assonance assonance 794, 876, 931, 936, R2794, 876, 931, 936, R2consonance consonance 794, 876, 931, 936, R4794, 876, 931, 936, R4onomatopoeia onomatopoeia 876, 957, 1270, R12876, 957, 1270, R12

Spatial order Spatial order 531, R23531, R23Speaker Speaker 280, 451, 1243, 1245, R17280, 451, 1243, 1245, R17Spenserian sonnet Spenserian sonnet 252, 253, R16252, 253, R16Spenserian stanza Spenserian stanza R17R17Spondee Spondee R7, R17R7, R17Sprung rhythm Sprung rhythm 952, 955, R17952, 955, R17Stage directions Stage directions R17R17Stanza Stanza 760, 763, R17760, 763, R17Stated theme Stated theme 1191, 1293, R181191, 1293, R18Static character Static character 217 217

See alsoSee also Character. Character.Stereotype Stereotype R17 R17

See alsoSee also Character. Character.Stream of consciousness Stream of consciousness 1156, 1163, 1156, 1163,

R17R17

Structure Structure 1110, 1115, 1172, R171110, 1115, 1172, R17Style Style 53, 141, 170, 192, 289, 313, 405, 53, 141, 170, 192, 289, 313, 405,

415, 422, 443, 531, 540, 562, 585, 601, 415, 422, 443, 531, 540, 562, 585, 601, 615, 620, 621, 643, 657, 668, 669, 734, 615, 620, 621, 643, 657, 668, 669, 734, 765, 778, 864, 937, 940, 942, 1116, 765, 778, 864, 937, 940, 942, 1116, 1118, 1121, 1136, 1256, R17, R331118, 1121, 1136, 1256, R17, R33

Subject Subject R18R18Suspense Suspense R18R18Symbol Symbol 51, 297, 458, 755, 759, 1078, 51, 297, 458, 755, 759, 1078,

1086, 1146, 1302, R181086, 1146, 1302, R18Symbolist poetry Symbolist poetry R18R18Symbolize Symbolize 723, 862, 1109, 1136, 1205, 723, 862, 1109, 1136, 1205,

13021302Synecdoche Synecdoche R18R18Tercet Tercet R18R18Terza rima Terza rima R18R18Tetrameter Tetrameter R18R18TheaterTheater

of the absurd of the absurd 1272, 1275, 1277, R181272, 1275, 1277, R18Shakespeare’s Shakespeare’s 314–315314–315

Theme Theme 54, 74, 80, 141, 301, 304, 305, 54, 74, 80, 141, 301, 304, 305, 423, 436, 438, 584, 591, 715, 752, 759, 423, 436, 438, 584, 591, 715, 752, 759, 863, 930, 937, 938, 940, 947, 955, 863, 930, 937, 938, 940, 947, 955, 1075, 1198, 1207, 1261, 1285, 13111075, 1198, 1207, 1261, 1285, 1311implied implied 454, 463, 575, 1191, 1293, R18454, 463, 575, 1191, 1293, R18stated stated 1191, 1293, R181191, 1293, R18universal universal 454, 463454, 463

Thesis Thesis 352, 726, 733, 1086, R18352, 726, 733, 1086, R18Third-person point of viewThird-person point of view. . SeeSee Point Point

of view.of view.Title Title 1094, 1096, 1100, 1293, R181094, 1096, 1100, 1293, R18Tone Tone 116, 123, 255, 258, 263, 269, 301, 116, 123, 255, 258, 263, 269, 301,

304, 436, 468, 561, 573, 628, 656, 785, 304, 436, 468, 561, 573, 628, 656, 785, 798, 930, 931, 936, 976, 1002, 1004, 798, 930, 931, 936, 976, 1002, 1004, 1044, 1061, 1075, 1098, 1100, 1109, 1044, 1061, 1075, 1098, 1100, 1109, 1150, 1155, 1163, 1207, 1317, R18, R331150, 1155, 1163, 1207, 1317, R18, R33meditative meditative 452452

Tragedy Tragedy 388, 404, R18–R19388, 404, R18–R19Tragic fl aw Tragic fl aw R19R19Tragic hero Tragic hero 316, 388, 404, 405 316, 388, 404, 405

See alsoSee also Tragedy. Tragedy.Translations Translations 173173Trimeter Trimeter R19R19Trochee Trochee R7, R19R7, R19Understatement Understatement 478, 573, 1293, R19478, 573, 1293, R19Universal theme Universal theme 454, 463454, 463Verbal irony Verbal irony 116, 404, 584, 1006, 1185, 116, 404, 584, 1006, 1185,

1190, 1317 1190, 1317 See alsoSee also Irony. Irony.


INDEX OF SKILLS R89

IND

EX

OF

SK

ILLS

Vernacular Vernacular 1247, 1255, R191247, 1255, R19Verse epistle Verse epistle 587587Verse paragraph Verse paragraph 1098, 1100, R191098, 1100, R19Villanelle Villanelle 1206, R191206, R19Voice Voice 305, 312, 649, 656, 1279, 1282, 305, 312, 649, 656, 1279, 1282,

R19, R33R19, R33Wit Wit 743, 752, R19743, 752, R19

Reading and Critical ThinkingActivating prior knowledge Activating prior knowledge 197, 206, 197, 206,

834, 840, 1360, R21834, 840, 1360, R21See alsoSee also Connecting to personal Connecting to personal experience.experience.

Ambiguity, identifying Ambiguity, identifying 13401340Analyzing Analyzing 1, 72, 79, 89, 115, 123, 139, 1, 72, 79, 89, 115, 123, 139,

144, 150, 168, 190, 195, 205, 217, 258, 144, 150, 168, 190, 195, 205, 217, 258, 263, 269, 274, 278, 282, 287, 297, 300, 263, 269, 274, 278, 282, 287, 297, 300, 304, 311, 336, 351, 368, 387, 403, 409, 304, 311, 336, 351, 368, 387, 403, 409, 412, 422, 427, 436, 441, 448, 450, 458, 412, 422, 427, 436, 441, 448, 450, 458, 468, 473, 478, 519, 529, 538, 545, 551, 468, 473, 478, 519, 529, 538, 545, 551, 560, 573, 575, 591, 599, 609, 620, 628, 560, 573, 575, 591, 599, 609, 620, 628, 647, 656, 667, 673, 715, 723, 732, 741, 647, 656, 667, 673, 715, 723, 732, 741, 752, 759, 763, 776, 785, 792, 798, 803, 752, 759, 763, 776, 785, 792, 798, 803, 827, 832, 840, 847, 853, 862, 870, 874, 827, 832, 840, 847, 853, 862, 870, 874, 879, 930, 935, 942, 950, 955, 959, 962, 879, 930, 935, 942, 950, 955, 959, 962, 975, 983, 990, 997, 1002, 1008, 1053, 975, 983, 990, 997, 1002, 1008, 1053, 1065, 1075, 1085, 1092, 1096, 1100, 1065, 1075, 1085, 1092, 1096, 1100, 1104, 1109, 1114, 1121, 1146, 1155, 1104, 1109, 1114, 1121, 1146, 1155, 1162, 1172, 1183, 1189, 1198, 1205, 1162, 1172, 1183, 1189, 1198, 1205, 1245, 1254, 1261, 1270, 1275, 1282, 1245, 1254, 1261, 1270, 1275, 1282, 1292, 1302, 1309, 1317, 1323, 1330, 1292, 1302, 1309, 1317, 1323, 1330, 1338, 1343, 1352, 1359, 13631338, 1343, 1352, 1359, 1363argument argument 352, 368, 603, 610352, 368, 603, 610cause-and-effect relationships cause-and-effect relationships 146, 146, 150, 388, 404, 644, 800, 803150, 388, 404, 644, 800, 803Cavalier poetry Cavalier poetry 453453characteristics of texts characteristics of texts R24R24characterization characterization 769, 777, 967, 976, 769, 777, 967, 976, 1305, 13101305, 1310confl ict confl ict 1285, 12931285, 1293contrasting images contrasting images 255255cultural context cultural context 68, 409, 743, 75268, 409, 743, 752evidence evidence 1078, 10861078, 1086fi gurative language fi gurative language 843, 847, 1110, 843, 847, 1110, 11151115fi gures of speech fi gures of speech 294, 297, 431, 1201, 294, 297, 431, 1201, 12061206historical context historical context 193, 760, 764193, 760, 764

imagery imagery 116116language language 1268, 12701268, 1270literary infl uences literary infl uences 960960logical reasoning logical reasoning R24–R25R24–R25Medieval theater Medieval theater 153153Metaphors Metaphors 1110, 11151110, 1115Metaphysical poetry Metaphysical poetry 429429mood mood 796, 798, 923, 930796, 798, 923, 930objectivity objectivity 116116persuasive techniques persuasive techniques R25R25sensory details sensory details 786, 1175, 1183786, 1175, 1183setting setting 5353sound devices sound devices 276, 278, 458, 876, 276, 278, 458, 876, 879879style style 942, 1118, 1121942, 1118, 1121syntax syntax 957, R24957, R24text structure text structure 255, 258, 415, 423, 255, 258, 415, 423, 565, 574, 1062, R22565, 574, 1062, R22theme theme 141141tone tone 116, 123, 931, 936, 1150, 1155116, 123, 931, 936, 1150, 1155word choice word choice R24R24

Applying background knowledge Applying background knowledge 316, 316, 336, 465, 468, 866, 870, 1090, 1092336, 465, 468, 866, 870, 1090, 1092

ArgumentArgumentanalyzing analyzing 352, 368, 603, 610352, 368, 603, 610evaluating evaluating 124, 140, 456, 458, 726, 124, 140, 456, 458, 726, 733733

Asking questions Asking questions 1156, 11851156, 1185Assessing Assessing 387387Assumptions, identifying Assumptions, identifying 1069, 1076, 1069, 1076,

13401340Author’s background, investigating Author’s background, investigating R24R24Author’s beliefs, drawing Author’s beliefs, drawing

conclusions conclusions 423, 427, 553, 561423, 427, 553, 561Author’s craft, evaluating Author’s craft, evaluating 336, 351336, 351Authors’ culture, comparing and Authors’ culture, comparing and

contrasting contrasting 6868Author’s meaning, drawing Author’s meaning, drawing

conclusions conclusions 1107, 11091107, 1109Author’s purpose, recognizing Author’s purpose, recognizing 154, 169, 154, 169,

854, 863, 1098, 1100, R24854, 863, 1098, 1100, R24Author’s statements, evaluating Author’s statements, evaluating R24R24Background knowledge, applying Background knowledge, applying 316, 316,

336, 465, 468, 866, 870, 1090, 1092336, 465, 468, 866, 870, 1090, 1092Bias, recognizing Bias, recognizing 1193, 1198, R251193, 1198, R25Big IdeaBig Idea

A Bard for the Ages A Bard for the Ages 243, 246–247243, 246–247Class, Colonialism, and the Great Class, Colonialism, and the Great War War 1035, 1036–10371035, 1036–1037

Colonialism and Colonialism and Postcolonialism Postcolonialism 1233, 1236–12371233, 1236–1237Disillusionment and Darker Disillusionment and Darker Visions Visions 913, 918–919913, 918–919The Emergence of RealismThe Emergence of Realism 913, 913, 916–917916–917The English Enlightenment and The English Enlightenment and Neoclassicism Neoclassicism 507, 512–513507, 512–513The Epic Warrior The Epic Warrior 11, 12–1311, 12–13Globalization Globalization 1233, 1238–12391233, 1238–1239Humanists and Courtiers Humanists and Courtiers 243, 243, 244–245244–245Making and Remaking Traditions Making and Remaking Traditions 1233, 1234–12351233, 1234–1235Modernism Modernism 1035, 1038–10391035, 1038–1039Nature and the Imagination Nature and the Imagination 699, 699, 702–703702–703Optimism and the Belief in Optimism and the Belief in Progress Progress 913, 914–915913, 914–915The Power of Faith The Power of Faith 11, 14–1511, 14–15Puritanism and the Civil War Puritanism and the Civil War 507, 507, 508–509508–509The Quest for Truth and The Quest for Truth and Beauty Beauty 699, 704–705699, 704–705The RestorationThe Restoration 507, 510–511 507, 510–511The Sacred and the Secular The Sacred and the Secular 243, 243, 248–249248–249The Stirrings of RomanticismThe Stirrings of Romanticism 699, 699, 700–701700–701The World of RomanceThe World of Romance 11, 16–17 11, 16–17World War II and Its Aftermath World War II and Its Aftermath 1035, 1040–10411035, 1040–1041

Big Idea treatments, comparing and Big Idea treatments, comparing and contrasting contrasting 54, 68, 454, 463, 621, 54, 68, 454, 463, 621, 643, 875, 887, 938, 947, 1044, 1061, 643, 875, 887, 938, 947, 1044, 1061, 1257, 12661257, 1266

Building background Building background 23, 55, 58, 74, 83, 23, 55, 58, 74, 83, 93, 116, 124, 146, 154, 172, 193, 197, 93, 116, 124, 146, 154, 172, 193, 197, 210, 255, 260, 266, 271, 276, 280, 284, 210, 255, 260, 266, 271, 276, 280, 284, 294, 301, 305, 316, 337, 352, 369, 388, 294, 301, 305, 316, 337, 352, 369, 388, 406, 415, 425, 438, 446, 456, 459, 460, 406, 415, 425, 438, 446, 456, 459, 460, 461, 465, 470, 475, 517, 520, 533, 543, 461, 465, 470, 475, 517, 520, 533, 543, 547, 553, 565, 587, 593, 603, 615, 623, 547, 553, 565, 587, 593, 603, 615, 623, 629, 635, 639, 649, 660, 670, 709, 629, 635, 639, 649, 660, 670, 709, 718, 726, 743, 755, 769, 781, 796, 800, 718, 726, 743, 755, 769, 781, 796, 800, 804, 829, 834, 843, 851, 866, 871, 876, 804, 829, 834, 843, 851, 866, 871, 876, 880, 882, 884, 923, 931, 940, 943, 880, 882, 884, 923, 931, 940, 943, 944, 946, 952, 957, 960, 967, 980, 944, 946, 952, 957, 960, 967, 980, 985, 995, 999, 1004, 1046, 1054, 1057, 985, 995, 999, 1004, 1046, 1054, 1057,


R90 INDEX OF SKILLS

IND

EX

OF

SK

ILLS

1059, 1069, 1078, 1090, 1094, 1098, 1059, 1069, 1078, 1090, 1094, 1098, 1101, 1107, 1110, 1118, 1123, 1139, 1150, 1101, 1107, 1110, 1118, 1123, 1139, 1150, 1156, 1167, 1175, 1185, 1193, 1201, 1156, 1167, 1175, 1185, 1193, 1201, 1243, 1259, 1263, 1264, 1268, 1272, 1243, 1259, 1263, 1264, 1268, 1272, 1279, 1285, 1296, 1305, 1314, 1319, 1279, 1285, 1296, 1305, 1314, 1319, 1328, 1332, 1340, 1345, 13561328, 1332, 1340, 1345, 1356

Cause-and-effect order Cause-and-effect order R22R22Cause-and-effect relationships, Cause-and-effect relationships,

analyzing analyzing 146, 150, 388, 404, 644, 146, 150, 388, 404, 644, 800, 803800, 803

Characteristics of texts, analyzing Characteristics of texts, analyzing R24R24Characterization, analyzing Characterization, analyzing 769, 777, 769, 777,

967, 976, 1305, 1310967, 976, 1305, 1310CharactersCharacters

comparing and contrasting comparing and contrasting 849849making inferences about making inferences about 1123, 1137, 1123, 1137, 1272, 12751272, 1275mapping mapping 13051305responding to responding to 210, 217, 387210, 217, 387

Chronological order Chronological order 423, R22, R23423, R22, R23Clarifying meaning Clarifying meaning 260, 264, 952, 957, 260, 264, 952, 957,

959, 980, 983, 1185, 1190, 1279, 1282959, 980, 983, 1185, 1190, 1279, 1282Comparing and contrasting Comparing and contrasting 13141314

Authors’ culture Authors’ culture 6868Big Idea treatments Big Idea treatments 54, 68, 454, 463, 54, 68, 454, 463, 621, 643, 875, 887, 938, 947, 1044, 621, 643, 875, 887, 938, 947, 1044, 1061, 1257, 12661061, 1257, 1266characters characters 849849cultures cultures 54, 68, 454, 463, 621, 643, 54, 68, 454, 463, 621, 643, 1044, 1061, 1257, 12661044, 1061, 1257, 1266genres genres 21, 91, 153, 209, 253, 315, 406, 21, 91, 153, 209, 253, 315, 406, 429, 453, 613, 767, 849, 965, 1067, 429, 453, 613, 767, 849, 965, 1067, 12771277historical contexts historical contexts 938, 947938, 947imagery imagery 875, 887, 995, 997, 1094, 875, 887, 995, 997, 1094, 10961096literary traditions literary traditions 875, 887875, 887profi les profi les 1257, 12661257, 1266speakers speakers 280, 282280, 282style style 621, 643621, 643themes themes 54, 423, 454, 463, 938, 94754, 423, 454, 463, 938, 947tone tone 269, 1044, 1061269, 1044, 1061visualizations visualizations 755755

Comparison-contrast order Comparison-contrast order R22R22Comprehension, monitoring Comprehension, monitoring 172, 192, 172, 192,

547, 551, 718, 724, 952, 955547, 551, 718, 724, 952, 955Conclusions, drawing Conclusions, drawing 209, 298, 300, 209, 298, 300,

305, 312, 423, 427, 553, 561, 851, 853, 305, 312, 423, 427, 553, 561, 851, 853, 866, 1107, 1109, 1332, 1339, R23866, 1107, 1109, 1332, 1339, R23

Confl ict, analyzing Confl ict, analyzing 1285, 12931285, 1293ConnectingConnecting

to the Big Idea to the Big Idea 51, 72, 79, 89, 115, 51, 72, 79, 89, 115, 123, 139, 144, 150, 168, 190, 195, 205, 123, 139, 144, 150, 168, 190, 195, 205, 217, 258, 263, 269, 271, 274, 276, 278, 217, 258, 263, 269, 271, 274, 276, 278, 280, 282, 287, 297, 300, 304, 311, 336, 280, 282, 287, 297, 300, 304, 311, 336, 351, 368, 387, 403, 409, 422, 427, 436, 351, 368, 387, 403, 409, 422, 427, 436, 441, 448, 450, 458, 468, 473, 478, 519, 441, 448, 450, 458, 468, 473, 478, 519, 529, 538, 545, 551, 553, 560, 565, 573, 529, 538, 545, 551, 553, 560, 565, 573, 575, 591, 599, 609, 620, 628, 656, 667, 575, 591, 599, 609, 620, 628, 656, 667, 673, 715, 723, 732, 752, 759, 763, 776, 673, 715, 723, 732, 752, 759, 763, 776, 785, 792, 798, 803, 827, 840, 847, 853, 785, 792, 798, 803, 827, 840, 847, 853, 862, 870, 874, 879, 930, 935, 942, 955, 862, 870, 874, 879, 930, 935, 942, 955, 959, 975, 980, 990, 997, 1002, 1008, 959, 975, 980, 990, 997, 1002, 1008, 1053, 1075, 1085, 1092, 1096, 1100, 1053, 1075, 1085, 1092, 1096, 1100, 1109, 1114, 1121, 1146, 1155, 1162, 1172, 1109, 1114, 1121, 1146, 1155, 1162, 1172, 1183, 1189, 1198, 1205, 1245, 1254, 1183, 1189, 1198, 1205, 1245, 1254, 1261, 1270, 1275, 1282, 1292, 1302, 1261, 1270, 1275, 1282, 1292, 1302, 1309, 1317, 1323, 1330, 1332, 1338, 1309, 1317, 1323, 1330, 1332, 1338, 1352, 1359, 13631352, 1359, 1363to contemporary issues to contemporary issues 51, 623, 628, 51, 623, 628, 741, 985, 991, 1046, 1053, 1314, 1317741, 985, 991, 1046, 1053, 1314, 1317to personal experience to personal experience 142, 266, 142, 266, 269, 999, 1002, 1345, 1353, R21269, 999, 1002, 1345, 1353, R21to reading selections to reading selections 23, 54, 74, 83, 23, 54, 74, 83, 93, 116, 124, 146, 154, 172, 197, 210, 93, 116, 124, 146, 154, 172, 197, 210, 255, 260, 266, 284, 294, 301, 305, 316, 255, 260, 266, 284, 294, 301, 305, 316, 412, 415, 425, 438, 446, 454, 456, 465, 412, 415, 425, 438, 446, 454, 456, 465, 470, 475, 517, 520, 533, 543, 547, 587, 470, 475, 517, 520, 533, 543, 547, 587, 593, 603, 615, 621, 623, 647, 649, 660, 593, 603, 615, 621, 623, 647, 649, 660, 709, 718, 726, 743, 755, 769, 781, 796, 709, 718, 726, 743, 755, 769, 781, 796, 800, 804, 832, 834, 843, 851, 866, 871, 800, 804, 832, 834, 843, 851, 866, 871, 875, 876, 923, 931, 938, 940, 950, 952, 875, 876, 923, 931, 938, 940, 950, 952, 957, 962, 967, 980, 985, 995, 999, 957, 962, 967, 980, 985, 995, 999, 1004, 1044, 1046, 1065, 1069, 1078, 1004, 1044, 1046, 1065, 1069, 1078, 1090, 1094, 1098, 1104, 1107, 1110, 1090, 1094, 1098, 1104, 1107, 1110, 1118, 1123, 1139, 1150, 1156, 1167, 1175, 1118, 1123, 1139, 1150, 1156, 1167, 1175, 1185, 1193, 1201, 1243, 1257, 1259, 1185, 1193, 1201, 1243, 1257, 1259, 1268, 1272, 1279, 1285, 1296, 1305, 1268, 1272, 1279, 1285, 1296, 1305, 1314, 1319, 1328, 1343, 1345, 13561314, 1319, 1328, 1343, 1345, 1356

Connotation, examining Connotation, examining 271, 274, 948271, 274, 948Contrasting images, analyzing Contrasting images, analyzing 255255Credibility, evaluating Credibility, evaluating 150, 337, 351, 150, 337, 351,

660, 668, R24660, 668, R24Cultures, comparing and Cultures, comparing and

contrasting contrasting 54, 68, 454, 463, 621, 54, 68, 454, 463, 621, 643, 1044, 1061, 1257, 1266643, 1044, 1061, 1257, 1266

Cultural context, analyzing Cultural context, analyzing 68, 75268, 752Denotation, examining Denotation, examining 271, 274, 948271, 274, 948

DeterminingDeterminingmain idea and supporting main idea and supporting details details 284, 288, 670284, 288, 670patterns patterns 876876

Distinguishing fact and opinion Distinguishing fact and opinion 410, 410, 649, 657, 1167, 1172649, 657, 1167, 1172

Drawing conclusions Drawing conclusions 209, 298, 300, 209, 298, 300, 866, R23866, R23about author’s beliefs about author’s beliefs 423, 427, 553, 423, 427, 553, 561561about author’s meaning about author’s meaning 1107, 11091107, 1109about meaning about meaning 851, 853, 1332, 1339851, 853, 1332, 1339about theme about theme 305, 312305, 312

Evaluating Evaluating 51, 72, 79, 89, 115, 123, 139, 51, 72, 79, 89, 115, 123, 139, 144, 168, 190, 195, 205, 217, 258, 263, 144, 168, 190, 195, 205, 217, 258, 263, 269, 274, 276, 282, 287, 297, 300, 304, 269, 274, 276, 282, 287, 297, 300, 304, 311, 336, 368, 387, 403, 409, 412, 422, 311, 336, 368, 387, 403, 409, 412, 422, 427, 436, 441, 448, 450, 468, 473, 478, 427, 436, 441, 448, 450, 468, 473, 478, 519, 529, 538, 545, 551, 560, 573, 575, 519, 529, 538, 545, 551, 560, 573, 575, 591, 599, 609, 620, 628, 647, 656, 667, 591, 599, 609, 620, 628, 647, 656, 667, 673, 715, 723, 732, 741, 752, 759, 763, 673, 715, 723, 732, 741, 752, 759, 763, 776, 785, 792, 798, 803, 827, 832, 840, 776, 785, 792, 798, 803, 827, 832, 840, 847, 853, 862, 870, 879, 930, 935, 942, 847, 853, 862, 870, 879, 930, 935, 942, 950, 955, 959, 975, 983, 990, 997, 1002, 950, 955, 959, 975, 983, 990, 997, 1002, 1008, 1053, 1065, 1075, 1078, 1085, 1008, 1053, 1065, 1075, 1078, 1085, 1092, 1096, 1100, 1104, 1109, 1114, 1121, 1092, 1096, 1100, 1104, 1109, 1114, 1121, 1146, 1155, 1162, 1172, 1183, 1189, 1198, 1146, 1155, 1162, 1172, 1183, 1189, 1198, 1205, 1245, 1254, 1261, 1270, 1275, 1205, 1245, 1254, 1261, 1270, 1275, 1282, 1292, 1302, 1309, 1317, 1323, 1282, 1292, 1302, 1309, 1317, 1323, 1338, 1343, 1352, 1359, 13631338, 1343, 1352, 1359, 1363argument argument 124, 140, 456, 458, 726, 124, 140, 456, 458, 726, 733733author’s craft author’s craft 336, 351336, 351author’s statements author’s statements R24R24credibility credibility 150, 337, 351, 660, 668, 150, 337, 351, 660, 668, R24R24historical infl uences historical infl uences 5, 670, 829, 5, 670, 829, 960, 1042960, 1042imagery imagery 150150rhetorical devices rhetorical devices 871, 874871, 874sound devices sound devices 1328, 13301328, 1330

Evidence, analyzing Evidence, analyzing 1078, 10861078, 1086ExaminingExamining

connotation connotation 271, 274, 948271, 274, 948denotation denotation 271, 274, 948271, 274, 948

Fact and opinion, distinguishing Fact and opinion, distinguishing 410, 410, 649, 657, 1167, 1172649, 657, 1167, 1172

Faulty reasoning, recognizing Faulty reasoning, recognizing R25R25Figurative languageFigurative language


INDEX OF SKILLS R91

IND

EX

OF

SK

ILLS

analyzing analyzing 843, 847, 1110, 1115843, 847, 1110, 1115identifying identifying 843843

Figures of speech, analyzing Figures of speech, analyzing 294, 297, 294, 297, 431, 1201, 1206431, 1201, 1206

Generalizations, making Generalizations, making 615, 620, 1004, 615, 620, 1004, 1009, 1259, 1261, R231009, 1259, 1261, R23

GenresGenrescomparing/contrasting comparing/contrasting 21, 91, 153, 21, 91, 153, 209, 253, 315, 406, 429, 453, 613, 767, 209, 253, 315, 406, 429, 453, 613, 767, 849, 965, 1067, 1277849, 965, 1067, 1277identifying (Romantic poetry) identifying (Romantic poetry) 781, 781, 785785

Graphic organizers Graphic organizers 644, R21–R22644, R21–R22character (map) character (map) 769769chart chart 23, 69, 74, 83, 124, 172, 197, 23, 69, 74, 83, 124, 172, 197, 255, 263, 264, 266, 276, 280, 294, 255, 263, 264, 266, 276, 280, 294, 305, 352, 369, 387, 388, 406, 410, 415, 305, 352, 369, 387, 388, 406, 410, 415, 425, 431, 438, 446, 451, 456, 465, 475, 425, 431, 438, 446, 451, 456, 465, 475, 517, 533, 547, 553, 565, 603, 623, 709, 517, 533, 547, 553, 565, 603, 623, 709, 948, 1046, 1078, 1118, 1247, 1259, 948, 1046, 1078, 1118, 1247, 1259, 1268, 1296, 1328, 1332, 1345, 13601268, 1296, 1328, 1332, 1345, 1360checklist checklist 337337compare-contrast chart compare-contrast chart 280280concept web concept web 931, 940, 1305931, 940, 1305continuum continuum 116116diagram diagram 52, 260, 124352, 260, 1243double-entry journal double-entry journal 985985Foldables Foldables 18, 250, 514, 706, 920, 18, 250, 514, 706, 920, 1042, 1240, R26–R291042, 1240, R26–R29idea web idea web 284284map map 1, 21, 2mood graphic mood graphic 169169paraphrase chart paraphrase chart 587587response-evidence chart response-evidence chart 210210sequence chart sequence chart 13191319Venn diagram Venn diagram 755, 1314755, 1314web diagram web diagram 191, 1272191, 1272word web word web 271271

Historical contextHistorical contextanalyzing analyzing 193, 760, 764193, 760, 764comparing and contrasting comparing and contrasting 938, 947938, 947

Historical infl uences, evaluating Historical infl uences, evaluating 5, 670, 5, 670, 829, 960, 1042829, 960, 1042

IdentifyingIdentifyingambiguity ambiguity 13401340assumptions assumptions 1069, 1076, 13401069, 1076, 1340clues clues 575575fi gurative language fi gurative language 843, 1110843, 1110genre: Romantic poetrygenre: Romantic poetry 781, 785 781, 785

main ideas (in poems) main ideas (in poems) 253253problem and solution problem and solution 517, 519, 736517, 519, 736sequence sequence 23, 52, 1319, 132423, 52, 1319, 1324

ImageryImageryanalyzing and evaluating analyzing and evaluating 150150comparing and contrasting comparing and contrasting 875, 875, 887, 995, 997, 1094, 1096887, 995, 997, 1094, 1096interpreting interpreting 593, 600, 709, 716, 1356, 593, 600, 709, 716, 1356, 13591359

Independent reading Independent reading 228–229, 423, 228–229, 423, 492–493, 684–685, 898–899, 1009, 492–493, 684–685, 898–899, 1009, 1020–1021, 1116, 1218–1219, 1359, 1020–1021, 1116, 1218–1219, 1359, 1374–13751374–1375

InferringInferring. . SeeSee Making inferences. Making inferences.Information, synthesizing Information, synthesizing 1101, 1247, 1101, 1247,

1255, R231255, R23Interpreting Interpreting 51, 72, 79, 89, 115, 123, 139, 51, 72, 79, 89, 115, 123, 139,

144, 150, 168, 190, 195, 205, 217, 258, 144, 150, 168, 190, 195, 205, 217, 258, 263, 269, 274, 276, 282, 287, 297, 300, 263, 269, 274, 276, 282, 287, 297, 300, 304, 311, 336, 351, 368, 387, 403, 409, 304, 311, 336, 351, 368, 387, 403, 409, 412, 422, 427, 436, 441, 448, 450, 458, 412, 422, 427, 436, 441, 448, 450, 458, 468, 473, 478, 519, 529, 538, 545, 551, 468, 473, 478, 519, 529, 538, 545, 551, 560, 573, 575, 591, 599, 609, 620, 628, 560, 573, 575, 591, 599, 609, 620, 628, 647, 656, 667, 673, 715, 723, 732, 741, 647, 656, 667, 673, 715, 723, 732, 741, 752, 759, 763, 776, 785, 792, 798, 803, 752, 759, 763, 776, 785, 792, 798, 803, 827, 832, 840, 847, 853, 862, 870, 874, 827, 832, 840, 847, 853, 862, 870, 874, 879, 930, 935, 942, 950, 955, 959, 962, 879, 930, 935, 942, 950, 955, 959, 962, 975, 983, 990, 997, 1002, 1008, 1053, 975, 983, 990, 997, 1002, 1008, 1053, 1065, 1075, 1078, 1085, 1092, 1096, 1065, 1075, 1078, 1085, 1092, 1096, 1100, 1104, 1109, 1114, 1121, 1146, 1100, 1104, 1109, 1114, 1121, 1146, 1155, 1162, 1172, 1183, 1189, 1198, 1155, 1162, 1172, 1183, 1189, 1198, 1205, 1245, 1254, 1261, 1270, 1275, 1205, 1245, 1254, 1261, 1270, 1275, 1282, 1292, 1302, 1309, 1317, 1319, 1282, 1292, 1302, 1309, 1317, 1319, 1330, 1338, 1343, 1352, 1359, 13631330, 1338, 1343, 1352, 1359, 1363imagery imagery 593, 600, 709, 716, 1356, 593, 600, 709, 716, 1356, 13591359tone tone 11501150

Investigating, author’s background Investigating, author’s background R24R24Language, analyzing Language, analyzing 1268, 12701268, 1270Literary criticism Literary criticism 18, 123, 265, 297, 405, 18, 123, 265, 297, 405,

583, 669, 1367, R24583, 669, 1367, R24Literary infl uences, analyzing Literary infl uences, analyzing 960960Literary response Literary response R237R237Literary traditions, comparing and Literary traditions, comparing and

contrasting contrasting 875, 887875, 887Logical reasoningLogical reasoning

analyzing analyzing R24–R25R24–R25deductive reasoning deductive reasoning R24R24inductive reasoning inductive reasoning R24R24

Logical sequence Logical sequence R23R23Main ideas Main ideas 352352

determining determining 284, 288, 670, R23284, 288, 670, R23determining (in poems) determining (in poems) 253253

Making generalizations Making generalizations 615, 620, 1004, 615, 620, 1004, 1009, 1259, 1261, R231009, 1259, 1261, R23

Making inferences Making inferences 449, 451, R23449, 451, R23about characters about characters 1123, 1137, 1272, 1123, 1137, 1272, 12751275about theme about theme 74, 80, 438, 442, 575, 74, 80, 438, 442, 575, 584584

Making predictions Making predictions 1139, 1147, R231139, 1147, R23Mapping, characters Mapping, characters 13051305MeaningMeaning

clarifying clarifying 260, 264, 952, 957, 959, 260, 264, 952, 957, 959, 980, 983, 1185, 1190, 1279, 1282980, 983, 1185, 1190, 1279, 1282drawing conclusions about drawing conclusions about 851, 853, 851, 853, 1332, 13391332, 1339restating restating 260260

MetaphorsMetaphorsanalyzing analyzing 1110, 11151110, 1115identifying identifying 11101110

Modes of reasoning, analyzing Modes of reasoning, analyzing R24–R25R24–R25

Monitoring comprehension Monitoring comprehension 172, 192, 172, 192, 547, 551, 718, 724, 952, 955, R21547, 551, 718, 724, 952, 955, R21

Mood Mood analyzing analyzing 796, 798, 923, 930796, 798, 923, 930responding to responding to 8080

Objectivity, analyzing Objectivity, analyzing 116116Order of importance sequence Order of importance sequence R23R23Paraphrasing Paraphrasing 93, 115, 473, 587, 592, 93, 115, 473, 587, 592,

980, R23, R37980, R23, R37Pattern of organization, analyzing Pattern of organization, analyzing R24R24Patterns, determining Patterns, determining 876876Persuasive techniques, analyzing Persuasive techniques, analyzing R25R25Predicting Predicting 369, 387369, 387PredictionsPredictions

making making 1139, 1147, R231139, 1147, R23verifying verifying 11391139

Previewing Previewing 3, 69, 142, 410, 475, 479, 3, 69, 142, 410, 475, 479, 644, 736, 948, 1062, 1360644, 736, 948, 1062, 1360

Primary sources Primary sources 485, 792, 1162, 1254485, 792, 1162, 1254Prior knowledge, activating Prior knowledge, activating 197, 206, 197, 206,

834, 840, 1360, R21834, 840, 1360, R21Problem and solution, identifying Problem and solution, identifying 517, 517,

519, 736519, 736Profi les, comparing and Profi les, comparing and

contrasting contrasting 1257, 12661257, 1266


R92 INDEX OF SKILLS

IND

EX

OF

SK

ILLS

Questioning Questioning 446, 448, 543, 547, 1098, 446, 448, 543, 547, 1098, 1243, 12451243, 1245

Reading check Reading check 7, 13, 15, 17, 239, 241, 7, 13, 15, 17, 239, 241, 245, 247, 249, 503, 505, 509, 511, 513, 245, 247, 249, 503, 505, 509, 511, 513, 695, 697, 701, 703, 705, 909, 911, 915, 695, 697, 701, 703, 705, 909, 911, 915, 917, 919, 1031, 1033, 1037, 1039, 1041, 917, 919, 1031, 1033, 1037, 1039, 1041, 1231, 1235, 1237, 12391231, 1235, 1237, 1239

Reading graphical information Reading graphical information 8, 9, 8, 9, 240, 241, 504, 505, 698, 699, 910, 911, 240, 241, 504, 505, 698, 699, 910, 911, 1032, 1033, 1230, 1231, R221032, 1033, 1230, 1231, R22

Reading process Reading process R20–R25R20–R25Recalling Recalling 51, 72, 79, 89, 115, 123, 139, 51, 72, 79, 89, 115, 123, 139,

144, 150, 168, 190, 195, 205, 217, 258, 144, 150, 168, 190, 195, 205, 217, 258, 263, 269, 274, 276, 282, 287, 297, 300, 263, 269, 274, 276, 282, 287, 297, 300, 304, 311, 336, 351, 368, 387, 403, 409, 304, 311, 336, 351, 368, 387, 403, 409, 412, 422, 427, 436, 441, 448, 450, 458, 412, 422, 427, 436, 441, 448, 450, 458, 468, 473, 478, 519, 529, 538, 545, 551, 468, 473, 478, 519, 529, 538, 545, 551, 560, 573, 575, 591, 599, 609, 620, 628, 560, 573, 575, 591, 599, 609, 620, 628, 647, 656, 667, 673, 715, 723, 732, 741, 647, 656, 667, 673, 715, 723, 732, 741, 752, 759, 763, 776, 785, 792, 798, 803, 752, 759, 763, 776, 785, 792, 798, 803, 827, 832, 840, 847, 853, 862, 870, 874, 827, 832, 840, 847, 853, 862, 870, 874, 879, 930, 935, 942, 950, 955, 959, 962, 879, 930, 935, 942, 950, 955, 959, 962, 975, 983, 990, 997, 1002, 1008, 1053, 975, 983, 990, 997, 1002, 1008, 1053, 1065, 1075, 1078, 1085, 1092, 1096, 1065, 1075, 1078, 1085, 1092, 1096, 1100, 1104, 1109, 1114, 1121, 1146, 1100, 1104, 1109, 1114, 1121, 1146, 1155, 1162, 1172, 1183, 1189, 1198, 1155, 1162, 1172, 1183, 1189, 1198, 1205, 1245, 1254, 1261, 1270, 1275, 1205, 1245, 1254, 1261, 1270, 1275, 1282, 1292, 1302, 1309, 1317, 1319, 1282, 1292, 1302, 1309, 1317, 1319, 1330, 1338, 1343, 1352, 1359, 13631330, 1338, 1343, 1352, 1359, 1363

RecognizingRecognizingAuthor’s purpose Author’s purpose 154, 169, 854, 863, 154, 169, 854, 863, 1098, 1100, R241098, 1100, R24bias bias 1193, 1198, R251193, 1198, R25faulty reasoning faulty reasoning R25R25

Responding Responding 51, 72, 79, 89, 115, 123, 139, 51, 72, 79, 89, 115, 123, 139, 144, 150, 168, 190, 195, 205, 217, 258, 144, 150, 168, 190, 195, 205, 217, 258, 263, 269, 274, 276, 282, 287, 297, 300, 263, 269, 274, 276, 282, 287, 297, 300, 304, 311, 336, 351, 368, 387, 403, 412, 304, 311, 336, 351, 368, 387, 403, 412, 422, 427, 436, 441, 448, 450, 458, 468, 422, 427, 436, 441, 448, 450, 458, 468, 473, 478, 490, 519, 529, 538, 545, 551, 473, 478, 490, 519, 529, 538, 545, 551, 560, 573, 575, 591, 599, 609, 620, 628, 560, 573, 575, 591, 599, 609, 620, 628, 647, 656, 667, 673, 715, 723, 732, 741, 647, 656, 667, 673, 715, 723, 732, 741, 752, 759, 763, 776, 785, 792, 798, 803, 752, 759, 763, 776, 785, 792, 798, 803, 827, 832, 840, 847, 853, 862, 870, 874, 827, 832, 840, 847, 853, 862, 870, 874, 879, 930, 935, 942, 950, 955, 959, 962, 879, 930, 935, 942, 950, 955, 959, 962, 975, 983, 990, 997, 1002, 1008, 1053, 975, 983, 990, 997, 1002, 1008, 1053, 1065, 1075, 1078, 1085, 1092, 1096, 1065, 1075, 1078, 1085, 1092, 1096, 1100, 1104, 1109, 1114, 1121, 1146, 1100, 1104, 1109, 1114, 1121, 1146, 1155, 1162, 1172, 1183, 1189, 1198, 1155, 1162, 1172, 1183, 1189, 1198,

1205, 1245, 1254, 1261, 1270, 1275, 1205, 1245, 1254, 1261, 1270, 1275, 1282, 1292, 1302, 1309, 1317, 1319, 1282, 1292, 1302, 1309, 1317, 1319, 1330, 1338, 1343, 1352, 1359, 13631330, 1338, 1343, 1352, 1359, 1363to characters to characters 210, 217210, 217to literature to literature R23R23to mood to mood 8080to tone to tone 301, 304301, 304

Restating, meaning Restating, meaning 260260Reviewing Reviewing 804, 828804, 828Rhetorical devices, evaluating Rhetorical devices, evaluating 871, 874871, 874Semantic features analysis Semantic features analysis R21R21Sensory details, analyzing Sensory details, analyzing 786, 1175, 786, 1175,

11831183Sequence Sequence R23R23

identifying identifying 23, 52, 1319, 132423, 52, 1319, 1324logical logical R23R23

Setting, analyzing Setting, analyzing 5353Setting purpose for reading Setting purpose for reading 23, 69, 72, 23, 69, 72,

83, 93, 116, 124, 142, 146, 154, 172, 83, 93, 116, 124, 142, 146, 154, 172, 193, 197, 210, 255, 260, 266, 271, 276, 193, 197, 210, 255, 260, 266, 271, 276, 280, 284, 294, 301, 305, 316, 406, 410, 280, 284, 294, 301, 305, 316, 406, 410, 415, 425, 438, 446, 456, 465, 470, 475, 415, 425, 438, 446, 456, 465, 470, 475, 517, 520, 533, 543, 547, 553, 565, 585, 517, 520, 533, 543, 547, 553, 565, 585, 593, 603, 623, 644, 649, 660, 670, 593, 603, 623, 644, 649, 660, 670, 709, 718, 726, 736, 743, 755, 769, 781, 709, 718, 726, 736, 743, 755, 769, 781, 796, 800, 804, 829, 834, 843, 851, 866, 796, 800, 804, 829, 834, 843, 851, 866, 871, 876, 923, 931, 940, 948, 952, 957, 871, 876, 923, 931, 940, 948, 952, 957, 960, 967, 980, 985, 995, 999, 1004, 960, 967, 980, 985, 995, 999, 1004, 1046, 1062, 1069, 1090, 1094, 1098, 1046, 1062, 1069, 1090, 1094, 1098, 1101, 1107, 1110, 1118, 1139, 1150, 1156, 1101, 1107, 1110, 1118, 1139, 1150, 1156, 1167, 1175, 1185, 1193, 1201, 1243, 1167, 1175, 1185, 1193, 1201, 1243, 1259, 1268, 1272, 1279, 1285, 1296, 1259, 1268, 1272, 1279, 1285, 1296, 1305, 1314, 1319, 1328, 1332, 1340, 1305, 1314, 1319, 1328, 1332, 1340, 1345, 1356, 1360, R211345, 1356, 1360, R21

Signal words Signal words R22R22Silent reading Silent reading R23R23Skimming Skimming R21R21Sound devicesSound devices

analyzing analyzing 276, 278, 458, 876, 879276, 278, 458, 876, 879evaluating evaluating 1328, 13301328, 1330

Spatial order Spatial order 423, 531, R23423, 531, R23Speakers, comparing and Speakers, comparing and

contrasting contrasting 280, 282280, 282StyleStyle

analyzing analyzing 942, 1118, 1121942, 1118, 1121comparing and contrasting comparing and contrasting 621, 643621, 643

Subheads, reading Subheads, reading 736, 1062736, 1062Summarizing Summarizing 83, 89, 425, 517, 533, 539, 83, 89, 425, 517, 533, 539,

804, R23804, R23

Supporting details, determining Supporting details, determining 284, 284, 288, 670, R23288, 670, R23

Syntax, analyzing Syntax, analyzing 957, R24957, R24Synthesizing information Synthesizing information 1101, 1247, 1101, 1247,

1255, R231255, R23Text structureText structure

analyzing analyzing 255, 258, 415, 423, 565, 255, 258, 415, 423, 565, 574, 1062, R22574, 1062, R22cause-and-effect order cause-and-effect order 423, R22423, R22chronological order chronological order 423, R22423, R22comparison-contrast order comparison-contrast order 423, R22423, R22spatial order spatial order 423, 531, R23423, 531, R23

ThemeThemeanalyzing analyzing 141141comparing and contrasting comparing and contrasting themes themes 54, 423, 454, 463, 938, 94754, 423, 454, 463, 938, 947drawing conclusions about drawing conclusions about 305, 312305, 312making inferences making inferences 74, 80, 438, 442, 74, 80, 438, 442, 575, 584575, 584

Thesis Thesis 284, 352 284, 352 See alsoSee also Main ideas. Main ideas.

ToneToneanalyzing analyzing 116, 123, 931, 936, 1150, 116, 123, 931, 936, 1150, 11551155comparing and contrasting comparing and contrasting 269, 269, 1044, 10611044, 1061interpreting interpreting 11501150responding to responding to 301, 304301, 304

Verifying predictions Verifying predictions 11391139Visualizations, comparing and Visualizations, comparing and

contrasting contrasting 755755Visualizing Visualizing 520, 530, 755, 759, 1156, 520, 530, 755, 759, 1156,

1163, 1296, 13031163, 1296, 1303Who, what, why, where, and when Who, what, why, where, and when

questions questions R23R23Word choice, analyzing Word choice, analyzing R24R24

VocabularyAcademic vocabulary Academic vocabulary 52, 80, 140, 169, 52, 80, 140, 169,

192, 206, 278, 282, 300, 404, 437, 442, 192, 206, 278, 282, 300, 404, 437, 442, 448, 451, 458, 479, 519, 530, 539, 561, 448, 451, 458, 479, 519, 530, 539, 561, 574, 584, 592, 600, 610, 657, 716, 724, 574, 584, 592, 600, 610, 657, 716, 724, 733, 753, 764, 793, 798, 803, 828, 853, 733, 753, 764, 793, 798, 803, 828, 853, 863, 936, 942, 959, 991, 997, 1009, 863, 936, 942, 959, 991, 997, 1009, 1086, 1092, 1109, 1115, 1137, 1147, 1086, 1092, 1109, 1115, 1137, 1147, 1163, 1190, 1206, 1245, 1261, 1275, 1163, 1190, 1206, 1245, 1261, 1275, 1282, 1293, 1310, 1324, 1339, 1353, 1282, 1293, 1310, 1324, 1339, 1353, R82–R84R82–R84


INDEX OF SKILLS R93

IND

EX

OF

SK

ILLS

Analogies Analogies 23, 52, 74, 80, 89, 124, 140, 23, 52, 74, 80, 89, 124, 140, 197, 206, 210, 217, 260, 264, 271, 274, 197, 206, 210, 217, 260, 264, 271, 274, 438, 442, 444, 475, 479, 553, 561, 593, 438, 442, 444, 475, 479, 553, 561, 593, 600, 709, 716, 843, 847, 923, 930, 999, 600, 709, 716, 843, 847, 923, 930, 999, 1002, 1046, 1053, 1078, 1086, 1123, 1002, 1046, 1053, 1078, 1086, 1123, 1137, 1185, 1190, 1268, 1270, 1305, 1137, 1185, 1190, 1268, 1270, 1305, 1310, 1332, 1339, R11310, 1332, 1339, R1

Anglo-Saxon word parts Anglo-Saxon word parts 73, 15473, 154Antonyms Antonyms 146, 352, 368, 520, 530, 543, 146, 352, 368, 520, 530, 543,

545, 615, 620, 649, 657, 781, 793, 1139, 545, 615, 620, 649, 657, 781, 793, 1139, 11471147

Base words Base words R20R20Connotation Connotation 271, 274, 611, 660, 668, 271, 274, 611, 660, 668,

726, 733, 1247, 1255, R4, R20726, 733, 1247, 1255, R4, R20Context clues Context clues 116, 123, 305, 312, 388, 116, 123, 305, 312, 388,

404, 425, 427, 470, 473, 585, 592, 603, 404, 425, 427, 470, 473, 585, 592, 603, 610, 804, 828, 866, 870, 931, 936, 967, 610, 804, 828, 866, 870, 931, 936, 967, 976, 1094, 1096, 1110, 1115, 1167, 1172, 976, 1094, 1096, 1110, 1115, 1167, 1172, 1201, 1206, 1296, 1303, R201201, 1206, 1296, 1303, R20contrast contrast 207207example example 207207restatement restatement 207207synonym synonym 207207

Denotation Denotation 271, 274, 611, 660, 668, 726, 271, 274, 611, 660, 668, 726, 733, 1247, 1255, R4, R20733, 1247, 1255, R4, R20

Etymology Etymology 266, 301, 337, 547, 781, 993, 266, 301, 337, 547, 781, 993, 11481148

Greek roots (word parts) Greek roots (word parts) 154, 304, 735154, 304, 735Homophones Homophones 13121312Latin roots (word parts) Latin roots (word parts) 154, 169, 304, 154, 169, 304,

539, 735539, 735Math and science terms Math and science terms 11481148Middle English word parts Middle English word parts 90–91, 169, 90–91, 169,

304304Old English roots Old English roots 73, 30473, 304Political and historical terms Political and historical terms 993993Prefi xes Prefi xes 533, 623, 735, 832, R20533, 623, 735, 832, R20Roots Roots 533, 623, 735, 832, 1148533, 623, 735, 832, 1148Suffi xes Suffi xes 316, 336, 533, 623, 735, 832, 316, 336, 533, 623, 735, 832,

1148, R201148, R20Synonyms Synonyms 93, 115, 172, 192, 207, 255, 93, 115, 172, 192, 207, 255,

258, 294, 297, 369, 387, 415, 423, 431, 258, 294, 297, 369, 387, 415, 423, 431, 437, 465, 468, 541, 565, 574, 584, 718, 437, 465, 468, 541, 565, 574, 584, 718, 724, 851, 863, 876, 879, 1098, 1100, 724, 851, 863, 876, 879, 1098, 1100, 1118, 1121, 1156, 1163, 1193, 1198, 1314, 1118, 1121, 1156, 1163, 1193, 1198, 1314, 1317, 1328, 1330, 1356, 13591317, 1328, 1330, 1356, 1359

ThesaurusThesaurusdictionary style dictionary style 541541traditional style traditional style 541541

Vocabulary reference materials Vocabulary reference materials R20R20thesaurus thesaurus 541541

Word origins Word origins 73, 83, 266, 269, 301, 304, 73, 83, 266, 269, 301, 304, 337, 351, 547, 551, 735, 769, 777, 781, 337, 351, 547, 551, 735, 769, 777, 781, 785, 847, 871, 952, 955, 980, 983, 993, 785, 847, 871, 952, 955, 980, 983, 993, 1150, 1155, 1175, 1285, 1293, 1319, 1150, 1155, 1175, 1285, 1293, 1319, 1324, R201324, R20

Word parts Word parts 73, 154, 169, 284, 288, 316, 73, 154, 169, 284, 288, 316, 336, 533, 539, 623, 735, 743, 752, 832, 336, 533, 539, 623, 735, 743, 752, 832, 840, 985, 991, 1069, 1076, 1148, 1183, 840, 985, 991, 1069, 1076, 1148, 1183, 1345, 1353, R201345, 1353, R20

WritingAction verbs Action verbs 12141214Active voice Active voice 895895AnalysisAnalysis

of cultural context of cultural context 463, 1061463, 1061literary literary 1010–10171010–1017personal personal 889889style style 643643theme theme 947947

AnalyzingAnalyzingcharacter character 1137, 13391137, 1339comic devices comic devices 11981198couplets couplets 300300cultural context cultural context 463, 992, 1061463, 992, 1061fi gurative language fi gurative language 13031303genre elements genre elements 150, 217, 264, 540, 150, 217, 264, 540, 669, 778, 1092, 1325669, 778, 1092, 1325historical context historical context 992992humor humor 11981198imagery imagery 11471147mood mood 278278plot plot 11831183poem for literary analysis poem for literary analysis 10131013professional writing model professional writing model 219–220, 219–220, 675–676, 889–890, 1011–1012, 675–676, 889–890, 1011–1012, 1209–1211, 1365–13661209–1211, 1365–1366setting setting 53, 53153, 531sound devices sound devices 192, 458, 794192, 458, 794style style 643643theme theme 141141thesis thesis 734734tone tone 437, 931, 1317437, 931, 1317workshop writing model workshop writing model 222–223, 222–223, 483, 678–679, 892–893, 1014–1015, 483, 678–679, 892–893, 1014–1015, 1212–1213, 1368–13691212–1213, 1368–1369

APA-citation style APA-citation style R41R41AppealsAppeals

emotional emotional 675, 677, 678675, 677, 678ethical ethical 676, 677676, 677logical logical 675, 677, 678675, 677, 678

ApplyingApplyingform form 752, 874752, 874style style 12561256theme theme 752752

Argument Argument 674674 See also See also Persuasive Persuasive Writing.Writing.organizing organizing 677677

Audience Audience 219, 481, 675, 677, 889, 1011, 219, 481, 675, 677, 889, 1011, 1209, 13651209, 1365

Author’s craftAuthor’s craftevaluating evaluating 336, 351, 479, 574, 585, 336, 351, 479, 574, 585, 601, 628, 864, 879, 977, 1116, 1155, 601, 628, 864, 879, 977, 1116, 1155, 1245, 1275, 13541245, 1275, 1354responding to responding to 847847

Author’s purpose, exploring Author’s purpose, exploring 115, 170, 115, 170, 1009, 10871009, 1087

Background Background 678, 1014678, 1014Bibliography, working Bibliography, working R36–R37R36–R37Bibliography card Bibliography card R36R36Blank verse Blank verse 405405Brainstorming Brainstorming 847, 1311, 1367, R30847, 1311, 1367, R30Business e-mail Business e-mail R45R45Business writingBusiness writing

business e-mail business e-mail R45R45job application job application R44R44letter of application letter of application R42R42memos memos R45R45résumé résumé R43R43

Call for action Call for action 677677CharacterCharacter

analyzing analyzing 1137, 13391137, 1339comparing/contrasting comparing/contrasting 12941294describing describing 1210, 12121210, 1212responding to responding to 620620

Chronological order, clarifying Chronological order, clarifying with with 12191219

Citing, titles Citing, titles 13711371Citing sources Citing sources 489489Clarifying with chronological Clarifying with chronological

order order 12191219Climax Climax 1211, 12131211, 1213Clustering Clustering R30R30CMS-citation style CMS-citation style R40R40Comic devices, analyzing Comic devices, analyzing 11981198Comparing/contrastingComparing/contrasting

characters characters 12941294


R94 INDEX OF SKILLS

IND

EX

OF

SK

ILLS

ideas ideas 610610imagery imagery 798798motifs motifs 313313poems poems 11091109profi les profi les 12661266style style 657657theme theme 423, 724, 759423, 724, 759theme and tone theme and tone 12071207tone tone 269, 468, 724269, 468, 724

Conclusion Conclusion 220, 486, 893, 1012, 1015, 220, 486, 893, 1012, 1015, 1366, 13691366, 1369draw and elaborate draw and elaborate 10131013

Confl ictConfl ictcreating and resolving creating and resolving 1208–12151208–1215responding to responding to 11641164

Connecting, to thesis Connecting, to thesis 13691369Contemporary relevance, Contemporary relevance,

evaluating evaluating 206, 519, 828206, 519, 828Conventions Conventions R34R34Conversational tone Conversational tone 223, 890, 1365223, 890, 1365Counterarguments Counterarguments 676, 679676, 679Creative writingCreative writing

blank verse blank verse 405405classifi ed advertisement classifi ed advertisement 13111311dialogue dialogue 222–223, 562, 1209, 1212222–223, 562, 1209, 1212diary entry diary entry 752752epitaph epitaph 448448memo memo 827827ode ode 874874scripted version of poems scripted version of poems 282282short story short story 1208–1215, 12561208–1215, 1256sonnets sonnets 942942

Critical evidence, identifying Critical evidence, identifying 13671367Critical review Critical review 1364–13711364–1371Cultural context, analysis Cultural context, analysis 463463DescribingDescribing

character character 12101210setting setting 12101210

Descriptive details Descriptive details 220, 221, 222, 223, 220, 221, 222, 223, 224, 890, 893224, 890, 893

Descriptive essay Descriptive essay 218–225218–225Descriptive writing Descriptive writing 80, 520, 560, 562, 80, 520, 560, 562,

R35R35DetailsDetails

descriptive descriptive 220, 222, 223, 890, 893220, 222, 223, 890, 893organizing organizing 221, 891221, 891summarizing with summarizing with 517517

Dialogue Dialogue 222–223, 562, 1209, 1212222–223, 562, 1209, 1212punctuating punctuating 1215, 13111215, 1311

Direct quotations Direct quotations 485, 489, 1011, 1017, 485, 489, 1011, 1017, 1366, 1369, R371366, 1369, R37

Documenting sources Documenting sources 487, R36, 487, R36, R38–R41R38–R41

Drafting Drafting 222–223, 483–486, 678–679, 222–223, 483–486, 678–679, 892–893, 1014–1015, 1212–1213, 892–893, 1014–1015, 1212–1213, 1368–1369, R311368–1369, R31

Draw conclusions Draw conclusions 10131013Editing Editing 225, 489, 681, 895, 1017, 1215, 225, 489, 681, 895, 1017, 1215,

1371, R321371, R32Elaboration Elaboration 10131013

with anecdotes with anecdotes 220220with descriptive details with descriptive details 222, 224222, 224

Emotional appeal Emotional appeal 675, 677, 679675, 677, 679Essay Essay 284284

descriptive descriptive 218–224218–224persuasive persuasive 674–681674–681refl ective refl ective 888–895888–895

Ethical appeal Ethical appeal 676, 677676, 677EvaluatingEvaluating

argument argument 443443author’s craft author’s craft 336, 351, 479, 574, 585, 336, 351, 479, 574, 585, 601, 628, 864, 879, 977, 1116, 1155, 601, 628, 864, 879, 977, 1116, 1155, 1245, 1275, 13541245, 1275, 1354contemporary relevance contemporary relevance 206, 519, 206, 519, 828828a literary work (critical review) a literary work (critical review) 1364–13711364–1371rhetorical devices rhetorical devices 289289sound devices sound devices 451451sources sources 481, 487, R37481, 487, R37

EvidenceEvidence. . SeeSee Supporting evidence. Supporting evidence.Examples, in critical review Examples, in critical review 13681368Exploring author’s purpose Exploring author’s purpose 115, 170, 115, 170,

765, 1009, 1087765, 1009, 1087Expository writing Expository writing 53, 170, 192, 206, 53, 170, 192, 206,

217, 218, 224, 264, 274, 300, 423, 437, 217, 218, 224, 264, 274, 300, 423, 437, 443, 451, 458, 468, 479, 480–489, 519, 443, 451, 458, 468, 479, 480–489, 519, 585, 592, 601, 610, 620, 628, 657, 669, 585, 592, 601, 610, 620, 628, 657, 669, 724, 765, 785, 794, 879, 887, 937, 977, 724, 765, 785, 794, 879, 887, 937, 977, 992, 1009, 1087, 1100, 1116, 1137, 1147, 992, 1009, 1087, 1100, 1116, 1137, 1147, 1183, 1191, 1198, 1256, 1303, 1354, 1183, 1191, 1198, 1256, 1303, 1354, 1364–1371, R351364–1371, R35

Fictional elements, describing Fictional elements, describing 12101210Figurative language, analyzing Figurative language, analyzing 13031303First-person point of view First-person point of view 889, 892889, 892Flexibility Flexibility 13681368Form, applying Form, applying 752, 874, 942752, 874, 942Freewriting Freewriting R30R30

Genre elements, analyzing Genre elements, analyzing 150, 217, 150, 217, 264, 540, 669, 778, 1092, 1325264, 540, 669, 778, 1092, 1325

Graphic organizerGraphic organizerchart chart 53, 192, 221, 264, 313, 437, 479, 53, 192, 221, 264, 313, 437, 479, 669, 716, 724, 828, 992, 1311, 1354669, 716, 724, 828, 992, 1311, 1354cluster diagram cluster diagram 481481concept web concept web 937, 1137937, 1137diagram diagram 12941294double-entry journal double-entry journal 985985prewriting prewriting 53, 206, 531, 540, 677, 53, 206, 531, 540, 677, 734, 1325, 1339734, 1325, 1339Venn diagram Venn diagram 610610

Heading Heading R34R34Historical investigation Historical investigation 480–489480–489Humor, analyzing Humor, analyzing 11981198Ideas Ideas R33R33

compare/contrast compare/contrast 610610describing describing 221221exploring exploring 481, 891481, 891fi nding fi nding 221, 1212221, 1212

Imagery Imagery 274, 437, 562, 798274, 437, 562, 798analyzing analyzing 11471147comparison comparison 887887

ImpressionImpressionclarifying clarifying 221221dominant dominant 223223

Information, searching for Information, searching for R36R36Introduction Introduction 219, 1365, 1368219, 1365, 1368Inversion Inversion 313313Issues, exploring Issues, exploring 677677Job application Job application R44R44Journal, double-entry Journal, double-entry 985985Journalists’ Questions Journalists’ Questions 481481Letter Letter 610610Letter of application Letter of application R42R42Literary analysis Literary analysis 1010–10171010–1017Literary criticism Literary criticism 264, 297, 405, 443, 264, 297, 405, 443,

734, 803, 840, 870, 997, 1085, 1191734, 803, 840, 870, 997, 1085, 1191Literary elements Literary elements 1012, 1014, 10151012, 1014, 1015Literary interpretation Literary interpretation 889, 892889, 892Literary present tense Literary present tense 1013, 13711013, 1371Literary research paper, historical Literary research paper, historical

investigation investigation 480–489480–489Logical appeal Logical appeal 675, 677675, 677Main idea Main idea 253, 284253, 284Main point Main point 10151015Manuscript guidelines Manuscript guidelines 225, 489, 681, 225, 489, 681,

895, 1017, 1215, 1371, R34895, 1017, 1215, 1371, R34Margins Margins R34R34


INDEX OF SKILLS R95

IND

EX

OF

SK

ILLS

Memo Memo R45R45writing writing 827827

MLA-citation style MLA-citation style R39R39MoodMood

analyzing analyzing 278278responding to responding to 80, 128280, 1282

Narration Narration 1208–12151208–1215Narrative writing Narrative writing R35R35Note cards Note cards 482, R37482, R37Note takingNote taking. . SeeSee Research paper. Research paper.Numbering Numbering R34R34Opposing point of view Opposing point of view 1366, 13691366, 1369Organization Organization 223, 443, 484, 677, 679, 223, 443, 484, 677, 679,

891, 892, 893, 1012, 1013, 1015, 1369, 891, 892, 893, 1012, 1013, 1015, 1369, R33R33

Outlining Outlining 170, 289, 443, 482, 891, 1164, 170, 289, 443, 482, 891, 1164, 1367, R37–R381367, R37–R38

Pace of story Pace of story 12121212Paragraphs Paragraphs 12121212

organization organization 610610structure structure 484484transitions transitions 488–489488–489

Paraphrasing Paraphrasing 217, 482, 656, R37217, 482, 656, R37Passive voice Passive voice 895895Peer review Peer review 224, 488, 894, R31224, 488, 894, R31Personal analysis Personal analysis 889889Personal opinions, for critical Personal opinions, for critical

review review 13671367Persuasive writing Persuasive writing 427, 674–681, 683, 427, 674–681, 683,

1364–1371, R351364–1371, R35Plagiarism Plagiarism 482, R37482, R37PlotPlot

analyzing analyzing 11831183planning planning 12121212responding to responding to 368368

Plot summary Plot summary 1365, 13681365, 1368Poems, comparing/contrasting Poems, comparing/contrasting 11091109Point of view Point of view 1209, 1212, 12131209, 1212, 1213

adding evidence to support adding evidence to support 13701370fi rst-person fi rst-person 889, 892889, 892opposing opposing 1366, 13691366, 1369

Presentation Presentation R34R34Presenting Presenting 225, 489, 681, 895, 1017, 225, 489, 681, 895, 1017,

1215, 1371, R321215, 1371, R32Present tense Present tense 10131013Prewriting Prewriting 221, 481–482, 677, 891, 1013, 221, 481–482, 677, 891, 1013,

1212, 1367, R301212, 1367, R30Primary sources Primary sources 485, 792, 1162, 1254, 485, 792, 1162, 1254,

R36R36

Professional writing model, Professional writing model, analyzing analyzing 219–220, 675–676, 219–220, 675–676, 889–890, 1011–1012, 1209–1211, 889–890, 1011–1012, 1209–1211, 1365–13661365–1366

Proofreading Proofreading 225, 489, 681, 895, 1017, 225, 489, 681, 895, 1017, 1215, 1371, R321215, 1371, R32

Proofreading symbols Proofreading symbols R32R32Publishing Publishing R32R32Punctuating, titles Punctuating, titles 13711371Purpose Purpose 219, 481, 675, 889, 1011, 1209, 219, 481, 675, 889, 1011, 1209,

13651365Quickwrite Quickwrite 57, 459, 462, 638, 642, 881, 57, 459, 462, 638, 642, 881,

886, 945, 1058, 1265886, 945, 1058, 1265QuotationsQuotations

direct direct 485, 489, 1011, 1017, 1366, 485, 489, 1011, 1017, 1366, 1369, R371369, R37literary literary 484484long long 10171017

Quoting sources Quoting sources 482482punctuating punctuating 489, 1017, R37489, 1017, R37

Refl ection Refl ection 891891Refl ective essay Refl ective essay 888–895888–895Research paper Research paper 480–489, 992, R36–R41480–489, 992, R36–R41Resolution Resolution 1211, 12131211, 1213RespondingResponding

to argument to argument 368368to author’s craft to author’s craft 847847to character to character 620620to confl ict to confl ict 11641164to imagery to imagery 274, 437, 562274, 437, 562to mood to mood 80, 128280, 1282to plot to plot 368368to setting to setting 716716to theme to theme 448, 592, 937, 1191, 1261, 448, 592, 937, 1191, 1261, 13111311to title to title 11001100to tone to tone 785, 1002785, 1002

Response essay Response essay 11911191RésuméRésumé R43 R43Review Review 12451245Revising Revising 53, 141, 170, 192, 224, 289, 313, 53, 141, 170, 192, 224, 289, 313,

443, 488–489, 531, 540, 585, 601, 669, 443, 488–489, 531, 540, 585, 601, 669, 680, 765, 778, 794, 864, 894, 937, 977, 680, 765, 778, 794, 864, 894, 937, 977, 992, 1016, 1087, 1116, 1191, 1207, 1214, 992, 1016, 1087, 1116, 1191, 1207, 1214, 1256, 1294, 1311, 1325, 1354, 1370, R311256, 1294, 1311, 1325, 1354, 1370, R31

Rhetorical devices Rhetorical devices 676, 679676, 679evaluating evaluating 289289

Rising action Rising action 1211, 12131211, 1213

Rubrics Rubrics 218, 224, 480, 488, 674, 680, 218, 224, 480, 488, 674, 680, 888, 894, 1010, 1016, 1208, 1214, 1364, 888, 894, 1010, 1016, 1208, 1214, 1364, 13701370

Satiric writing Satiric writing 574, 778574, 778Secondary sources Secondary sources 485, R36485, R36Selecting, poem for literary Selecting, poem for literary

analysis analysis 10131013Sentence fl uency Sentence fl uency R34R34Sentence fragments Sentence fragments 12151215SentencesSentences

compound compound 11991199run-on run-on 11991199short, choppy short, choppy 225225wordy wordy 10161016

Sentence structure, varying Sentence structure, varying 894894SettingSetting

analyzing analyzing 53, 53153, 531describing describing 12101210responding to responding to 716716

Short story Short story 1208–12151208–1215Sound devicesSound devices

analyzing analyzing 192, 458192, 458evaluating evaluating 451451

SourcesSourcesdocumenting documenting 487, R36, R38–R41487, R36, R38–R41evaluating evaluating 481, 487, R37481, 487, R37Internet Internet 657, 724, 1121, 1294657, 724, 1121, 1294paraphrasing paraphrasing 482, R37482, R37primary primary 485485punctuating quotations punctuating quotations 489, R37489, R37quoting quoting 482, 489, R37482, 489, R37secondary secondary 485485summarizing summarizing 482, R37482, R37using variety of using variety of 481, 487481, 487

Spacing Spacing R34R34Style Style R33R33

analysis analysis 643643applying applying 12561256comparing/contrasting comparing/contrasting 657657

Subject Subject 219, 222219, 222choosing choosing 221221

Summarizing Summarizing 734, 977, 1164734, 977, 1164information information 484, 517484, 517plot plot 1365, 13681365, 1368sources sources 482, R37482, R37

Supporting evidence Supporting evidence 679, 890, 892, 679, 890, 892, 1011, 1012, 1014, 1015, 13671011, 1012, 1014, 1015, 1367adding adding 13701370details details 483, 676483, 676quotations quotations 484, 485, R37484, 485, R37


R96 INDEX OF SKILLS

IND

EX

OF

SK

ILLS

ThemeThemeanalyzing analyzing 141, 947141, 947applying applying 752752comparing/contrasting comparing/contrasting 423, 724, 423, 724, 759, 1207759, 1207responding to responding to 448, 592, 937, 1191, 448, 592, 937, 1191, 1261, 13111261, 1311

Thesis Thesis 482, 483, 675, 677, 678, 1011, 482, 483, 675, 677, 678, 1011, 1014, 13681014, 1368analyzing analyzing 734734connecting to connecting to 13691369developing developing 13671367narrowing narrowing 10131013

Thesis statement Thesis statement R38R38Title Title R34R34

citing citing 13711371punctuating punctuating 13711371responding to responding to 11001100

Tone Tone R33R33comparing/contrasting comparing/contrasting 269, 468, 269, 468, 724, 1207724, 1207conversational conversational 223, 890, 1365223, 890, 1365responding to responding to 785, 1002785, 1002using appropriate using appropriate 680680

TopicTopicfi nding fi nding 481481narrowing narrowing 481481selecting selecting R36R36

Traits of Strong Writing Traits of Strong Writing 224, 488, 680, 224, 488, 680, 894, 1016, 1214, 1370, R33–R34894, 1016, 1214, 1370, R33–R34

Transitions Transitions 488–489488–489Verb tense Verb tense 13711371Voice Voice 890, R33890, R33Word choice Word choice 585, R24, R33585, R24, R33Wordy sentences Wordy sentences 10161016Works-cited list Works-cited list 482, 487, 489, R38482, 487, 489, R38Workshop model, analyzing Workshop model, analyzing 222–223, 222–223,

483, 678–679, 892–893, 1014–1015, 483, 678–679, 892–893, 1014–1015, 1213, 1368–13691213, 1368–1369

Writing about literature Writing about literature 53, 80, 115, 53, 80, 115, 141, 150, 170, 192, 206, 217, 264, 269, 141, 150, 170, 192, 206, 217, 264, 269, 274, 278, 289, 300, 313, 351, 368, 404, 274, 278, 289, 300, 313, 351, 368, 404, 423, 427, 437, 443, 448, 451, 458, 468, 423, 427, 437, 443, 448, 451, 458, 468, 479, 519, 531, 540, 562, 574, 584, 592, 479, 519, 531, 540, 562, 574, 584, 592, 601, 610, 620, 628, 657, 669, 716, 724, 601, 610, 620, 628, 657, 669, 716, 724, 734, 752, 759, 765, 778, 785, 794, 798, 734, 752, 759, 765, 778, 785, 794, 798, 828, 847, 864, 874, 879, 930, 937, 942, 828, 847, 864, 874, 879, 930, 937, 942, 977, 992, 1002, 1009, 1087, 1092, 1100, 977, 992, 1002, 1009, 1087, 1092, 1100, 1109, 1116, 1137, 1147, 1155, 1164, 1109, 1116, 1137, 1147, 1155, 1164, 1183, 1191, 1198, 1207, 1245, 1256, 1183, 1191, 1198, 1207, 1245, 1256,

1261, 1275, 1282, 1294, 1303, 1311, 1261, 1275, 1282, 1294, 1303, 1311, 1317, 1325, 1339, 13541317, 1325, 1339, 1354

Writing process Writing process R30–R41R30–R41

GrammarAbbreviations Abbreviations R57R57Active voice Active voice 895 895

See alsoSee also Voice. Voice.Adjective Adjective 170, 562, R46170, 562, R46

comparative degree comparative degree 1354, R461354, R46positive degree positive degree 1354, R461354, R46predicate predicate R46R46proper proper R46R46superlative degree superlative degree 1354, R461354, R46

Adverb Adverb 562, R46562, R46comparative degree comparative degree R46R46conjunctive conjunctive R47R47superlative degree superlative degree R46R46

Adverb clause Adverb clause 978 978 See alsoSee also Clause. Clause.

AgreementAgreementpronoun-antecedent pronoun-antecedent 658658subject-verb subject-verb 290290

Antecedent Antecedent 658 658 See alsoSee also Pronoun. Pronoun.

Apostrophe Apostrophe R56–R57R56–R57Appositives Appositives R46R46ArticlesArticles

defi nite defi nite R46R46indefi nite indefi nite R46R46

Brackets Brackets R55R55Capitalization Capitalization R53R53

in poetry in poetry 937937ClauseClause

adjective adjective R47R47adverb adverb R47R47main main R46R46noun noun R47R47subordinate subordinate R46, R47R46, R47

Colon Colon 977, 1191, 1256, R54977, 1191, 1256, R54Comma Comma R54–R55R54–R55

with coordinating with coordinating conjunctions conjunctions 1088, 11991088, 1199with nonessential elements with nonessential elements 13261326serial serial 540540

Comma splice Comma splice 225225Comparative degree Comparative degree 1354, R461354, R46ComplementComplement

direct object direct object R47R47

indirect object indirect object R47R47object complement object complement R47R47predicate adjective predicate adjective R47R47predicate nominative predicate nominative R47R47subject complement subject complement R47R47

Compound words, forming Compound words, forming R59R59ConjunctionConjunction

coordinating coordinating 1088, 1116, 1199, R471088, 1116, 1199, R47correlative correlative 443, R47443, R47subordinating subordinating 978, 1116, R47978, 1116, R47

Conjunctive adverb Conjunctive adverb R47R47Connotation Connotation 271, 274, 611, 1173, R4, R20271, 274, 611, 1173, R4, R20Coordinating conjunction Coordinating conjunction 1116, R471116, R47

using commas with using commas with 1088, 11991088, 1199Dangling modifi ers Dangling modifi ers 753753Dash Dash 1087, R551087, R55Degrees of comparison Degrees of comparison 1354, R461354, R46Denotation Denotation 271, 274, 611, 1173, R4, R20271, 274, 611, 1173, R4, R20Dialogue, punctuating Dialogue, punctuating 13111311Diction Diction 405, 585405, 585Direct objectDirect object. . SeeSee Complement. Complement.Doubling fi nal consonant Doubling fi nal consonant R59R59Ellipsis points Ellipsis points R56R56Exclamation point Exclamation point 864, R54864, R54Gerund Gerund 1164, 1325, R481164, 1325, R48Hyphen Hyphen R57R57Indirect objectIndirect object. . SeeSee Complement. Complement.Infi nitive Infi nitive R48R48

split split 562562Interjection Interjection 992, R48992, R48Inverted order Inverted order R48R48Italics Italics 734, R56734, R56

for titles for titles 13711371Literary present tense Literary present tense 13711371Modifi ers, dangling Modifi ers, dangling 753753Mood of verbMood of verb

imperative mood imperative mood R48R48indicative mood indicative mood R48R48subjunctive mood subjunctive mood R48R48

Nonessential elements Nonessential elements 13261326Noun Noun 562, R48562, R48

abstract abstract R48R48collective collective R48R48common common R48R48compound compound R48R48noun of direct address noun of direct address R48R48possessive possessive R48R48proper proper R48R48

Noun clauseNoun clause. . SeeSee Clause. Clause.Number Number R49R49


INDEX OF SKILLS R97

IND

EX

OF

SK

ILLS

Object complementObject complement. . SeeSee Complement. Complement.Parallelism (parallel structure) Parallelism (parallel structure) 601, 681, 601, 681,

765 765 Parentheses Parentheses R55R55Parenthetical expressions Parenthetical expressions 669669Participle Participle 1325, R491325, R49Parts of speechParts of speech

adjectives adjectives 170, 562, R46170, 562, R46adverbs adverbs 562, R46562, R46nouns nouns 562, R48562, R48pronouns pronouns 53, R4953, R49verbs verbs 93, 151, 192, 562, R5193, 151, 192, 562, R51

Period Period R54R54PhrasePhrase

absolute absolute R49R49appositive appositive R49R49gerund gerund R49R49infi nitive infi nitive 562, R49562, R49participial participial 1325, R491325, R49prepositional prepositional R49R49verb verb R49R49

Plurals, forming Plurals, forming R58R58Positive degree Positive degree 1354, R461354, R46Possessive Possessive 5353Possessive nounPossessive noun. . SeeSee Noun. Noun.Predicate Predicate 9393

complete complete R49R49compound compound R49R49simple simple R49R49

Prefi xes Prefi xes forming forming R59R59

Preposition Preposition compound compound R49R49

Prepositional phrasePrepositional phrase. . SeeSee Phrase. Phrase.Present tense Present tense 1013 1013 SeeSee also Verb tense. also Verb tense.

literary literary 13711371Pronoun Pronoun 658, R49658, R49

antecedent antecedent R49R49demonstrative demonstrative R49R49indefi nite indefi nite 141, R49–R50141, R49–R50intensive intensive R50R50interrogative interrogative R50R50nominative nominative R50R50objective objective R50R50personal personal R50R50possessive possessive 53, R5053, R50refl exive refl exive R50R50relative relative R50R50

Pronoun-antecedent agreement Pronoun-antecedent agreement 658658Punctuation Punctuation R54–R57R54–R57

of dialogue of dialogue 1215, 13111215, 1311of quotations from sources of quotations from sources 489, R37489, R37of titles of titles 13711371

Question mark Question mark R54R54Quotation marks Quotation marks R56R56

for author’s words for author’s words R37R37in titles in titles 13711371

Run-on sentences Run-on sentences 11991199Semicolon Semicolon 225, 289, R54225, 289, R54SentenceSentence

complex complex R50–R51R50–R51compound compound 1199, R501199, R50compound-complex compound-complex R51R51declarative declarative R50R50exclamatory exclamatory R50R50imperative imperative R50R50interrogative interrogative R50R50run-on run-on 11991199short, choppy short, choppy 225225simple simple R50R50wordy wordy 10161016

Sentence fragments Sentence fragments 12151215Sentence structure Sentence structure 894, 1199, 1294, 894, 1199, 1294,

R50–R51R50–R51Serial commas Serial commas 540540Simple language Simple language 794794Spelling, rules, examples, and Spelling, rules, examples, and

exceptions for exceptions for R58–R60R58–R60Split infi nitive Split infi nitive 562562SubjectSubject

complete complete R51R51compound compound R51R51simple simple 93, R5193, R51

Subject-verb agreement Subject-verb agreement 290290Subjunctive moodSubjunctive mood. . SeeSee Mood of verb. Mood of verb.Suffi xesSuffi xes

and fi nal and fi nal y R59R59and silent and silent e R59R59

Superlative degree Superlative degree 1354, R461354, R46Verb Verb 93, R5193, R51

action action 192, 1214, R51192, 1214, R51agreement, subject-verb agreement, subject-verb 290290auxiliary auxiliary R51R51intransitive intransitive 192, R51192, R51irregular irregular 151, R51151, R51linking linking R51R51regular regular R51R51transitive transitive 192, R51192, R51

Verbal Verbal R51R51Verb tense Verb tense 13711371

emphatic form emphatic form R52R52future future R51R51of irregular verb of irregular verb 151, R51151, R51past past R51R51perfect perfect R51R51present present R51R51progressive form progressive form R51R51of regular verb of regular verb 151, R51151, R51

Voice (of verb)Voice (of verb)active voice active voice R52R52passive voice passive voice 895, R52895, R52

Word choice Word choice 585, R24585, R24Word comparison Word comparison 12941294Wordy sentences Wordy sentences 10161016

Speaking, Listening, and ViewingActive listening Active listening 897, 955897, 955Advertising campaign Advertising campaign 289289Audience, for oral presentation Audience, for oral presentation 1217, 1217,

13731373Brainstorming Brainstorming 12161216Building background Building background 63, 40663, 406Compare/contrast, value systems Compare/contrast, value systems 706706Critical review, delivering Critical review, delivering 1372–13731372–1373Critical viewing Critical viewing 168, 190, 250, 406, 409, 168, 190, 250, 406, 409,

529, 560, 585, 667, 767, 776, 935, 529, 560, 585, 667, 767, 776, 935, 1205, 1292, 13231205, 1292, 1323

Debate Debate 250, 540, 920250, 540, 920Discussion Starter Discussion Starter 61, 67, 460, 634, 883, 61, 67, 460, 634, 883,

943, 946, 1056, 1060, 1263943, 946, 1056, 1060, 1263Effective listening Effective listening 10191019Expository presentation Expository presentation 226–227226–227Graphic organizerGraphic organizer

chart chart 1114, 11891114, 1189concept map concept map 287287storyboard storyboard 5151text diagram text diagram 311311Venn diagram Venn diagram 13521352

Group discussion Group discussion 18, 51, 52, 61, 67, 68, 18, 51, 52, 61, 67, 68, 79, 190, 250, 287, 311, 436, 460, 463, 79, 190, 250, 287, 311, 436, 460, 463, 491, 514, 540, 573, 583, 584, 609, 706, 491, 514, 540, 573, 583, 584, 609, 706, 715, 716, 777, 887, 920, 947, 1018, 715, 716, 777, 887, 920, 947, 1018, 1019, 1042, 1061, 1114, 12401019, 1042, 1061, 1114, 1240

Listening Listening 897, 955, 1019897, 955, 1019Literary criticism Literary criticism 18, 123, 441, 583, 669, 18, 123, 441, 583, 669,

853, 862, 990, 1085, 1147, 1372–1373853, 862, 990, 1085, 1147, 1372–1373Literature groups Literature groups 141, 479, 551, 592, 141, 479, 551, 592,

864, 937, 1137, 1339, 1354864, 937, 1137, 1339, 1354


R98 INDEX OF SKILLS

IND

EX

OF

SK

ILLS

Multimedia presentation Multimedia presentation 490–491490–491Nonverbal techniques Nonverbal techniques 227, 491, 683, 227, 491, 683,

897, 1019, 1217, 1373897, 1019, 1217, 1373Oral presentationOral presentation

advertising campaign advertising campaign 289289of critical review of critical review 1372–13731372–1373literary criticism literary criticism 18, 58318, 583movie review movie review 585585on nature writing tradition on nature writing tradition 887887oral interpretation of short oral interpretation of short story story 1216–12171216–1217oral response to literature oral response to literature 1018–10191018–1019persuasive speech persuasive speech 682–683682–683photo-essay photo-essay 226–227226–227readers theater readers theater 13251325refl ective presentation refl ective presentation 896–897896–897of satirical proposal of satirical proposal 574574scripted version of poems scripted version of poems 282282of Shakespeare’s songs of Shakespeare’s songs 289289of song of song 451451visual aids visual aids 289, 1240289, 1240

Oral research report Oral research report 643, 947, 1294643, 947, 1294with visual aids with visual aids 18, 531, 72418, 531, 724

Panel discussion Panel discussion 706, 1240706, 1240PerformingPerforming

dialogue dialogue 53, 170, 562, 778, 132553, 170, 562, 778, 1325dramatic reading dramatic reading 89, 983, 1207, 127089, 983, 1207, 1270multimedia performance multimedia performance 959959pantomime pantomime 601, 1164601, 1164scripted version of poems scripted version of poems 282282Shakespeare’s songs Shakespeare’s songs 304304song song 451451

PlanningPlanningcritical review critical review 13721372multimedia presentation multimedia presentation 491491oral interpretation oral interpretation 897897refl ective presentation refl ective presentation 897897

Readers theater Readers theater 13251325Reading aloud Reading aloud 955955Rehearsing Rehearsing 53, 89, 170, 227, 491, 683, 53, 89, 170, 227, 491, 683,

897, 1217897, 1217Role playing Role playing 716, 1087716, 1087Technology skills, for recording Technology skills, for recording

presentation presentation 13731373Time limits Time limits 10191019Tone (of voice) Tone (of voice) 301301Verbal techniques Verbal techniques 227, 491, 683, 897, 227, 491, 683, 897,

1019, 1217, 13731019, 1217, 1373Visual aidsVisual aids

in multimedia presentations in multimedia presentations (exhibits) (exhibits) 490, 491490, 491in oral research reports in oral research reports 531, 724531, 724in presentations in presentations 18, 226, 227, 289, 18, 226, 227, 289, 514, 1240514, 1240

Visual displayVisual displayof artistic treatments of literary of artistic treatments of literary works works 920920in characterization in characterization 250250collage collage 706706concept concept 287287in cultural comparisons in cultural comparisons 68, 68, 406–409, 1061, 1266406–409, 1061, 1266multimedia multimedia 10421042

Visual mediaVisual mediafor oral interpretation for oral interpretation 12171217for persuasive speech for persuasive speech 683683for refl ective presentation for refl ective presentation 897897

Research, Test-Taking, and Study SkillsACT ACT R62R62APA-citation style APA-citation style R41R41Bibliography, working Bibliography, working R36–R37, R40R36–R37, R40Bibliography card Bibliography card R36R36CMS-citation style CMS-citation style R40R40Documenting sources Documenting sources 487, R36, 487, R36,

R38–R41R38–R41Essay tests Essay tests R61, R63 R61, R63

See alsoSee also Writing tests. Writing tests.Evaluating sources Evaluating sources 481, 487, R24, R37481, 487, R24, R37Fill-in tests Fill-in tests R61R61Grammar testsGrammar tests

paragraph improvement paragraph improvement 234–235, 234–235, 498–499, 690–691, 904–905, 498–499, 690–691, 904–905, 1026–1027, 1224–1225, 1380–13811026–1027, 1224–1225, 1380–1381

Graphic organizers Graphic organizers 644, 677, 866, 991, 644, 677, 866, 991, 1191, 1255, 1311, 1325, 1353, R211191, 1255, 1311, 1325, 1353, R21analogy/relationship chart analogy/relationship chart 444444bound book bound book 250, 706250, 706cause-and-effect chart cause-and-effect chart 800800cause-and-effect diagram cause-and-effect diagram 960960cause-and-effect organizer cause-and-effect organizer 146, 150, 146, 150, 388388change frame change frame R21R21character analysis web character analysis web 769, R22769, R22charts charts 23, 53, 69, 73, 74, 83, 124, 140, 23, 53, 69, 73, 74, 83, 124, 140, 141, 142, 172, 192, 193, 197, 205, 206, 141, 142, 172, 192, 193, 197, 205, 206, 255, 263, 264, 266, 276, 294, 305, 255, 263, 264, 266, 276, 294, 305,

313, 352, 369, 387, 388, 405, 406, 410, 313, 352, 369, 387, 388, 405, 406, 410, 415, 425, 431, 437, 438, 446, 451, 456, 415, 425, 431, 437, 438, 446, 451, 456, 465, 475, 479, 517, 531, 533, 540, 543, 465, 475, 479, 517, 531, 533, 540, 543, 547, 553, 561, 565, 591, 600, 603, 623, 547, 553, 561, 565, 591, 600, 603, 623, 656, 669, 670, 709, 716, 718, 724, 726, 656, 669, 670, 709, 716, 718, 724, 726, 736, 743, 777, 796, 827, 843, 876, 977, 736, 743, 777, 796, 827, 843, 876, 977, 1004, 1008, 1018, 1087, 1339, 13541004, 1008, 1018, 1087, 1339, 1354checklist checklist 154, 337154, 337cluster diagram cluster diagram 481481compare-contrast chart compare-contrast chart 280280concept map concept map 287287concept web concept web 404, 539, 923, 931, 940, 404, 539, 923, 931, 940, 1086, 1137, 1305, R221086, 1137, 1305, R22continuum continuum 116116diagram diagram 52, 260, 1243, 129452, 260, 1243, 1294double-entry journal double-entry journal 985985etymology chart etymology chart 993993evaluation chart evaluation chart 11011101fi gures of speech chart fi gures of speech chart 12011201fl owchart fl owchart R21R21Foldables Foldables 18, 250, 514, 706, 920, 18, 250, 514, 706, 920, 1042, 1240, R26–R291042, 1240, R26–R29main idea web main idea web 284, R22284, R22mood graphic mood graphic 169169outline chart outline chart 734734for poetry details for poetry details 11141114response-evidence chart response-evidence chart 210210semantic chart semantic chart 611, R21611, R21sequence chart sequence chart 13191319storyboard storyboard 5151text diagram text diagram 311311three-column chart three-column chart 828, 980, 999, 828, 980, 999, 1069, 1139, 1189, 1268, 1279, 13281069, 1139, 1189, 1268, 1279, 1328three-pocket book three-pocket book 10421042three-tab book three-tab book 920920timeline timeline 6–7, 238–239, 502–503, 6–7, 238–239, 502–503, 694–695, 908–909, 1030–1031, 694–695, 908–909, 1030–1031, 1228–12291228–1229two-column chart two-column chart 829, 832, 936, 829, 832, 936, 948, 952, 976, 992, 995, 1046, 1078, 948, 952, 976, 992, 995, 1046, 1078, 1092, 1107, 1118, 1123, 1167, 1175, 1092, 1107, 1118, 1123, 1167, 1175, 1193, 1247, 1256, 1259, 1296, 1332, 1193, 1247, 1256, 1259, 1296, 1332, 1338, 1340, 1345, 13601338, 1340, 1345, 1360Venn diagram Venn diagram 610, 668, 755, 1314, 610, 668, 755, 1314, 13521352web diagrams web diagrams 191, 288, 584, 609, 191, 288, 584, 609, 781, 1272, R22781, 1272, R22word web word web 271271

Information, searching for Information, searching for R36R36


INDEX OF SKILLS R99

IND

EX

OF

SK

ILLS

Internet research Internet research 80, 192, 313, 473, 545, 80, 192, 313, 473, 545, 657, 724, 977, 1096, 1121, 1266, 1294657, 724, 977, 1096, 1121, 1266, 1294

Internet sources Internet sources 657, 724, 1096, 1266657, 724, 1096, 1266Keyword search Keyword search 80, 313, 112180, 313, 1121Matching tests Matching tests R61R61MLA-citation style MLA-citation style R39R39Multiple-choice tests Multiple-choice tests R61R61Note cards Note cards 482, R37482, R37Note taking Note taking 18, 23, 51, 52, 53, 69, 73, 74, 18, 23, 51, 52, 53, 69, 73, 74,

83, 116, 124, 140, 141, 142, 150, 154, 83, 116, 124, 140, 141, 142, 150, 154, 169, 172, 191, 192, 193, 197, 205, 250, 169, 172, 191, 192, 193, 197, 205, 250, 255, 260, 263, 264, 266, 271, 276, 284, 255, 260, 263, 264, 266, 271, 276, 284, 287, 288, 294, 305, 311, 313, 337, 352, 287, 288, 294, 305, 311, 313, 337, 352, 369, 387, 388, 404, 405, 406, 410, 415, 369, 387, 388, 404, 405, 406, 410, 415, 425, 431, 437, 438, 444, 446, 451, 456, 425, 431, 437, 438, 444, 446, 451, 456, 465, 475, 479, 481, 482, 514, 517, 531, 465, 475, 479, 481, 482, 514, 517, 531, 533, 539, 540, 543, 547, 553, 561, 565, 533, 539, 540, 543, 547, 553, 561, 565, 584, 591, 600, 603, 609, 611, 623, 644, 584, 591, 600, 603, 609, 611, 623, 644, 656, 660, 668, 669, 670, 677, 706, 656, 660, 668, 669, 670, 677, 706, 709, 716, 718, 724, 726, 734, 736, 743, 709, 716, 718, 724, 726, 734, 736, 743, 755, 769, 777, 781, 796, 800, 827, 828, 755, 769, 777, 781, 796, 800, 827, 828, 832, 843, 851, 866, 876, 920, 923, 948, 832, 843, 851, 866, 876, 920, 923, 948, 952, 960, 967, 977, 980, 985, 991, 992, 952, 960, 967, 977, 980, 985, 991, 992, 993, 995, 999, 1004, 1008, 1018, 1042, 993, 995, 999, 1004, 1008, 1018, 1042, 1046, 1069, 1078, 1087, 1090, 1101, 1046, 1069, 1078, 1087, 1090, 1101, 1107, 1110, 1118, 1123, 1137, 1139, 1167, 1107, 1110, 1118, 1123, 1137, 1139, 1167, 1189, 1193, 1243, 1247, 1256, 1259, 1189, 1193, 1243, 1247, 1256, 1259, 1272, 1279, 1294, 1296, 1305, 1311, 1272, 1279, 1294, 1296, 1305, 1311, 1314, 1319, 1325, 1328, 1332, 1338, 1314, 1319, 1325, 1328, 1332, 1338, 1339, 1340, 1345, 1352, 1353, 1354, 1339, 1340, 1345, 1352, 1353, 1354, 1360, R21–R221360, R21–R22

Objective tests Objective tests R61 R61 See alsoSee also Grammar tests; Reading tests; Grammar tests; Reading tests; Vocabulary tests.Vocabulary tests.

Observation Observation 12561256Paraphrasing sources Paraphrasing sources 482, R37482, R37Plagiarism Plagiarism 482, R37482, R37Primary sources Primary sources 485, 792, 1162, 1254, 485, 792, 1162, 1254,

R36R36PSAT PSAT R62–R63R62–R63QuotationsQuotations

direct direct 485, R37485, R37

literary literary 484484long long 10171017

Quoting sources Quoting sources 482482punctuation punctuation 489, R37489, R37

Reading comprehension questionsReading comprehension questions R63 R63Reading testsReading tests

essay essay 1220–12221220–1222fi ction fi ction 686–688, 1022–1024686–688, 1022–1024nonfi ction nonfi ction 230–232, 494–496, 230–232, 494–496, 900–902900–902poetry poetry 1376–13781376–1378

References listsReferences lists R41 R41Research reports Research reports 480–489, 992, 480–489, 992,

R36–R41R36–R41Internet Internet 313, 473, 545, 724, 977, 313, 473, 545, 724, 977, 1096, 1121, 12941096, 1121, 1294oral oral 887887with visual aids with visual aids 531531

SAT SAT R62–R63R62–R63Secondary sources Secondary sources 485, R36485, R36Sentence completion items Sentence completion items R62–R63R62–R63Short-answer tests Short-answer tests R61R61SourcesSources

documenting documenting 487, R36, R38–R41487, R36, R38–R41evaluating evaluating 481, 487, R24, R37481, 487, R24, R37Internet Internet 657, 724, 1096, 1121, 1266, 657, 724, 1096, 1121, 1266, 12941294paraphrasing paraphrasing 437, 482437, 482primary primary 485485punctuation for quotations punctuation for quotations 489, R37489, R37quoting quoting 482, 489, R37482, 489, R37secondary secondary 485485summarizing summarizing 482, 517, R37482, 517, R37variety variety 481, 487481, 487

Standardized tests Standardized tests R62–R63R62–R63Subjective (essay) testsSubjective (essay) tests. . SeeSee Essay tests. Essay tests.Summarizing sources Summarizing sources 482, R37482, R37Test practice Test practice 891, R61–R63891, R61–R63

grammar grammar 234–235, 498–499, 234–235, 498–499, 690–691, 904–905, 1026–1027, 690–691, 904–905, 1026–1027, 1224–1225, 1380–13811224–1225, 1380–1381reading reading 230–232, 494–496, 230–232, 494–496,

686–688, 900–902, 1022–1024, 686–688, 900–902, 1022–1024, 1220–1222, 1376–13781220–1222, 1376–1378vocabulary vocabulary 233, 496, 689, 903, 1025, 233, 496, 689, 903, 1025, 1223, 13791223, 1379writing writing 235, 499, 691, 905, 1027, 235, 499, 691, 905, 1027, 1225, 13811225, 1381

Test-taking tips Test-taking tips 73, 151, 207, 290, 444, 73, 151, 207, 290, 444, 541, 611, 658, 677, 735, 753, 978, 993, 541, 611, 658, 677, 735, 753, 978, 993, 1013, 1088, 1148, 1173, 1199, 1312, 1013, 1088, 1148, 1173, 1199, 1312, 13261326

Thesis Thesis 482, 483482, 483Thesis statement Thesis statement R38R38TopicTopic

fi nding fi nding 481481narrowing narrowing 481481selecting selecting R36R36

True/false tests True/false tests R61R61Vocabulary tests, sentence Vocabulary tests, sentence

completion completion 233, 496, 689, 903, 1025, 233, 496, 689, 903, 1025, 1223, 13791223, 1379

Works-cited list Works-cited list 482, 487, 489, R38, R39482, 487, 489, R38, R39Writing testsWriting tests

critical review critical review 13811381descriptive essay descriptive essay 235235expository essay expository essay 499499literary analysis literary analysis 10271027persuasive essay persuasive essay 691691refl ective essay refl ective essay 905905short essay short essay 12251225

Interdisciplinary ActivitiesAnthropology Anthropology 531531Art Art 258, 765, 1330258, 765, 1330Daily life and culture Daily life and culture 139, 403, 538, 139, 403, 538,

599, 732, 763, 975, 1309599, 732, 763, 975, 1309History History 192, 473, 993, 1303192, 473, 993, 1303Math Math 1053, 11481053, 1148Music Music 304304Political science Political science 993993Psychology Psychology 206206Science Science 11481148Sociology Sociology 531531


INDEX OF AUTHORS AND TITLES

R100 INDEX OF AUTHORS AND TITLES

AAchebe, Chinua 1304Achebe, Chinua 1304Addison, Joseph 614Addison, Joseph 614“Ah, Are You Digging on My Grave?”“Ah, Are You Digging on My Grave?” 1003 1003All the world’s a stage,All the world’s a stage, from from As You As You

Like ItLike It 305 305ArabyAraby 1138 1138AreopagiticaAreopagitica, from 509, from 509Arnold, Matthew 994Arnold, Matthew 994At the Pitt-RiversAt the Pitt-Rivers 1246 1246Atwood, Margaret 1355Atwood, Margaret 1355Auden, W. H. 1184Auden, W. H. 1184Auld Lang SyneAuld Lang Syne 717 717Austen, Jane 768Austen, Jane 768AutumnAutumn 880 880

BB. WordsworthB. Wordsworth 1331 1331Bacon, Sir Francis 283, 494Bacon, Sir Francis 283, 494BashoBasho, Matsuo 880, Matsuo 880Bate, Walter Jackson 670Bate, Walter Jackson 670Batter my heart, three-personed GodBatter my heart, three-personed God 249 249Battle of Maldon, TheBattle of Maldon, The, from 13, from 13Battle of the Books, TheBattle of the Books, The, from 686, from 686Battle of the Pelennor Fields, TheBattle of the Pelennor Fields, The, ,

from from The Lord of the Rings: The Lord of the Rings: The Return of the King,The Return of the King, from 58from 58

Be Ye Men of ValorBe Ye Men of Valor 1166 1166Beauvoir, Simone de 944Beauvoir, Simone de 944Becker, Robin 889Becker, Robin 889Bede, The Venerable 82, 230Bede, The Venerable 82, 230Behn, Aphra 542Behn, Aphra 542BeowulfBeowulf, from 22, from 22Blake, William 701, 754, 760, 766–767Blake, William 701, 754, 760, 766–767Blow, Blow, Thou Winter WindBlow, Blow, Thou Winter Wind 301 301Boland, Eavan 1278Boland, Eavan 1278Bonny Barbara AllanBonny Barbara Allan 210 210Book of Margery Kempe, TheBook of Margery Kempe, The, from 145, from 145Boswell, James 659Boswell, James 659Bowen, Elizabeth 1174Bowen, Elizabeth 1174Brief History of Heroes, ABrief History of Heroes, A 69 69Brittain, Vera 1037Brittain, Vera 1037Brontë, Charlotte 966Brontë, Charlotte 966Brooke, Rupert 1089Brooke, Rupert 1089

Browning, Elizabeth Barrett 939Browning, Elizabeth Barrett 939Browning, Robert 979Browning, Robert 979Bunyan, John 532Bunyan, John 532Burney, Fanny 742Burney, Fanny 742Burns, Robert 717Burns, Robert 717Byron, George Gordon, Lord 842Byron, George Gordon, Lord 842

CCamus, Albert 639Camus, Albert 639Canterbury Tales, TheCanterbury Tales, The, from 91, 92, 116, , from 91, 92, 116,

124124Carlyle, Thomas 915Carlyle, Thomas 915Carpe DiemCarpe Diem 459 459Carroll, Lewis 956Carroll, Lewis 956Catfi sh Row, TrinidadCatfi sh Row, Trinidad, from 1365, from 1365Chatwin, Bruce 829Chatwin, Bruce 829Chaucer, Geoffrey 91, 92, 116, 124Chaucer, Geoffrey 91, 92, 116, 124Childe Harold’s Pilgrimage,Childe Harold’s Pilgrimage, from 842 from 842Chimney Sweeper, TheChimney Sweeper, The, from , from Songs of Songs of

ExperienceExperience 760 760Chimney Sweeper, TheChimney Sweeper, The, from , from Songs of Songs of

InnocenceInnocence 760 760Chu, Jeff 142, 736Chu, Jeff 142, 736Churchill, Winston 675, 1166Churchill, Winston 675, 1166Coleman, Wanda 960Coleman, Wanda 960Coleridge, Samuel Taylor 799Coleridge, Samuel Taylor 799Collected Beowulf, TheCollected Beowulf, The, from 62, from 62Composed Upon Westminster Bridge, Composed Upon Westminster Bridge,

September 3, 1802September 3, 1802 780 780Constant Lover, TheConstant Lover, The 464 464Creation of Adam and Eve, TheCreation of Adam and Eve, The, from 15, from 15Crossing the BarCrossing the Bar 922 922Cullen, Countee 882Cullen, Countee 882Cup of Tea, ACup of Tea, A 1045 1045

DDarkling Thrush, TheDarkling Thrush, The 1003 1003Dead Men’s PathDead Men’s Path 1304 1304Death Be Not ProudDeath Be Not Proud 430 430Death by MosquitoDeath by Mosquito 644 644Death of Humbaba, TheDeath of Humbaba, The, from , from

GilgameshGilgamesh 55 55Defence of Poesie, ADefence of Poesie, A, from 245, from 245Defense of Poetry, ADefense of Poetry, A, from 705, from 705

Defoe, Daniel 622Defoe, Daniel 622Demon in the Freezer, TheDemon in the Freezer, The, from 629, from 629Demon Lover, TheDemon Lover, The 1174 1174Desai, Anita 1344Desai, Anita 1344Diary of Fanny Burney, TheDiary of Fanny Burney, The, from 742, from 742Diary of Samuel Pepys, TheDiary of Samuel Pepys, The, from 552, from 552Dickens, Charles 917, 984, 1022Dickens, Charles 917, 984, 1022Dictionary of the English Language, A, Dictionary of the English Language, A,

from 648from 648Dillard, Annie 884Dillard, Annie 884Distant Mirror, ADistant Mirror, A, from 193, from 193Do Not Go Gentle into That Good Do Not Go Gentle into That Good

NightNight 1200 1200Donne, John 249, 430, 438Donne, John 249, 430, 438Dover BeachDover Beach 994 994Down and Out in EuropeDown and Out in Europe 1062 1062DreamersDreamers 1093 1093Dryden, John 546Dryden, John 546Dulce et Decorum EstDulce et Decorum Est 1097 1097

EEcclesiastical History of the English Ecclesiastical History of the English

People, ThePeople, The, from 82, 230, from 82, 230Elegy for the Giant TortoisesElegy for the Giant Tortoises 1355 1355Elegy Written in a Country Elegy Written in a Country

ChurchyardChurchyard 708 708Eliot, T. S. 1117Eliot, T. S. 1117Elizabeth I 254Elizabeth I 254EpigramsEpigrams 586 586Essay of Dramatic Poesy, AnEssay of Dramatic Poesy, An, from 546, from 546Essay on Man, AnEssay on Man, An, from 586, from 586EverymanEveryman, from 154, from 154Eve’s ApologyEve’s Apology, from , from Salve Deus Rex Salve Deus Rex

JudaeorumJudaeorum 424 424

FFarley, Christopher John 1360Farley, Christopher John 1360Fear No More the Heat o’ the SunFear No More the Heat o’ the Sun 301 301Fern Hill 1200Fern Hill 1200FollowerFollower 1258 1258Frame, Janet 1318Frame, Janet 1318FrankensteinFrankenstein, from the Introduction , from the Introduction

to 833to 833Fussell, Paul 1101Fussell, Paul 1101

R100-R103 EMATI-845482.indd 100R100-R103 EMATI-845482.indd 100 2/5/07 4:24:57 PM2/5/07 4:24:57 PM

INDEX OF AUTHORS AND TITLES R101

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SGGames at TwilightGames at Twilight 1344 1344GenesisGenesis, from the, from the King James Version of King James Version of

the Bible,the Bible, from 414 from 414George Orwell’s Wartime Diary, George Orwell’s Wartime Diary,

from 1041from 1041Get Up and Bar the DoorGet Up and Bar the Door 210 210Ghosh, Aparisim 1062Ghosh, Aparisim 1062GilgameshGilgamesh, from 55, from 55Gordimer, Nadine 1295Gordimer, Nadine 1295Gorman, Christine 644Gorman, Christine 644Gray, Paul 948Gray, Paul 948Gray, Thomas 708Gray, Thomas 708Great War and Modern Memory, TheGreat War and Modern Memory, The, ,

from 1101from 1101Greene, Graham 1192Greene, Graham 1192Gulliver’s TravelsGulliver’s Travels, from 575, from 575

HHaiku for Four SeasonsHaiku for Four Seasons 880 880HardHard TimesTimes, from 917, from 917Hardy, Thomas 919, 1003Hardy, Thomas 919, 1003Hardy and the Poetry of IsolationHardy and the Poetry of Isolation, ,

from 1011from 1011Head, Bessie 1054Head, Bessie 1054Heaney, Seamus 1258Heaney, Seamus 1258Henry, William A., III 410Henry, William A., III 410Herrick, Robert 455Herrick, Robert 455Hinds, Gareth 62Hinds, Gareth 62History of the Peloponnesian WarHistory of the Peloponnesian War, ,

from 635from 635Homage to a GovernmentHomage to a Government 1237 1237Homer 513Homer 513Hopkins, Gerard Manley 951Hopkins, Gerard Manley 951Horace 459Horace 459House Unlocked, AHouse Unlocked, A, from 219, from 219Housman, A. E. 998Housman, A. E. 998How Soon Hath TimeHow Soon Hath Time 516 516Hughes, Ted 1235, 1267Hughes, Ted 1235, 1267Hunt, Tristram 69Hunt, Tristram 69

IImaginary HomelandsImaginary Homelands, from 1340, from 1340In Memoriam A. H. H.In Memoriam A. H. H., from 922, from 922In My LifeIn My Life 946 946In PatagoniaIn Patagonia, from 829, from 829It Is a Beauteous Evening, Calm and It Is a Beauteous Evening, Calm and

FreeFree 780 780

JJabberwockyJabberwocky (Carroll) 956 (Carroll) 956JabberwockyJabberwocky (Coleman) 960 (Coleman) 960Jane EyreJane Eyre, from 966, from 966John Anderson, My JoJohn Anderson, My Jo 717 717Johnson, Samuel 648Johnson, Samuel 648Jonson, Ben 445, 449Jonson, Ben 445, 449Journal of the Plague Year, AJournal of the Plague Year, A, from 622, from 622Journals of Dorothy Wordsworth, TheJournals of Dorothy Wordsworth, The, ,

from 795from 795Joyce, James 1138Joyce, James 1138

KKeats, John 865, 871, 876Keats, John 865, 871, 876Kempe, Margery 145Kempe, Margery 145Khayyám, Omar 461Khayyám, Omar 461King James Version of the Bible, King James Version of the Bible,

from 414, 1057from 414, 1057Kipling, Rudyard 1068Kipling, Rudyard 1068Kubla KhanKubla Khan 799 799

LLa Belle Dame sans MerciLa Belle Dame sans Merci 865 865Lake Isle of Innisfree, TheLake Isle of Innisfree, The 1106 1106Lanyer, Aemilia 424Lanyer, Aemilia 424Lamb, TheLamb, The 754 754Larkin, Philip 1237Larkin, Philip 1237Lawrence, D. H. 1122Lawrence, D. H. 1122Le Morte d’ArthurLe Morte d’Arthur, from 17, 196, from 17, 196Lee, Li-Young 1262Lee, Li-Young 1262Lennon, John 946Lennon, John 946Lessing, Doris 1284Lessing, Doris 1284Letter to Her DaughterLetter to Her Daughter 602 602Letter to Lord Chesterfi eldLetter to Lord Chesterfi eld 648 648Letter to Nelson AlgrenLetter to Nelson Algren 944 944Life of Samuel Johnson, TheLife of Samuel Johnson, The, from 659, from 659Lines Composed a Few Miles Above Lines Composed a Few Miles Above

Tintern AbbeyTintern Abbey 786 786Lively, Penelope 219, 1246Lively, Penelope 219, 1246LondonLondon 760 760Lord of the Rings, TheLord of the Rings, The, from 58, from 58Love Is Not All: It Is Not Meat nor Love Is Not All: It Is Not Meat nor

DrinkDrink 943 943Lovelace, Richard 469Lovelace, Richard 469Lover Showeth How He Is Forsaken, Lover Showeth How He Is Forsaken,

TheThe 259 259Lyrical BalladsLyrical Ballads, from the Preface to 703, from the Preface to 703

MMacbeth, The Tragedy ofMacbeth, The Tragedy of 316 316Malory, Sir Thomas 17, 196Malory, Sir Thomas 17, 196Man He Killed, TheMan He Killed, The 1003 1003Mansfi eld, Katherine 1045Mansfi eld, Katherine 1045Marlowe, Christopher 275Marlowe, Christopher 275Marvell, Andrew 474Marvell, Andrew 474McCartney, Paul 946McCartney, Paul 946Meditation 17Meditation 17 438 438Midnight’s ChildrenMidnight’s Children, from 1239, from 1239Midsummer Night’s SpectacleMidsummer Night’s Spectacle 410 410Mild Attack of Locusts, AMild Attack of Locusts, A 1284 1284Millay, Edna St. Vincent 943Millay, Edna St. Vincent 943Milton, John 509, 516, 520Milton, John 509, 516, 520Miss Youghal’s Miss Youghal’s Sais 1068Sais 1068MnemonicMnemonic 1262 1262Modest Proposal, AModest Proposal, A 564 564Montagu, Lady Mary Wortley 602Montagu, Lady Mary Wortley 602Mrs. DallowayMrs. Dalloway, from 1156, from 1156Musée des Beaux ArtsMusée des Beaux Arts 1184 1184Music Goes GlobalMusic Goes Global 1360 1360My Heart Leaps UpMy Heart Leaps Up 780 780My Last DuchessMy Last Duchess 979 979

NNaipaul, V. S. 1331Naipaul, V. S. 1331Narayan, R. K. 1209Narayan, R. K. 1209New Railway, TheNew Railway, The, from 1022, from 1022Not Waving but DrowningNot Waving but Drowning 1242 1242Nymph’s Reply to the ShepherdNymph’s Reply to the Shepherd, , TheThe 279 279

OOde on a Grecian UrnOde on a Grecian Urn 871 871Ode to the West WindOde to the West Wind 854 854Odyssey, Odyssey, from 513from 513Of Cunning, Of Cunning, from 494from 494Of StudiesOf Studies 283 283Old Mrs. GreyOld Mrs. Grey 1220 1220Oliver TwistOliver Twist, from 984, from 984On Her Loving Two EquallyOn Her Loving Two Equally 542 542On Monsieur’s DepartureOn Monsieur’s Departure 254 254On My First SonOn My First Son 445 445Ondaatje, Michael 1264Ondaatje, Michael 1264Orwell, George 1041, 1077Orwell, George 1041, 1077Orwell’s Wartime DiaryOrwell’s Wartime Diary, from 1041, from 1041Our revels now are ended,Our revels now are ended, from from The The

TempestTempest 305 305Owen, Wilfred 1097Owen, Wilfred 1097OzymandiasOzymandias 850 850


R102 INDEX OF AUTHORS AND TITLES

IND

EX

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AU

TH

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S A

ND

TIT

LE

S PParable of Lazarus and the Rich Man, Parable of Lazarus and the Rich Man,

TheThe, from the, from the King James Version of King James Version of the Biblethe Bible 1057 1057

Paradise LostParadise Lost, from 520, from 520Pardoner’s Tale, ThePardoner’s Tale, The, from 116, from 116Passionate Shepherd to His Love, ThePassionate Shepherd to His Love, The 275 275Past and PresentPast and Present, from 915, from 915Pepys, Samuel 552Pepys, Samuel 552Perkins, David 1011Perkins, David 1011Petrarch 253Petrarch 253Photograph,Photograph, from from Running in the Running in the

FamilyFamily 1264 1264Pied BeautyPied Beauty 951 951Pilgrim at Tinker CreekPilgrim at Tinker Creek, from 884, from 884Pilgrim’s Progress, ThePilgrim’s Progress, The, from 532, from 532Pinter, Harold 1271Pinter, Harold 1271Plague, ThePlague, The, from 639, from 639Poison Tree, APoison Tree, A 754 754Pope, Alexander 513, 586, 593Pope, Alexander 513, 586, 593PreludesPreludes 1117 1117Preston, Richard 629Preston, Richard 629Pride and PrejudicePride and Prejudice, from 768, from 768Prologue, ThePrologue, The, from 92, from 92Proverbs of HellProverbs of Hell from from The Marriage of The Marriage of

Heaven and HellHeaven and Hell, from 701, from 701Psalm 23 Psalm 23 from thefrom the King James Version of King James Version of

the Biblethe Bible 414 414

QQur’an, Qur’an, from the 1059from the 1059

RRaising Their VoicesRaising Their Voices 736 736Raleigh, Sir Walter 279Raleigh, Sir Walter 279Rape of the Lock, TheRape of the Lock, The, from 593, from 593Richard IIIRichard III, from 247, from 247Rime of the Ancient Mariner, TheRime of the Ancient Mariner, The 799 799Roads Now Taken, TheRoads Now Taken, The 142 142Rocking-Horse Winner, TheRocking-Horse Winner, The 1122 1122Rodman, Selden 1365Rodman, Selden 1365Ronsard, Pierre de 460Ronsard, Pierre de 460Room of One’s Own, ARoom of One’s Own, A, from 1149, from 1149Rosenthal, Daniel 406Rosenthal, Daniel 406RubáiyátRubáiyát, from the 461, from the 461Rushdie, Salman 1239, 1340Rushdie, Salman 1239, 1340

SSailing to ByzantiumSailing to Byzantium 1110 1110Salve Deus Rex JudaeorumSalve Deus Rex Judaeorum, from 424, from 424Samuel JohnsonSamuel Johnson, from 670, from 670Sassoon, Siegfried 1093Sassoon, Siegfried 1093Satire Against Mankind, ASatire Against Mankind, A, from 511, from 511Seafarer, TheSeafarer, The 74 74Second Coming, TheSecond Coming, The 1110 1110Shakespeare, William 247, 292, 298, 301, Shakespeare, William 247, 292, 298, 301,

305, 316305, 316Shakespeare on Screen, Shakespeare on Screen, from 406from 406She Walks in BeautyShe Walks in Beauty 842 842Shelley, Mary 833Shelley, Mary 833Shelley, Percy Bysshe 705, 850, 854Shelley, Percy Bysshe 705, 850, 854Shocking Accident, AShocking Accident, A 1192 1192Shooting an ElephantShooting an Elephant 1077 1077 Sidney, Sir Philip 245, 270Sidney, Sir Philip 245, 270Simone de Beauvoir to Nelson Simone de Beauvoir to Nelson

Algren Algren 944944Sir Gawain and the Green KnightSir Gawain and the Green Knight, ,

from 172from 172Sir Patrick SpensSir Patrick Spens 210 210Smith, Stevie 1242Smith, Stevie 1242Snake in the Grass, ASnake in the Grass, A 1209 1209Soldier, TheSoldier, The 1089 1089SongSong 430 430Song: To CeliaSong: To Celia 449 449Sonnet XII Sonnet XII (Petrarch) 253(Petrarch) 253Sonnet 29Sonnet 29 (Shakespeare) 298 (Shakespeare) 298Sonnet 30Sonnet 30 (Spenser) 265 (Spenser) 265Sonnet 31Sonnet 31 (Sidney) 270 (Sidney) 270Sonnet 39Sonnet 39 (Sidney) 270 (Sidney) 270Sonnet 43Sonnet 43 (Browning) 939 (Browning) 939Sonnet 73Sonnet 73 (Shakespeare) 298 (Shakespeare) 298Sonnet 75Sonnet 75 (Spenser) 265 (Spenser) 265Sonnet 116 Sonnet 116 (Shakespeare) 292(Shakespeare) 292Sonnet 130Sonnet 130 (Shakespeare) 292 (Shakespeare) 292Soyinka, Wole 1313Soyinka, Wole 1313Spectator, TheSpectator, The, from 614, from 614Speech to the Troops at TilburySpeech to the Troops at Tilbury 254 254Spenser, Edmund 265Spenser, Edmund 265SpringSpring 880 880Spring and Fall: To a Young ChildSpring and Fall: To a Young Child 951 951Steele, Sir Richard 614Steele, Sir Richard 614Subalterns, TheSubalterns, The 919 919Suckling, Sir John 464Suckling, Sir John 464SummerSummer 880 880Swift, Jonathan 564, 575, 686Swift, Jonathan 564, 575, 686

TTales of the IslandsTales of the Islands, from 1327, from 1327Tears, Idle TearsTears, Idle Tears 922 922Telephone ConversationTelephone Conversation 1313 1313Tennyson, Alfred, Lord 922, 931Tennyson, Alfred, Lord 922, 931Testament of YouthTestament of Youth, from 1037, from 1037That’s AllThat’s All 1271 1271ThistlesThistles 1235 1235Thomas, Dylan 1200Thomas, Dylan 1200Throne of BloodThrone of Blood, from , from Shakespeare on Shakespeare on

ScreenScreen 406 406Thucydides 635Thucydides 635To a MouseTo a Mouse 717 717To a SkylarkTo a Skylark 854 854To Althea, from PrisonTo Althea, from Prison 469 469To an Athlete Dying Youngo an Athlete Dying Young 998 998To AutumnTo Autumn 876 876To Be, or Not to Be, To Be, or Not to Be, fromfrom Hamlet Hamlet 305305To HélèneTo Hélène 460 460To His Coy MistressTo His Coy Mistress 474 474To John Keats, Poet, At SpringtimeTo John Keats, Poet, At Springtime 882 882To Lucasta, Going to the WarsTo Lucasta, Going to the Wars 469 469To the Virgins, to Make Much of To the Virgins, to Make Much of

TimeTime 455 455Tolkien, J. R. R. 58Tolkien, J. R. R. 58Tragedy of Macbeth, The Tragedy of Macbeth, The 316316Train from Rhodesia, TheTrain from Rhodesia, The 1295 1295Tuchman, Barbara 193Tuchman, Barbara 193Two SheepTwo Sheep 1318 1318Tyger, TheTyger, The 754 754

UUlyssesUlysses (Tennyson) 931 (Tennyson) 931UlyssesUlysses, from (Joyce) 1039, from (Joyce) 1039Unknown Citizen, TheUnknown Citizen, The 1184 1184Untying the Knot, Untying the Knot, fromfrom Pilgrim at Tinker Pilgrim at Tinker

CreekCreek 884 884

VValediction: Forbidding Mourning, AValediction: Forbidding Mourning, A 430 430Village PeopleVillage People 1054 1054Vindication of the Rights of Woman, A,Vindication of the Rights of Woman, A,

from 725, 900from 725, 900Voyage to Brobdingnag, AVoyage to Brobdingnag, A, from , from Gulliver’s Gulliver’s

Travels,Travels, from 580 from 580Voyage to Lilliput, AVoyage to Lilliput, A, from , from Gulliver’s Gulliver’s

Travels,Travels, from 575 from 575


INDEX OF AUTHORS AND TITLES R103

IND

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SWWalcott, Derek 1327, 1376Walcott, Derek 1327, 1376War Speech, September 3, 1939War Speech, September 3, 1939 675 675What Is Love?What Is Love? 948 948What We LostWhat We Lost 1278 1278When I Consider How My Light Is When I Consider How My Light Is

SpentSpent 516 516When I Have Fears That I May Cease When I Have Fears That I May Cease

to Beto Be 865 865When I Was One-and-TwentyWhen I Was One-and-Twenty 998 998

When You Are OldWhen You Are Old 1106 1106Whoso List to HuntWhoso List to Hunt 259 259Why So Pale and Wan, Fond Lover?Why So Pale and Wan, Fond Lover? 464 464Wife of Bath’s Tale, TheWife of Bath’s Tale, The 124 124Wilmot, John 511Wilmot, John 511WindWind 1267 1267Winding UpWinding Up 1376 1376WinterWinter 880 880Wollstonecraft, Mary 725, 900Wollstonecraft, Mary 725, 900Woolf, Virginia 1149, 1156, 1220Woolf, Virginia 1149, 1156, 1220

WordsworthWordsworth, from 889, from 889Wordsworth, Dorothy 795Wordsworth, Dorothy 795Wordsworth, William 703, 780, 783, 784, Wordsworth, William 703, 780, 783, 784,

786786World Is Too Much with Us, TheWorld Is Too Much with Us, The 780 780 Wyatt, Sir Thomas 262Wyatt, Sir Thomas 262

YYeats, William Butler 1106, 1108, 1110, Yeats, William Butler 1106, 1108, 1110,

11121112


INDEX OF ART AND ARTISTS

R104 INDEX OF ART AND ARTISTS

AAdam, Joseph Denovan,Adam, Joseph Denovan, Droving the Droving the

HillsHills 719 719Allan, Sir William,Allan, Sir William, Lord Byron reposing Lord Byron reposing

in the house of a fi sherman having in the house of a fi sherman having swum the Hellespontswum the Hellespont 849 849

Angelico, Fra,Angelico, Fra, Annunciation (detail) Annunciation (detail) 424 424Angelico, Fra,Angelico, Fra, Heaven from the Last Heaven from the Last

Judgement (detail)Judgement (detail) 167 167Anstice, Penelope,Anstice, Penelope, Little Indian Girl with a Little Indian Girl with a

LeafLeaf 1347 1347Anstice, Penelope,Anstice, Penelope, Indian Girl Indian Girl 1073 1073Armfi eld, Maxwell Ashby,Armfi eld, Maxwell Ashby, Portrait of Keith Portrait of Keith

Henderson in a Black HoodHenderson in a Black Hood 1250 1250Audubon, John James,Audubon, John James, Tawny Thrush Tawny Thrush 1005 1005

BBailly, David,Bailly, David, Vanitas Vanitas 249 249Barker, John Joseph,Barker, John Joseph, Irish Emigrants Irish Emigrants 571 571Barton, Rose Maynard,Barton, Rose Maynard, Piccadilly in Piccadilly in

JuneJune 1157 1157Bashkirtseff, Maria,Bashkirtseff, Maria, A Meeting A Meeting 1143 1143Bastien-Lepage, Jules,Bastien-Lepage, Jules, At Harvest At Harvest

TimeTime 213 213Bastien-Lepage, Jules,Bastien-Lepage, Jules, Juliette Juliette

DrouetDrouet 1107 1107Beale, Mary,Beale, Mary, Portrait of Aphra Behn Portrait of Aphra Behn 542 542Beardsley, Aubrey Vincent,Beardsley, Aubrey Vincent, Front cover Front cover

of the prospectus for ‘The Yellow of the prospectus for ‘The Yellow Book’Book’ 1067 1067

Beardsley, Aubrey Vincent,Beardsley, Aubrey Vincent, How Morgan How Morgan LeFay Gave a Shield to Sir TristamLeFay Gave a Shield to Sir Tristam 196 196

Beardsley, Aubrey,Beardsley, Aubrey, The Battle of the Beaux The Battle of the Beaux and the Bellesand the Belles 594 594

Bell, Vanessa,Bell, Vanessa, Conversation Piece Conversation Piece 1066 1066Bell, Vanessa,Bell, Vanessa, Interior with Table Interior with Table 1028 1028Bell, Vanessa,Bell, Vanessa, Virginia Woolf in a Virginia Woolf in a

DeckchairDeckchair 1162 1162Bindon, Francis,Bindon, Francis, Portrait of Jonathan Portrait of Jonathan

SwiftSwift 584 584Blake, William,Blake, William, A Poison Tree A Poison Tree 756 756Blake, William,Blake, William, Elohim Creating Elohim Creating

AdamAdam 416 416Blake, William,Blake, William, Infant Joy Infant Joy 767 767Blake, William,Blake, William, Judgement of Adam and Judgement of Adam and

EveEve 523 523Blake, William,Blake, William, Nebuchadnezzar Nebuchadnezzar 766 766Blake, William,Blake, William, Satan in his Original Satan in his Original

GloryGlory 524 524Blake, William,Blake, William, The Ancient of Days The Ancient of Days 701 701

Blake, William,Blake, William, The Chimney Sweeper, The Chimney Sweeper, Plate 7Plate 7 761 761

Blake, William,Blake, William, The Chimney Sweeper, The Chimney Sweeper, Plate 37Plate 37 762 762

Blake, William,Blake, William, The Lord Answering Job out The Lord Answering Job out of a Whirlwindof a Whirlwind 767 767

Blake, William,Blake, William, The Shepherd The Shepherd 757 757Blake, William,Blake, William, The Tyger The Tyger 758 758Blake, William,Blake, William, Winter Winter 303 303Bloemaert, Abraham,Bloemaert, Abraham, Shepherd and Shepherd and

ShepherdessShepherdess 281 281Boddington, Henry,Boddington, Henry, A Lakeside A Lakeside

GatheringGathering 1109 1109Bordone, Paris,Bordone, Paris, Two Lovers Two Lovers 449 449Bosch, Hieronymus,Bosch, Hieronymus, The Ship of Fools The Ship of Fools 558 558Botticelli, Sandro,Botticelli, Sandro, Flora, detail from the Flora, detail from the

PrimaveraPrimavera 457 457 Boucher, Francois,Boucher, Francois, Madame de Madame de

PompadourPompadour 596 596Boucher, Francois,Boucher, Francois, Shepherd Piping to a Shepherd Piping to a

ShepherdessShepherdess 276 276Bower, Edward,Bower, Edward, A Cavalier A Cavalier 452 452Bowler, Henry Alexander,Bowler, Henry Alexander, The Doubt: The Doubt:

“Can These Drying Bones Live?”“Can These Drying Bones Live?” 919 919Braun, Georg,Braun, Georg, and Franz Hogenberg, and Franz Hogenberg,

Bird’s eye view of CanterburyBird’s eye view of Canterbury 99 99Breu the Elder, Joerg,Breu the Elder, Joerg, Saint Bernard Saint Bernard

exorcising an evil spirit; Death of Saint exorcising an evil spirit; Death of Saint Bernard of ClairvauxBernard of Clairvaux 147 147

Bridges, Fidelia,Bridges, Fidelia, Untitled Untitled 875 875Broderick, Muriel,Broderick, Muriel, The Beginnings of the The Beginnings of the

Christmas PlayChristmas Play 152 152Brown, Ford Madox,Brown, Ford Madox, Chaucer at the Court Chaucer at the Court

of Edward IIIof Edward III 136 136Brown, Ford Madox,Brown, Ford Madox, Manfred of the Manfred of the

JungfrauJungfrau 848 848Brown, Ford Madox,Brown, Ford Madox, The Last of The Last of

EnglandEngland 911 911Browne, Henriette,Browne, Henriette, A Girl Writing A Girl Writing 968 968Brueghel the Elder, Pieter,Brueghel the Elder, Pieter, The Fall of The Fall of

IcarusIcarus 1186 1186Bundy, Edgar,Bundy, Edgar, The Bridge Party The Bridge Party 749 749Burgh, Lydia de,Burgh, Lydia de, Portrait of Queen Portrait of Queen

Elizabeth II wearing coronation robes Elizabeth II wearing coronation robes and the Imperial State Crownand the Imperial State Crown 1236 1236

CCarmontelle, Louis Carrogis,Carmontelle, Louis Carrogis, Laurence Laurence

SterneSterne 685 685

Carpaccio, Vittore,Carpaccio, Vittore, Saint Ursula dreams of Saint Ursula dreams of her coming martyrdom, announced her coming martyrdom, announced by an angelby an angel 435 435

Carrick, John Mulcaster,Carrick, John Mulcaster, The Death of The Death of ArthurArthur 203 203

Carrington, Dora,Carrington, Dora, Baroque Harmony in Baroque Harmony in the Ice Off the Labrador Coastthe Ice Off the Labrador Coast 77 77

Cattermole, George,Cattermole, George, Macbeth instructing Macbeth instructing the murderers employed to kill the murderers employed to kill BanquoBanquo 357 357

Christus, Petrus,Christus, Petrus, The Last Judgment The Last Judgment 157 157Clark, Joseph,Clark, Joseph, Waifs and Strays Waifs and Strays 566 566Coburn, Alvin Langdon,Coburn, Alvin Langdon, Tower Tower

BridgeBridge 1119 1119Collier, Edwaert,Collier, Edwaert, Still Life with Inkstand and Still Life with Inkstand and

BooksBooks 286 286Collier, Edwaert,Collier, Edwaert, Trompe l’oeil with Writing Trompe l’oeil with Writing

MaterialsMaterials 650 650Constable, John,Constable, John, Cloud Study, Horizon of Cloud Study, Horizon of

TreesTrees 703 703Constable, John,Constable, John, Flatford Mill Flatford Mill 697 697Constable, John,Constable, John, The Hay Wain The Hay Wain 692—693 692—693 Constable, John,Constable, John, Hove Beach with Fishing Hove Beach with Fishing

BoatsBoats 928 928Cope, Charles West,Cope, Charles West, The Pilgrim Fathers: The Pilgrim Fathers:

Departure of a Puritan Family for New Departure of a Puritan Family for New EnglandEngland 506 506

Copeland, Mark,Copeland, Mark, The Light Programme The Light Programme 12261226

Copping, Harold,Copping, Harold, Oliver Asks for More Oliver Asks for More 989 989Couder, Louis-Charles Auguste,Couder, Louis-Charles Auguste, Siege of Siege of

Yorktown, October 17th, 1836Yorktown, October 17th, 1836 694 694Cox, David,Cox, David, A Seaside View A Seaside View 995 995Cragg, Tony,Cragg, Tony, Britain Seen from the Britain Seen from the

NorthNorth 1239 1239Crane, Walter,Crane, Walter, La Belle Dame Sans La Belle Dame Sans

MerciMerci 867 867Creti, Donato,Creti, Donato, Astronomical Observation: Astronomical Observation:

VenusVenus 272 272Crook, P. J.,Crook, P. J., 5 O’Clock Cowboy 5 O’Clock Cowboy 1131 1131Crook, P. J.,Crook, P. J., La Gare La Gare 1144 1144Cropsey, Jasper Francis,Cropsey, Jasper Francis, Stoke Poges Stoke Poges

ChurchChurch 710 710Cruikshank, George,Cruikshank, George, The Artful Dodger The Artful Dodger

picking a pocket to the amazement of picking a pocket to the amazement of Oliver TwistOliver Twist 964 964

DDanckerts, Hendrick,Danckerts, Hendrick, John Rose Presenting John Rose Presenting

the First English-Grown Pineapple to the First English-Grown Pineapple to Charles IICharles II 511 511

R104-R106 EMAI-845482.indd 104R104-R106 EMAI-845482.indd 104 2/5/07 4:30:13 PM2/5/07 4:30:13 PM

INDEX OF ART AND ARTISTS R105

IND

EX

OF

AR

T A

ND

AR

TIS

TSDecamps, Alexandre Gabriel,Decamps, Alexandre Gabriel, The Witches The Witches

in Macbethin Macbeth 322 322De Morgan, William,De Morgan, William, Three ceramic tiles Three ceramic tiles

depicting a ship sailing at sunsetdepicting a ship sailing at sunset 75 75Detmold, Edward Julius,Detmold, Edward Julius, Town Mouse and Town Mouse and

the Country Mousethe Country Mouse 720 720Dewing, Maria Oakey,Dewing, Maria Oakey, Garden in Garden in

MayMay 883 883di Brera, Pinacoteca,di Brera, Pinacoteca, Two Lovers Two Lovers 449 449Dighton, Richard,Dighton, Richard, Three Gentlemen Three Gentlemen

Greeting Each OtherGreeting Each Other 772 772Ditz, Ditz, The Apple-TubThe Apple-Tub 1194 1194Doré, Gustave,Doré, Gustave, Albatross is shot by arrow Albatross is shot by arrow

(detail)(detail) 810 810Doré, Gustave,Doré, Gustave, Angels remove the Angels remove the

cursecurse 820 820Doré, Gustave,Doré, Gustave, Cursed ship is sent to the Cursed ship is sent to the

equator where crew perishequator where crew perish 812 812Doré, Gustave,Doré, Gustave, Death and Life play dice Death and Life play dice

on skeleton shipon skeleton ship 815 815Doré, Gustave,Doré, Gustave, Death on a Pale Death on a Pale

HorseHorse 624 624Doré, Gustave,Doré, Gustave, Hermit saves the Hermit saves the

MarinerMariner 823 823Doré, Gustave,Doré, Gustave, London Traffi c Jam London Traffi c Jam 559 559Doré, Gustave,Doré, Gustave, Mariner recounts story to Mariner recounts story to

wedding guestwedding guest 807 807Doré, Gustave,Doré, Gustave, Satan’s Flight Through Satan’s Flight Through

ChaosChaos 529 529Doré, Gustave,Doré, Gustave, Satan Smitten by Michael, Satan Smitten by Michael,

from Book IV of Paradise Lostfrom Book IV of Paradise Lost 502 502Droeshout, Martin,Droeshout, Martin, Detail of a Portrait of Detail of a Portrait of

William ShakespeareWilliam Shakespeare 291 291Drummond, Malcolm,Drummond, Malcolm, In the Park (St. In the Park (St.

James’s Park)James’s Park) 1161 1161Douglas, William Fettes,Douglas, William Fettes, The Bibliophilist’s The Bibliophilist’s

Haunt or Creech’s BookshopHaunt or Creech’s Bookshop 750 750Dyke, Anthony van,Dyke, Anthony van, Charles I of Charles I of

EnglandEngland 453 453

EEardley, Joan,Eardley, Joan, A Glasgow Close A Glasgow Close 1140 1140Easton, Bella,Easton, Bella, Pushkar Blues (2) Pushkar Blues (2) 1070 1070Emmerson, Henry Hetherington,Emmerson, Henry Hetherington, Four Four

Girls and a Dog on a Bridge Over the Girls and a Dog on a Bridge Over the Debdon BurnDebdon Burn 971 971

Eves, Reginald-Grenville,Eves, Reginald-Grenville, Thomas Thomas HardyHardy 1003 1003

FFaed, John,Faed, John, Shakespeare and His Shakespeare and His

FriendsFriends 549 549Ferry, Jean Georges,Ferry, Jean Georges, Two Women Reading Two Women Reading

in an Interiorin an Interior 775 775

Fildes, Sir Luke,Fildes, Sir Luke, Applicants for Admission to Applicants for Admission to a Casual Warda Casual Ward 568 568

Fleming, Ian,Fleming, Ian, Marion McLean Marion McLean 1280 1280Folingsby, George Frederick,Folingsby, George Frederick, John Bunyan John Bunyan

in Prisonin Prison 532 532Forbes, Elizabeth Sophia,Forbes, Elizabeth Sophia, An Indian An Indian

Elephant and His MahoutElephant and His Mahout 1079 1079Fragonard, Jean-Honore,Fragonard, Jean-Honore, The Stolen The Stolen

KissKiss 476 476Frampton, Meredith,Frampton, Meredith, Marguerite Marguerite

KelseyKelsey 1047 1047Francken the Younger, Frans,Francken the Younger, Frans, The Parable The Parable

of the Rich Manof the Rich Man 1057 1057Frith, William Powell,Frith, William Powell, Sir Roger de Coverly Sir Roger de Coverly

and Addison with “The Saracen’s and Addison with “The Saracen’s Head”Head” 616 616

Fry, Roger,Fry, Roger, Room in the second Post- Room in the second Post-Impressionist Exhibition in 1912 showing Impressionist Exhibition in 1912 showing the works of Henri Matissethe works of Henri Matisse 1039 1039

Fuseli, Henry,Fuseli, Henry, Lady Macbeth Sleepwalking Lady Macbeth Sleepwalking 391391

Fuseli, Henry,Fuseli, Henry, Prospero Prospero 312 312Fuseli, Henry,Fuseli, Henry, Three Witches Three Witches 324 324Fuseli, Henry,Fuseli, Henry, Lady Macbeth Seizing the Lady Macbeth Seizing the

DaggersDaggers 341 341

GGardiner, Clive,Gardiner, Clive, Motor Manufacturing— Motor Manufacturing—

Empire buying makes busy Empire buying makes busy factoriesfactories 1187 1187

Giorgione (Da Castelfranco, Giorgio),Giorgione (Da Castelfranco, Giorgio), Double PortraitDouble Portrait 299 299

Girtin, Thomas,Girtin, Thomas, Interior of Tintern Interior of Tintern AbbeyAbbey 787 787

Greve, Gerrit,Greve, Gerrit, # 49 # 49 1262 1262 Grimshaw, John Atkinson,Grimshaw, John Atkinson, St. Paul’s St. Paul’s

Cathedral from Ludgate Circus, Cathedral from Ludgate Circus, London, EnglandLondon, England 1179 1179

HHammershøi, Vilhelm,Hammershøi, Vilhelm, The Music Room, The Music Room,

30 Strandgade30 Strandgade 1151 1151Harden, John,Harden, John, Dorothy Wordsworth in a Dorothy Wordsworth in a

WheelchairWheelchair 795 795Haydon, Benjamin Robert,Haydon, Benjamin Robert, Portrait of Portrait of

William WordsworthWilliam Wordsworth 780 780Hayman, Francis,Hayman, Francis, Robert Lovelace Robert Lovelace

preparing to abduct Clarissa Harlowepreparing to abduct Clarissa Harlowe 503503

Heere, Lucas de,Heere, Lucas de, The Family of Henry The Family of Henry VIII: An Allegory of the Tudor VIII: An Allegory of the Tudor SuccessionSuccession 236 236

Hepple, Norman,Hepple, Norman, Firelight Firelight 1050 1050Herkomer, Sir Hubert von,Herkomer, Sir Hubert von, On Strike On Strike 963 963

Hilliard, Nicholas,Hilliard, Nicholas, A Young Man Leaning A Young Man Leaning Against a Tree Among RosesAgainst a Tree Among Roses 261 261

Hilliard, Nicolas,Hilliard, Nicolas, Henry Percy, 9th Earl of Henry Percy, 9th Earl of NorthumberlandNorthumberland 252 252

Hilton, William,Hilton, William, John Keats John Keats 865 865Hiroshige, Ando,Hiroshige, Ando, Evening Snow at Asuka- Evening Snow at Asuka-

yamayama 881 881Hockney, David,Hockney, David, My Parents My Parents 1235 1235Hoefnage, Joris,Hoefnage, Joris, A Fete at A Fete at

BermondseyBermondsey 241 241Hogarth, William,Hogarth, William, David Garrick as Richard David Garrick as Richard

IIIIII 247 247Hogarth, William,Hogarth, William, Family Party Family Party 505 505Hogarth, William,Hogarth, William, The Marriage The Marriage

SettlementSettlement 776 776Hogarth, William,Hogarth, William, O’ The Roast Beef of O’ The Roast Beef of

Olde EnglandOlde England 536 536Hogarth, William,Hogarth, William, Southwark Fair Southwark Fair 538 538Holbein the Younger, Hans,Holbein the Younger, Hans, Lady in a Lady in a

White CapWhite Cap 463 463Holmes, Mabelle Linnea,Holmes, Mabelle Linnea, The Coming of The Coming of

the Norsemen in 1000 ADthe Norsemen in 1000 AD 78 78Holst, Theodore M. von,Holst, Theodore M. von, A A

NightmareNightmare 837 837Hooch, Pieter de,Hooch, Pieter de, A Maid with a Pail in the A Maid with a Pail in the

BackyardBackyard 1153 1153Hopper, Edward,Hopper, Edward, Compartment C, Compartment C,

Car 293Car 293 1299 1299Howard, Henry,Howard, Henry, The Florentine Girl (The The Florentine Girl (The

Artist’s Daughter)Artist’s Daughter) 844 844Hugo, Victor,Hugo, Victor, Castle Castle 836 836Humphrey, Ozias,Humphrey, Ozias, Portrait of Jane Portrait of Jane

AustenAusten 768 768

IIngalls, Pam,Ingalls, Pam, Museum Arch II Museum Arch II 1252 1252Ingres, Jean Auguste Dominique,Ingres, Jean Auguste Dominique, Paolo Paolo

and Francescaand Francesca 268 268

JJackson, Helen,Jackson, Helen, She is Witty to Talk She is Witty to Talk

WithWith 974 974Jerichau, Holger,Jerichau, Holger, A View of Benares A View of Benares 1070 1070Jervas, Charles,Jervas, Charles, Jonathan Swift Jonathan Swift 564 564Johnson, Edward Killingworth,Johnson, Edward Killingworth, The Bird’s The Bird’s

NestNest 1158 1158Joy, George William,Joy, George William, The Bayswater The Bayswater

OmnibusOmnibus 906 906Juon, Konstantin Fiodorvich,Juon, Konstantin Fiodorvich, The New The New

PlanetPlanet 1112 1112

KKay, Dorothy,Kay, Dorothy, Cookie Cookie, Annie Mavata Annie Mavata 1055 1055


R106 INDEX OF ART AND ARTISTS

IND

EX

OF

AR

T A

ND

AR

TIS

TSKersting, Georg Friedrich,Kersting, Georg Friedrich, Young Woman Young Woman

Sewing by LamplightSewing by Lamplight 733 733Killingbeck, Benjamin,Killingbeck, Benjamin, Earl and Countess of Earl and Countess of

Ossory and Their Children at Ampthill Ossory and Their Children at Ampthill ParkPark 505 505

Kinley, Peter,Kinley, Peter, Fantaise Fantaise 1357 1357Knyff, Leonard,Knyff, Leonard, The Southeast Prospect of The Southeast Prospect of

Hampton CourtHampton Court 241 241Koch, Joseph Anton,Koch, Joseph Anton, Macbeth and the Macbeth and the

WitchesWitches 374 374Kropp, Steve,Kropp, Steve, Horse Race Horse Race 1124 1124Kuehl, Gottardt,Kuehl, Gottardt, Lovers in a Café Lovers in a Café 1001 1001

LLamb, Henry,Lamb, Henry, It’s a Long, Long Way It’s a Long, Long Way 1165 1165Lawrence, Sir Thomas,Lawrence, Sir Thomas, The Duchess of The Duchess of

BerriBerri 981 981Le Testu, Guillaume,Le Testu, Guillaume, Map of the Magellan Map of the Magellan

StraitsStraits 831 831Leal, Juan de Valdes,Leal, Juan de Valdes, Allegory of Death (In Allegory of Death (In

Ictu Oculi)Ictu Oculi) 162 162Leighton, Lord Frederic,Leighton, Lord Frederic, The Painter’s The Painter’s

HoneymoonHoneymoon 941 941Longoni, Emilio,Longoni, Emilio, Alone Alone 945 945Longoni, Emilio,Longoni, Emilio, Thoughts of a Hungry Thoughts of a Hungry

ManMan 1061 1061Ludovici, Albert,Ludovici, Albert, Treasured Pets Treasured Pets 1007 1007

MMacara, Andrew,Macara, Andrew, Girl on a Swing Girl on a Swing 1346 1346Maclise, Daniel,Maclise, Daniel, The Banquet Scene from The Banquet Scene from

MacbethMacbeth 361 361Mann, Alexander,Mann, Alexander, Portrait of Helen Portrait of Helen

GowGow 731 731Mara, Tim,Mara, Tim, Untitled Untitled 1241 1241Martin, John,Martin, John, The Bard The Bard 779 779Martin, John,Martin, John, The Fallen Angels Entering The Fallen Angels Entering

PandemoniumPandemonium 527 527Master of Saint Severin, Master of Saint Severin, The Exorcism of The Exorcism of

the Demonthe Demon 145 145McDonald, James,McDonald, James, The Children’s The Children’s

EncyclopediaEncyclopedia 961 961McIntosh, Robert,McIntosh, Robert, Horse Race # 14 Horse Race # 14 1128 1128McIntosh, Robert,McIntosh, Robert, Horse Race # 5 Horse Race # 5 1132 1132Mij, Hieronymus van der,Mij, Hieronymus van der, A Girl at A Girl at

a Window holding a Bunch of a Window holding a Bunch of GrapesGrapes 296 296

Mileham, Harry,Mileham, Harry, Chaucer, the Knight Chaucer, the Knight and the Squire from ‘The Pardoner’s and the Squire from ‘The Pardoner’s Prologue’ of ‘The Canterbury Prologue’ of ‘The Canterbury Tales’Tales’ 119 119

Millais, Sir John Everett,Millais, Sir John Everett, Autumn Autumn LeavesLeaves 707 707

Moore, Henry,Moore, Henry, Shelterers in the Tube Shelterers in the Tube 1041 1041

Morrice, James Wilson,Morrice, James Wilson, Landscape, Landscape, TrinidadTrinidad 1333 1333

Morris, Sir Cedric,Morris, Sir Cedric, Llanmadoc Hill, Gower Llanmadoc Hill, Gower PeninsulaPeninsula 1205 1205

Munnings, Alfred,Munnings, Alfred, Their Majesties’ Return Their Majesties’ Return from Ascotfrom Ascot 1160 1160

NNash, Joseph,Nash, Joseph, Queen Victoria Opening Queen Victoria Opening

the 1862 Exhibition after Crystal Palace the 1862 Exhibition after Crystal Palace moved to Sydenhammoved to Sydenham 915 915

Nasmyth, Alexander,Nasmyth, Alexander, Tantallon Castle with Tantallon Castle with the Bass Rockthe Bass Rock 211 211

Nebot, Balthazar,Nebot, Balthazar, Covent Garden Covent Garden MarketMarket 513 513

Nevinson, Christopher Richard Wynne,Nevinson, Christopher Richard Wynne, A Group of SoldiersA Group of Soldiers 1091 1091

Nevinson, Christopher Richard Wynne,Nevinson, Christopher Richard Wynne, La MitrailleuseLa Mitrailleuse 1043 1043

Nevinson, Christopher Richard Wynne,Nevinson, Christopher Richard Wynne, London Twilight from the AdelphiLondon Twilight from the Adelphi 924 924

Nevinson, Christopher Richard Wynne,Nevinson, Christopher Richard Wynne, The The ArrivalArrival 1105 1105

Nevinson, Christopher Richard Wynne,Nevinson, Christopher Richard Wynne, The The Food QueueFood Queue 1037 1037

Nevinson, Christopher Richard Wynne,Nevinson, Christopher Richard Wynne, The The Strand by NightStrand by Night 1182 1182

Nicholls, Joseph,Nicholls, Joseph, A View of Westminster A View of Westminster with the Royal Barge and Other with the Royal Barge and Other ShippingShipping 784 784

Nicholson, William,Nicholson, William, Sir Walter Scott Sir Walter Scott 899 899

0Oliver, Alfred,Oliver, Alfred, The Wild Wood The Wild Wood 954 954Oliver, Isaac,Oliver, Isaac, Edward Herbert, 1st Baron Edward Herbert, 1st Baron

Herbert of CherburyHerbert of Cherbury 245 245Oliver, Issac,Oliver, Issac, Portrait of Frances Howard, Portrait of Frances Howard,

Countess of Essex and SomersetCountess of Essex and Somerset 252 252Opie, John,Opie, John, Mary Wollstonecraft (Mrs. Mary Wollstonecraft (Mrs.

William Godwin)William Godwin) 725 725

PPalmer, Samuel,Palmer, Samuel, Tintern Abbey Tintern Abbey 890 890Panchal, Shanti,Panchal, Shanti, Children’s Play Children’s Play

(detail)(detail) 1351 1351Peake, Robert,Peake, Robert, Queen Elizabeth I Being Queen Elizabeth I Being

Carried in ProcessionCarried in Procession 251 251Pereda, Antonio,Pereda, Antonio, Allegory of Fleeting Allegory of Fleeting

TimeTime 413 413Peto, John Frederick,Peto, John Frederick, Rack Picture for Rack Picture for

William Malcolm BunnWilliam Malcolm Bunn 1279 1279Pettie, John,Pettie, John, Two Strings to her Bow Two Strings to her Bow 544 544Phillips, Thomas,Phillips, Thomas, Lord Byron Lord Byron 842 842Phillips, Thomas,Phillips, Thomas, William Blake William Blake 754 754

Pierre, Christian,Pierre, Christian, The Temptress The Temptress 426 426Pond, Arthur,Pond, Arthur, Portrait of Thomas Gray Portrait of Thomas Gray 708 708

RRaven, John Samuel,Raven, John Samuel, Caregg Cennen Caregg Cennen

CastleCastle 382 382Redoute, Pierre Joseph,Redoute, Pierre Joseph, Camellia Camellia

JaponicaJaponica 277 277Reibisch, Friedrich Martin von,Reibisch, Friedrich Martin von, Illustration Illustration

of a Knight and Horse in Armorof a Knight and Horse in Armor 130 130Reibisch, Friedrich Martin von,Reibisch, Friedrich Martin von, Two Two

Knights Fighting with SwordsKnights Fighting with Swords 193 193Reynolds, Sir Joshua,Reynolds, Sir Joshua, Portrait of Francis Portrait of Francis

Russell, the Marpuess of TavistockRussell, the Marpuess of Tavistock 467 467Reynolds, Sir Joshua,Reynolds, Sir Joshua, Portrait of Samuel Portrait of Samuel

JohnsonJohnson 667 667Richardson, Jonathan,Richardson, Jonathan, Alexander Pope Alexander Pope 586 586Richardson, Jonathan,Richardson, Jonathan, Sir Richard Sir Richard

SteeleSteele 614 614Riesener, Henri Francois,Riesener, Henri Francois, Babet and His Babet and His

SonSon 447 447Ring, Laurits Andersen,Ring, Laurits Andersen, Old Man Walking Old Man Walking

in a Rye Fieldin a Rye Field 1204 1204Rodin, Auguste,Rodin, Auguste, The Thinker The Thinker 590 590Roerich, Nikolai,Roerich, Nikolai, Visitors from Visitors from

OverseasOverseas 50 50Roederstein, Ottilie Wilhelmina,Roederstein, Ottilie Wilhelmina, The Victor The Victor

10001000Romney, George,Romney, George, Macbeth and the Macbeth and the

WitchesWitches 372 372Roseland, Henry Herman,Roseland, Henry Herman, Budding Budding

ScholarScholar 960 960Ross, Thomas,Ross, Thomas, The City Weir, Bath, The City Weir, Bath,

looking towards Walcotlooking towards Walcot 127 127Rossetti, Dante Charles Gabriel,Rossetti, Dante Charles Gabriel, The Death The Death

of Lady Macbethof Lady Macbeth 397 397Rowlandson, Thomas,Rowlandson, Thomas, Customers in the Customers in the

coffee house in Salisbury Market-coffee house in Salisbury Market-PlacePlace 617 617

Rowlandson, Thomas,Rowlandson, Thomas, London’s Royal London’s Royal ExchangeExchange 697 697

Rowlandson, Thomas,Rowlandson, Thomas, Young Ladies’ Young Ladies’ Finishing SchoolFinishing School 613 613

Ruskin, John,Ruskin, John, Study of a dragon’s head Study of a dragon’s head after Michelangeloafter Michelangelo 44 44

SSaar, Betye,Saar, Betye, Watching Watching 1336 1336Sargent, John Singer,Sargent, John Singer, Ellen Terry as Lady Ellen Terry as Lady

MacbethMacbeth 331 331Sargent, John Singer,Sargent, John Singer, Two Soldiers of Two Soldiers of

ArrasArras 1006 1006Scott, Sir Peter,Scott, Sir Peter, Man’s Natural World Man’s Natural World 1283 1283Seligman, Lincoln,Seligman, Lincoln, Man and Woman in an Man and Woman in an

Art GalleryArt Gallery 1248 1248


INDEX OF ART AND ARTISTS R107

IND

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TSSevern, Joseph,Severn, Joseph, Percy Bysshe Shelley Percy Bysshe Shelley 705 705Shannon, Sir James Jebusa,Shannon, Sir James Jebusa, On the Dunes On the Dunes

(Lady Shannon and Kitty)(Lady Shannon and Kitty) 744 744Shepherd, George,Shepherd, George, Hungerford Stairs Hungerford Stairs 697 697Smith, Carlton Alfred,Smith, Carlton Alfred, Recalling the Recalling the

PastPast 929 929Smith, Nancy,Smith, Nancy, Ploughing Ploughing 1260 1260Smith, Orford,Smith, Orford, The Hero of the The Hero of the

TrafalgarTrafalgar 698 698Steen, Jan,Steen, Jan, The dissolute household The dissolute household 782 782Stiepanoff, Alexei,Stiepanoff, Alexei, The Love Song The Love Song 466 466Stokes, Adrian,Stokes, Adrian, Young Girl and the Angel of Young Girl and the Angel of

DeathDeath 161 161Stone, Henry,Stone, Henry, Triple portrait of King Triple portrait of King

Charles ICharles I 515 515Storey, George Aldolphus,Storey, George Aldolphus, Orphans Orphans 975 975Stothard, Thomas,Stothard, Thomas, The Pilgrimage to The Pilgrimage to

CanterburyCanterbury 96 96Strasser, Benjamin,Strasser, Benjamin, Wounded at the Wounded at the

RoadsideRoadside 1095 1095Stroop, Dirck,Stroop, Dirck, Charles II’s entry into Charles II’s entry into

London on the day before his London on the day before his Coronation in 1661Coronation in 1661 554 554

Stubbs, George,Stubbs, George, The Harvest Wagon The Harvest Wagon 713 713

TTaylor, Leonard Campbell,Taylor, Leonard Campbell, The The

GalleryGallery 1176 1176Tenniel, John,Tenniel, John, The Jabberwocky The Jabberwocky 958 958Tenniel, John,Tenniel, John, The Mad Tea Party The Mad Tea Party 909 909Tissot, James Jacques Joseph,Tissot, James Jacques Joseph, The Woman The Woman

of Fashionof Fashion 728 728Troyon, Constant-Emile,Troyon, Constant-Emile, Promenade Promenade 770 770

Turner, Joseph Mallord William,Turner, Joseph Mallord William, Snow Snow Storm at SeaStorm at Sea 856 856

Turner, Joseph Mallord William,Turner, Joseph Mallord William, Tintern Tintern AbbeyAbbey 790 790

UUnknown, Artist,Unknown, Artist, Anne Boleyn Anne Boleyn 262 262Unknown, Artist,Unknown, Artist, Elizabeth I Elizabeth I 256 256Unknown, Artist,Unknown, Artist, Promenading Noblemen Promenading Noblemen

(detail)(detail) 295 295Unknown, Artist,Unknown, Artist, The Triumph of The Triumph of

DeathDeath 155 155

VValdés Leal, Juan de,Valdés Leal, Juan de, Allegory of Death (In Allegory of Death (In

Ictu Oculi)Ictu Oculi) 462 462Valkenborch, Frederick van,Valkenborch, Frederick van, A Market A Market

Scene with Fruit and Vegetable Scene with Fruit and Vegetable SellersSellers 432 432

Van Gogh, Vincent,Van Gogh, Vincent, The Sower The Sower 953 953Van Gogh, Vincent,Van Gogh, Vincent, Wheatfi eld with Wheatfi eld with

LarkLark 858 858Varley, John,Varley, John, Conway Castle Conway Castle 349 349Vroom, Hendrik Cornelisz,Vroom, Hendrik Cornelisz, Sea Battle Sea Battle

Between the Spanish Armada and Between the Spanish Armada and English Naval ForcesEnglish Naval Forces 242 242

WWagstaff, Charles Edward,Wagstaff, Charles Edward, Portrait of John Portrait of John

DrydenDryden 546 546Waite, Edward W.,Waite, Edward W., An Autumn Lane An Autumn Lane 877 877Walden, Lionel,Walden, Lionel, The Docks at Cardiff The Docks at Cardiff 917 917Walker, Frederick,Walker, Frederick, Philip in Church Philip in Church 965 965

Wall, Lou,Wall, Lou, Abstract Day Abstract Day 1349 1349Wallis, Henry,Wallis, Henry, Dr. Johnson at Cave’s the Dr. Johnson at Cave’s the

PublisherPublisher 500 500Wallis, Henry,Wallis, Henry, The Room in Which The Room in Which

Shakespeare Was BornShakespeare Was Born 293 293Ward, Edward Matthew,Ward, Edward Matthew, Dr. Johnson in the Dr. Johnson in the

Anteroom of Lord Chesterfi eld, Waiting Anteroom of Lord Chesterfi eld, Waiting for an Audiencefor an Audience 654 654

Waterhouse, John William,Waterhouse, John William, La Belle Dame La Belle Dame Sans MerciSans Merci 841 841

Waterhouse, John William,Waterhouse, John William, The Soul of the The Soul of the RoseRose 273 273

Way, Andrew John Henry,Way, Andrew John Henry, The Wealth of The Wealth of AutumnAutumn 875 875

Weight, Carel,Weight, Carel, Bitter Wind Bitter Wind 1269 1269West, Benjamin,West, Benjamin, Cromwell Dissolving the Cromwell Dissolving the

Long ParliamentLong Parliament 509 509Willis, Tilly,Willis, Tilly, Under the Acacia Tree Under the Acacia Tree 1290 1290Willison, George,Willison, George, James Boswell James Boswell 659 659Wilson, Richard,Wilson, Richard, On Hounslow Heath On Hounslow Heath 869 869Wingfi eld, James D.,Wingfi eld, James D., An Interior at An Interior at

Hampton CourtHampton Court 607 607Wootton, John,Wootton, John, Macbeth and the Three Macbeth and the Three

WitchesWitches 317 317Wright of Derby, Joseph,Wright of Derby, Joseph, The Old Man The Old Man

and Deathand Death 168 168Wright, Joseph of Derby,Wright, Joseph of Derby, The Orrery The Orrery 563 563

ZZaman, Farida,Zaman, Farida, Online Romance Online Romance 947 947Zincke, Christian Friedrich,Zincke, Christian Friedrich, Miniature of Miniature of

Joseph AddisonJoseph Addison 614 614


ACKNOWLEDGMENTS

R108 ACKNOWLEDGMENTS

Unit 1“The Battle of Maldon” from An Anthology of Old English Poetry, edited by Charles W. Kennedy, translated by Charles W. Kennedy, copyright © 1960 by Oxford University Press, Inc. Used by permission of Oxford University Press, Inc.

From “The Creation of Adam and Eve” from Everyman and Medieval Miracle Plays, edited by A. C. Cawley. Reprinted by permission of Everyman’s Library, Northburgh House, 10 Northburgh Street, London EC1V 0AT.

From Beowulf, translated by Burton Raffel, copyright © 1963 renewed © 1991 by Burton Raffel. Used by permission of Dutton Signet, a division of Penguin Group (USA) Inc.

Excerpt from Gilgamesh: A Verse Narrative by Herbert Mason. Copyright © 1970 by Herbert Mason. Reprinted by permission of Houghton Miffl in Company. All rights reserved.

Excerpt from “The Battle of the Pelennor Fields” from The Lord of the Rings by J. R. R. Tolkien, edited by Christopher Tolkien. Copyright © 1954, 1955, 1965, 1966 by J. R. R. Tolkien. Copyright © renewed 1982, 1983 by Christopher R. Tolkien, Michael H. R. Tolkien, John F. R. Tolkien and Priscilla M. A. R. Tolkien. Copyright © renewed 1993, 1994 by Christopher R. Tolkien, John F. R. Tolkien and Priscilla M. A. R. Tolkien. Reprinted by permission of Houghton Miffl in Company. All rights reserved.

“The Seafarer” from Poems and Prose from the Old English, translated by Burton Raffel. Edited by Alexandra H. Olsen and Burton Raffel. Copyright © 1998 by Yale University. Reprinted by permission of Yale University Press.

From The Canterbury Tales by Geoffrey Chaucer, translated by Neville Coghill. Reproduced with permission of Curtis Brown Group Ltd, London on behalf of the Estate of Neville Coghill. Copyright © Neville Coghill 1952.

From The Book of Margery Kempe, translated by Tony D. Triggs. Reprinted by permission of the Continuum International Publishing Group.

From The Complete Works of the Gawain Poet by John Gardner. Copyright © 1965 by The University of Chicago. Reprinted by permission of The University of Chicago Press.

Excerpt from Sir Gawain and the Green Knight, translated with an introduction by Brian Stone (Penguin Classics, 1959). Copyright © Brian Stone, 1959, 1964, 1974. Reprinted by permission of Penguin Group (UK).

From A Distant Mirror by Barbara W. Tuchman, copyright © 1978 by Barbara W. Tuchman. Used by permission of Alfred A. Knopf, a division of Random House, Inc.

Reprinted with the permission of Scribner, an imprint of Simon & Schuster Adult Publishing Group, from Le Morte d’Arthur by Sir Thomas Malory, edited by R. M. Lumiansky. Copyright © 1982 by R. M. Lumiansky.

From A House Unlocked by Penelope Lively, copyright © 2001 by Penelope Lively. Used by permission of Grove/Atlantic, Inc.

Unit 2From Shakespeare on Screen, reproduced by permission of Curtis Brown Group Ltd, London on behalf of Daniel Rosenthal. Copyright © Daniel Rosenthal 1957.

From Rubáiyát of Omar Khayyám translated by Edward FitzGerald, copyright © 1983 by St. Martin’s Press, LLC, and reprinted with permission.

Unit 3Excerpt from The History of the Peloponnesian War by Thucydides, translated by Rex Warner, with an introduction and notes by M. I. Finley (Penguin Classics 1954, Revised edition 1972). Translation copyright © Rex Warner, 1954. Introduction and Appendices copyright © M. I. Finley, 1972. Reprinted by permission of Penguin Group (UK) and The Random House Group Ltd.

From The Plague by Albert Camus, translated by Stuart Gilbert, copyright 1948 by Stuart Gilbert. Used by permission of Alfred A. Knopf, a division of Random House, Inc.

Excerpt from Samuel Johnson by Walter Jackson Bate. Copyright © 1975, 1977 by Walter Jackson Bate. Reprinted by permission of William B. Goodman.

Unit 4Abridged from In Patagonia by Bruce Chatwin. Copyright © 1977 by Bruce Chatwin. Used by permission of Simon & Schuster Adult Publishing Group.

“To John Keats Poet at Springtime” from On These I Stand by Countee Cullen. Copyrights held by Amistad Research Center, Tulane University, administered by Thompson and Thompson, Brooklyn, NY.

“Untying the Knot” from Pilgrim at Tinker Creek by Annie Dillard. Copyright © 1974 by Annie Dillard. Reprinted by permission of HarperCollins Publishers.

“On Wordsworth,” by Robin Becker, from First Loves: Poets Introduce the Essential Poems That Captivated and Inspired Them. Reprinted by permission of Robin Becker.

Unit 5“Sonnet XXX” of Fatal Interview by Edna St. Vincent Millay. From Collected Poems, HarperCollins. Copyright © 1931, 1958 by Edna St. Vincent Millay and Norma Millay Ellis. All rights reserved. Used by permission of Elizabeth Barnett, literary executor.

“In My Life” © 1965 Sony/ATV Tunes LLC. All rights administered by Sony/ATV Music Publishing, 8 Music Square West, Nashville, TN 37203. All rights reserved. Used by permission

“The Darkling Thrush,” “The Man He Killed” and “Ah, Are You Digging on My Grave?” reprinted with the permission of Scribner, an imprint of Simon & Schuster Adult Publishing Group, from The Complete Poems of Thomas Hardy, edited by James Gibson. Copyright © 1978 by Macmillan London Ltd.

From Perkins, David. “Hardy and the Poetry of Isolation” ELH 26:2 (1959), 253–270. Copyright © The Johns Hopkins University Press. Reprinted with the permission of The Johns Hopkins University Press.

Unit 6The extract from Vera Brittain’s Testament of Youth is reproduced by permission of Mark Bostridge and Rebecca Williams, her literary executors.

Excerpt from The Collected Essays, Journalism and Letters of George Orwell, Volume II: My Country Right or Left, 1940-1943, copyright © 1968 by Sonia Brownell Orwell and renewed 1996 by Mark Hamilton, reprinted by permission of Harcourt, Inc.

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“A Cup of Tea” from The Short Stories of Katherine Mansfi eld by Katherine Mansfi eld, copyright 1923 by Alfred A. Knopf, a division of Random House, Inc. and renewed 1951 by John Middleton Murry. Used by permission of Alfred A. Knopf, a division of Random House, Inc.

“Village People” copyright © Bessie Head, Tales of Tenderness and Power,Ad. Donker 1989. Reprinted by permission of Johnson & Alcock Ltd.

From The Koran: With a Parallel Arabic Text translated with notes by N. J. Dawood (Penguin Books, 1990). Copyright © N. J. Dawood, 1956, 1959, 1966, 1968, 1974, 1990. Reprinted by permission of Penguin Group (UK).

“Shooting an Elephant” from Shooting an Elephant and Other Essays by George Orwell, copyright 1950 by Sonia Brownell Orwell and renewed 1978 by Sonia Pitt-Rivers, reprinted by permission of Harcourt, Inc.

“Dulce et Decorum Est” by Wilfred Owen, from The Collected Poems of Wilfred Owen, copyright © 1963 by Chatto & Windus, Ltd. Reprinted by permission of New Directions Publishing Corp.

From The Great War and Modern Memory by Paul Fussell, copyright © 1975 by Oxford University Press, Inc. Used by permission of Oxford University Press, Inc.

“The Lake Isle of Innisfree” and “When You Are Old” reprinted with the permission of Scribner, an imprint of Simon & Schuster Adult Publishing Group, from The Collected Works of W. B. Yeats, Volume I: The Poems, Revised, edited by Richard J. Finneran (New York: Scribner, 1997)

“Sailing to Byzantium” reprinted with the permission of Scribner, an imprint of Simon & Schuster Adult Publishing Group, from The Collected Works of W. B. Yeats, Volume I: The Poems, Revised, edited by Richard J. Finneran. Copyright © 1928 by The Macmillan Company; copyright renewed © 1956 by Georgie Yeats.

“The Second Coming” reprinted with the permission of Scribner, an imprint of Simon & Schuster Adult Publishing Group, from The Collected Works of W. B. Yeats, Volume I: The Poems, Revised, edited by Richard J. Finneran. Copyright © 1924 by The Macmillan Company; copyright renewed © 1952 by Georgie Yeats.

“The Rocking-Horse Winner” by D. H. Lawrence, copyright © 1933 by the Estate of D. H. Lawrence, renewed © 1961 by Angelo Ravagli and C. M. Weekley, Executors of the Estate of Frieda Lawrence, from Complete Stories of D. H. Lawrence by D. H. Lawrence. Used by permission of Viking Penguin, a division of Penguin Putnam, Inc.

Excerpt from Mrs. Dalloway by Virginia Woolf, copyright 1925 by Harcourt, Inc. and renewed 1953 by Leonard Woolf, reprinted by permission of the publisher.

Excerpt from A Room of One’s Own by Virginia Woolf, copyright 1929 by Harcourt, Inc., and renewed 1957 by Leonard Woolf, reprinted by permission of the publisher.

“The Demon Lover” from The Collected Stories of Elizabeth Bowen by Elizabeth Bowen, copyright © 1981 by Curtis Brown, Ltd., Literary Executors of the Estate of Elizabeth Bowen. Used by permission of Alfred A. Knopf, a division of Random House, Inc.

“Musée des Beaux Arts” copyright 1940 & renewed 1968 by W. H. Auden, “The Unknown Citizen” copyright 1940 & renewed 1968 by W. H. Auden, from Collected Poems by W. H. Auden. Used by permission of Random House, Inc.

“A Shocking Accident,” copyright © 1957 by Graham Greene, from Collected Stories of Graham Greene, by Graham Greene. Used by permission of Viking Penguin, a division of Penguin Group (USA).

“Fern Hill” by Dylan Thomas, from The Poems of Dylan Thomas, copyright © 1945 by The Trustees for the Copyrights of Dylan Thomas. Reprinted by permission of New Directions Publishing Corp.

“Do Not Go Gentle into That Good Night” by Dylan Thomas, from The Poems of Dylan Thomas, copyright © 1952 by Dylan Thomas. Reprinted by permission of New Directions Publishing Corp.

“A Snake in the Grass” by R. K. Narayan, from Under the Banyan Tree by R. K. Narayan, copyright © 1985 by R. K. Narayan. Used by permission of Viking Penguin, a division of Penguin Group (USA) Inc.

“Old Mrs. Grey” from The Death of the Moth and Other Essays by Virginia Woolf, copyright 1942 by Harcourt, Inc. and renewed 1970 by Marjorie T. Parsons, Executrix, reprinted by permission of the publisher.

Unit 7“Thistles” from Wodwo by Ted Hughes. Copyright © 1961 by Ted Hughes. Reprinted by permission of HarperCollins Publishers.

Excerpts from Midnight’s Children, © 1980 by Salman Rushdie, by permission of The Wylie Agency.

“Not Waving, But Drowning” by Stevie Smith, from Collected Poems of Stevie Smith, copyright © 1972 by Stevie Smith. Reprinted by permission of New Directions Publishing Corp.

“At the Pitt-Rivers” from A Pack of Cards and Other Stories by Penelope Lively. Copyright © 1978, 1980, 1981, 1982, 1984, 1985, 1986 by Penelope Lively. Used by permission of Grove/Atlantic, Inc.

“Follower” from Poems 1965–1975 by Seamus Heaney. Copyright © 1980 by Seamus Heaney. Reprinted by permission of Farrar, Straus & Giroux, Inc.

“Mnemonic” by Li-Young Lee. Reprinted by permission of BOA Editions and The Permissions Company.

“Photograph” “Photo of Parents” from Running in the Family by Michael Ondaatje. Copyright © 1982 by Michael Ondaatje. Used by permission of W. W. Norton & Company, Inc.

“Wind” from Selected Poems 1957–1967 by Ted Hughes. Copyright © 1956 by Ted Hughes. Reprinted by permission of HarperCollins Publishers.

“That’s All” from Complete Plays: Three by Harold Pinter. Copyright © 1978 by H. Pinter Ltd. Used by permission of Grove/Atlantic, Inc.

“What We Lost” from Outside History: Selected Poems 1980–1990 by Eavan Boland. Copyright © 1990 by Eavan Boland. Used by permission of W. W. Norton & Company, Inc.

“A Mild Attack of Locusts” from The Habit of Loving by Doris Lessing. Copyright © 1957 by Doris Lessing. Reprinted by permission of HarperCollins Publishers.

“The Train from Rhodesia” by Nadine Gordimer, reprinted by the permission of Russell & Volkening, as agents for the author. Copyright © 1950 by Nadine Gordimer, renewed 1978 by Nadine Gordimer.

“Dead Men’s Path,” copyright © 1972, 1973 by Chinua Achebe, from Girls at War and Other Stories by Chinua Achebe. Used by permission of Doubleday, a division of Random House, Inc.

“Telephone Conversation” copyright © 1962 by Wole Soyinka. Reprinted with permission by Melanie Jackson Agency, LLC.

“Two Sheep” from Snowman Snowman by Janet Frame. Copyright © 1962, 1963 by Janet Frame. Reprinted by permission of George Braziller, Inc.

Chapter X, “Adieu foulard . . . ” from “Tales of the Islands” from Collected Poems 1948–1984 by Derek Walcott. Copyright © 1986 by Derek Walcott. Reprinted by permission of Farrar, Straus & Giroux Inc.



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“B. Wordsworth” from Miguel Street by V. S. Naipaul, copyright © 1959 by V. S. Naipaul. Used by permission of Alfred A. Knopf, a division of Random House, Inc.

Excerpts from Imaginary Homelands, © 1991 by Salman Rushdie, by permission of The Wylie Agency.

“Games at Twilight” from Games at Twilight and Other Stories by Anita Desai. Copyright © 1978 by Anita Desai. Reproduced by permission of the author c/o Rogers, Coleridge & White, Ltd., 20 Powis Mews, London W11 1JN.

“Elegy for the Giant Tortoises” reprinted by permission of Margaret Atwood, copyright © 1968, 1976 by Margaret Atwood. Currently available in the US in Selected Poems, 1965–1975, published by Houghton Miffl in, © 1976.

From “Catfi sh Row, Trinidad” by Selden Rodman. New York Times, May 15, 1960. Copyright © 1960 by The New York Times Co. Reprinted with permission.

Reference SectionContent from The Academic Word List, developed at the School of Linguistics and Applied Language Studies at Victoria University of Welllington, New Zealand, is reprinted by permission of Averil Coxhead.http://language.massey.ac.nz/staff/awl/index.shtml.

MapsMapping Specialists, Inc.

PhotographyCover CORBIS; vi THE KOBAL COLLECTION/NEW LINE CINEMA; viiSouthampton City Art Gallery, Hampshire, UK/Bridgeman Art Library; viiiMusee Conde, Chantilly, France,Giraudon/Bridgeman Art Library; ix Art Resource, NY; x Lambeth Palace Library, London, UK/Bridgeman Art Library; xii AKG Images; xiii Private Collection/Bridgeman Art Library; xix (t)E. T. Archive; xix (b) Mary Evans Picture Library; xv RÈunion des MusÈes Nationaux/Art Resource, NY; xvii Neue Pinakothek/AKG Images; xxi Mary Evans Picture Library; xxii Charles Plante Fine Arts English/Bridgeman Art Library; xxiv Tretjakov Gallery/Photo: akg-images; xxix Joseph Nicholls/Private Collection, Christie’s Images Ltd/Bridgeman Art Library; xxvi Geoffrey Clements/CORBIS; xxx Museo Nazionale di Villa Giulia, Rome, Italy/Nimatallah/Art Resource, NY; xxxii John Singer Sargent/Tate Gallery, London/Art Resource, NY; xxxiii Min. Defense - Service Historique de l’Armee de Terre,France, Giraudon/Bridgeman Art Library; xxxiv Getty Images; xxxv(b)Andrew Brookes/CORBIS; xxxv (tr)Getty Images; xxxv (tl)Stockbyte; 3 Photodisc; 4–5 Musee de la Tapisserie, Bayeux, France, With special authorisation of the city of Bayeux/Bridgeman Art Library; 6 (t)Erich Lessing/Art Resource, NY; 6 (c)HIP/Art Resource, NY; 6 (b)Aachen Cathedral Treasury, Aachen, Germany, Bildarchiv Steffens/Bridgeman Art Library; 7 (tl)Museum of London, UK/Bridgeman Art Library; 7 (cr)Fishmongers’ Hall, London, UK/Bridgeman Art Library; 7 (cl)Dept. of the Environment, London, UK/Bridgeman Art Library; 7 (cr)Art Resource, NY; 7 (tr)British Library, London, UK/Bridgeman Art Library; 7 (b)Centre Historique des Archives Nationales, Paris, France, Archives Charmet/Bridgeman Art Library; 9 (tl)HIP/Art Resource, NY; 9 (tr)British Library, London, UK/Bridgeman Art Library; 9 (b)Simon Bening/British Library, London, UK/Bridgeman Art Library; 10 The Pierpont Morgan Library/Art Resource, NY; 13 British Museum, London, UK/Bridgeman Art Library; 15 Angelo Hornak/CORBIS; 17 HIP/Art Resource, NY; 19 Werner Forman/Art Resource, NY; 20 Werner Forman/Art Resource, NY; 21 HIP/Art Resource, NY; 22 Werner Forman/Art Resource, NY; 24 Schloss Charlottenburg, Berlin/Bridgeman Art Library; 25 Werner Forman/CORBIS; 26Bryan and Cherry Alexander; 27 Werner Forman/Art Resource, NY; 28 By Permission of The British Library; 29 R. Sheridan/Ancient Art & Architecture

Collection; 30 Musee Conde, Chantilly, France,Giraudon/Bridgeman Art Library; 31 akg-images/Werner Forman; 32 British Museum/Michael Holford; 33 CM Dixon/HIP/The Image Works; 34 Art Resource, NY; 35 Ted Spiegel/CORBIS; 36 Richard T. Nowitz/CORBIS; 37 2004 Werner Forman/TopFoto/The Image Works; 39 Werner forman/CORBIS; 40 Werner Forman Archives; 41 Werner Forman/CORBIS; 42 National Museum of Iceland, Reykjavik, Iceland/Bridgeman Art Library; 43 Werner Forman/CORBIS; 44 Abbot Hall Art Gallery, Kendal, Cumbria, UK/Bridgeman Art Library; 45 The British Museum; 46 Nationalmuseet, Copenhagen/Bridgeman Art Library, London; 47 Archivo Iconografi co, S.A./CORBIS; 48 Erich Lessing/Art Resource, NY; 49 Ted Spiegel/CORBIS; 50 Scala/Art Resource, NY; 51 Jerry Bingham and George Cox; 54 (t)British Museum, London, UK, Boltin Picture Library/Bridgeman Art Library; 54 (b)Jerry Bingham and George Cox; 54 (tc)Erich Lessing/Art Resource, NY; 54 (bc)The Collected Beowulf. All Artwork Copyright .c1999-2000 Gareth Hinds. Reproduced by permission of Candlewick Press, Inc.; 55 Michael Holford; 56 Erich Lessing/Art Resource, NY; 57 Ancient Art & Architecture; 58 Hulton Archive/Getty Images; 59–61 THE KOBAL COLLECTION/NEW LINE CINEMA; 62–67 The Collected Beowulf. All Artwork Copyright .c1999–2000 Gareth Hinds. Reproduced by permission of Candlewick Press, Inc.; 71 (tl)CORBIS; 71 (br)Bridgeman Art Library; 71 (tr)Bridgeman Art Library; 71–72 CORBIS; 72 (b)Getty Images; 75 William De Morgan/The De Morgan Centre, London/Bridgeman Art Library; 76 Bibliotheque Nationale, Paris, France/Bridgeman Art Library; 77 fi rst printed in The Art of Dora Carrington, Herbert Press, 1994; 78 Mabelle Linnea Holmes/Jamestown-Yorktown Educational Trust, VA/Bridgeman Art Library; 81 British Library, London, UK/Bridgeman Art Library; 82 The Art Archive/British Library; 84 British Library, London/Bridgeman Art Library; 86 Kungl. Bernadotte-Biblioteket (The Royal Collection); 87 Ronald Sheridan/Ancient Art & Architecture; 90 Bridgeman Art Library/Getty Images; 91 Getty Images; 92 British Library/akg-images; 94 akg-images; 96–97 Thomas Stothard, Tate Gallery, London/Art Resource, NY; 99 akg-images; 101 By courtesy of The Board of Trustees of the Victoria & Albert Museum, London/ET Archive, London/SuperStock; 103–104 PrivateCollection/Bridgeman Art Library; 106–108 Huntington Library and Art Gallery, San Marino, CA/Bridgeman Art Library; 111 Jupiter Images; 112 Art Resource, NY; 114 akg-images/British Library; 117 Archivo Iconografi co, S.A./CORBIS; 118 The Huntington Library, Art Collections, and Botanical Gardens, San Marino, California/Bridgeman Art Library; 119 Private Collection/Bridgeman Art Library; 121 Ronald Sheridan/Ancient Art & Architecture; 122 Private Collection/Bridgeman Art Library; 125 The Huntington Library, Art Collections, and Botanical Gardens, San Marino, CA/SuperStock; 127 Thomas Ross/Victoria Art Gallery, Bath and North East Somerset Council/Bridgeman Art Library; 128 Gianni Dagli Orti/CORBIS; 129 Archivo Iconografi co, S.A./CORBIS; 130 Stapleton Collection/CORBIS; 133 Musee Conde, Chantilly, France/Giraudon/Art Resource, NY; 134 Canterbury Cathedral, Kent, UK/Bridgeman Art Library; 136 Tate Gallery, London/Art Resource, NY; 138 Biblioteca Marciana, Venice, Italy/Giraudon/Art Resource, NY; 139 Stapleton Collection/CORBIS; 143 Xurxo Lobato; 144 (t)Shamil Zhumatov/Reuters; 144 (b)Kent News & Pictures; 145 Scala/Art Resource, NY; 147 Erich Lessing/Art Resource, NY; 149 Bibliotheque Municipale, Boulogne-sur-Mer, France/Giraudon/Art Resource, NY; 152 Muriel Broderick/The Illustrated London News Picture Library, London, UK/Bridgeman Art Library; 153–155 Giraudon/Art Resource, NY; 157 Bildarchiv Preussischer Kulturbesitz/Art Resource, NY; 158 Erich Lessing/Art Resource, NY; 161 Giraudon/Art Resource, NY; 162 Scala/Art Resource, NY; 167 Museo di San Marco dell’Angelico, Florence, Italy, Giraudon/The Bridgeman Art Library International; 168 Wadsworth Atheneum, Hartford. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund; 171 Archivo Iconografi co,S.A./CORBIS; 174 Erich Lessing/Art Resource, NY; 176 Ron Sheridan/Ancient Art & Architecture Collection, Ltd; 177 The Pierpont Morgan Library/Art Resource, NY; 178 The British Library; 179 E. T. Archive; 180 British Library, London/Bridgeman Art Library; 182 The Art Archive/University Library Heidelberg/Dagli Orti; 184 A.M. Rosati/Art Resource, NY; 186 North Wind Picture Archives; 188 AKG Berlin/SuperStock; 190 HIP/Art Resource, NY; 193 Stapleton Collection/CORBIS; 194 British Library, London, Great Britain/Erich Lessing/Art

Reference Section

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Photography

Reference Section

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Resource, NY; 196 Archivo Icconografi co,S.A./CORBIS; 198 Lambeth Palace Library, London, UK/Bridgeman Art Library; 199 Bridgeman Art Library; 200 Bibliotheque Nationale, Paris, France/Bridgeman Art Library; 203 Fine Art Photographic Library/CORBIS; 208 Ancient Art & Architecture Collection, Ltd; 209 Stapleton Collection/CORBIS; 211 National Gallery of Scotland, Edinburgh, Scotland/Bridgeman Art Library; 213 Sotheby’s/AKG Images; 215 Victoria and Albert Museum, London/Art Resource, NY; 223 (l)Stock Image/SuperStock; 223 (r)Alamy; 226 Huntington Library and Art Gallery, San Marino, CA/Bridgeman Art Library; 228 (r)Musee des Antiquities Nationales, St. Germain-en-Laye, France/Bridgeman Art Library; 228 (l)courtesy Professor Bernard J Muir; 229 (l)Galleria Sabauda, Turin, Italy/Scala/Art Resource, NY; 229 File photo; 229 (t)Private Collection, The Stapleton Collection/Bridgeman Art Library; 236–237 Lucas de Heere/National Museum and Gallery of Wales, Cardiff/Bridgeman Art Library; 238 (cl)Ancient Art & Architecture Collection Ltd; 238 (t)Ancient Art & Architecture Collection Ltd; 238 (br)Time Life Pictures/Getty Images; 238 (bl)Gianni Dagli Orti/CORBIS; 238 (cr)Nicolas Hilliard, British Museum, London, UK/Bridgeman Art Library; 239 (t)Newberry Library/Stock Montage; 239 (bl)Getty Images; 239 (br)Seattle Art Museum/CORBIS; 239 (c)Bildarchiv Preussischer Kulturbesitz/Art Resource, NY; 241 (b)Hoefnagel Joris/Hatfi eld House, Hertfordshire, UK/Bridgeman Art Library; 241 (t)National Portrait Gallery, London, UK/Bridgeman Art Library; 241 (c)Leonard Knyff/Yale Center for British Art, Paul Mellon Collection/Bridgeman Art Library; 242 Erich Lessing/Art Resource, NY; 245 Isaac Oliver/Powis Castle, Wales, UK/Bridgeman Art Library; 247 William Hogarth/Walker Art Gallery, National Museums Liverpool/Bridgeman Art Library; 249 Erich Lessing/Art Resource, NY; 251 Robert Peake/Private Collection/Bridgeman Art Library; 252 (r)Victoria & Albert Museum, London/Art Resource, NY; 252 Nicholas Hilliard/Rijksmuseum, Amsterdam, Holland/Bridgeman Art Library; 254 Woburn Abbey/Bridgeman Art Library/Christie’s Images Ltd; 256 National Portrait Gallery of London; 259 Francesco Bartolozzi/Private Collection, The Stapleton Collection/Bridgeman Art Library; 261 Victoria and Albert Museum, London/Art Resource, NY; 262 National Portrait Gallery of London/SuperStock; 265 Private Collection, Philip Mould, Historical Portraits Ltd, London, UK/Bridgeman Art Library; 267 O’Shea Gallery, London/Bridgeman Art Library; 268 RÈunion des MusÈes Nationaux/Art Resource, NY; 270 National Portrait Gallery of London; 272 Scala/Art Resource, NY; 273 Christie’s Images Ltd; 275 Getty Images; 276 Francois Boucher/Wallace Collection, London, UK/Bridgeman Art Library; 277 Fitzwilliam Museum, University of Cambridge/Bridgeman Art Library; 279 Kunsthistorisches Museum, Vienna, Austria/Bridgeman Art Library; 281 Abraham Bloemaert/Collection of the Earl of Pembroke, Wilton House, Wilts/Bridgeman Art Library; 283 Getty Images; 285 First Image; 286 Edwaert Collier/Private Collection/Bridgeman Art Library; 291 Nathan Benn/CORBIS; 292 Mary Evans Picture Library; 293 Tate Gallery, London/Art Resource, NY; 295 RÈunion des MusÈes Nationaux/Art Resource, NY; 296 Sotheby’s/akg-images; 298 Masterfi le; 299 Giorgione, (Giorgio da Castelfranco)/Palazzo Venezia, Rome,Italy/Bridgeman Art Library; 303 William Blake/Tate Gallery/Art Resource, NY; 306 AKG Images; 308 Erich Lessing/Art Resource, NY; 312 Henry Fuseli/York Museums Trust (York Art Gallery), UK/Bridgeman Art Library; 314 Ancient Art & Architecture Collection Ltd; 315 Hulton-Deutsch Collection/CORBIS; 317 Rafael Valls Gallery, London/Bridgeman Art Library (c)PunchStock; 322 Wallace Collection, London, UK/Bridgeman Art Library; 324 Royal Shakespeare Theater Collection, London, Great Britain/Erich Lessing/Art Resource, NY; 326 Gianni Dagli Orti/CORBIS; 331 John Singer Sargent/Tate Gallery, London/Art Resource, NY; 335 Palazzo Ducale, Venice, Italy/Erich Lessing/Art Resource, NY; 341 Tate Gallery, London/Art Resource, NY; 346 Victoria & Albert Museum, London/Art Resource, NY; 349 Agnew & Sons, London/Bridgeman Art Library; 350 © Staatliche Kunstsammlungen Dresden, Germany/The Bridgeman Art Library International; 357 Victoria & Albert Museum, London/Bridgeman Art Library; 361 E. T. Archive; 364 Victoria & Albert Museum, London, UK/Bridgeman Art Library; 372 Folger Shakespeare Library, Washington, DC/Art Resource, NY; 374 Landesmuseum Ferdinandeum, Innsbruck, Austria/Snark/Art Resource, NY; 375 National Geographic/Getty Images; 379 Spike Mafford/Getty Images; 382 Christie’s

Images Ltd; 391 The Louvre, Paris, France/Scala/Art Resource, NY; 397 Dante Charles Gabriel Rossetti/Ashmolean Museum, University of Oxford, UK/Bridgeman Art Library; 402 Dagli Orti/The Art Archive; 403 Agnew & Sons, London/Bridgeman Art Library; 406–407 Toho/The Kobal Collection; 408 (l)Toho/The Kobal Collection; 408 (r)Leeds Museums and Art Galleries (City Museum) UK/Bridgeman Art Library; 409 Toho/The Kobal Collection; 411 David Cooper/TIME; 412 (l)David Blue/TIME; 412 (r)Michael Daniel/TIME; 413 Erich Lessing/Art Resource, NY; 414 AKG Images; 416 Tate Gallery, London/Art Resource, NY.; 418 AKG Images; 421 The Art Archive/Anagni Cathedral Italy/Dagli Orti (A); 424 Fra Angelico/Prado, Madrid, Spain/Bridgeman Art Library; 426 Private Collection of Christian Pierre/SuperStock; 428 Erich Lessing/Art Resource, NY; 429 Private Collection Agnew’s, London, UK/Bridgeman Art Library; 430 Private Collection/Bridgeman Art Library; 432 Frederick van Valkenborch/Private Collection, Rafael Valls Gallery, London, UK/Bridgeman Art Library; 433 Science Museum, London, Great Britain/HIP/Art Resource, NY; 435 Accademia, Venice, Italy/Erich Lessing/Art Resource, NY; 439 Private Collection/Bridgeman Art Library; 441 Angelo Hornak/CORBIS; 442 akg-images/Amelot; 445 National Portrait Gallery of London; 447 Musee des Beaux-Arts, Rouen, France/Erich Lessing/Art Resource, NY; 449 Pinacoteca di Brera, Milan, Italy/Erich Lessing/Art Resource, NY; 452 (l)Edward Bower/Dunster Castle, Somerset, UK, National Trust Photographic Library/John Hammond/Bridgeman Art Library; 453 Scala/Art Resource, NY; 454 (t)Victoria & Albert Museum, London/Art Resource, NY; 454 (tc)Erich Lessing/Art Resource, NY; 454 (bc)Erich Lessing/Art Resource, NY; 454 (b)Seattle Art Museum/CORBIS; 455 Hulton Archive/Getty Images; 457 Sandro Botticelli/Galleria degli Uffi zi, Florence, Italy/Bridgeman Art Library; 459–460 Erich Lessing/Art Resource, NY; 462 Seattle Art Museum/CORBIS; 463 National Trust/Art Resource, NY; 464 National Portrait Gallery of London; 466 Fine Art Photographic Library, London/Art Resource, NY; 467 Peter Willi/Bridgeman Art Library; 469 Getty Images; 471 Private Collection/Bridgeman Art Library; 474 Private Collection, Ken Welsh/Bridgeman Art Library; 476–478 Erich Lessing/Art Resource, NY; 486 Foto Marburg/Art Resource, NY; 487 Robbie Jock/CORBIS; 490 (l)Danny Lehman/CORBIS; 490 (r)Jim Zuckerman/CORBIS; 492 (l)Private Collection, The StapletonCollection;/Bridgeman Art Library; 492 (r)Private Collection/Bridgeman Art Library; 493 File photo; 493 File photo; 493 File photo; 493 Christie’s Images Ltd; 500–501 Getty Images; 502 (tl) Private Collection/Bridgeman Art Library; 502 (bl)The Art Archive/Album/J. Enrique Molina; 502 (br)Werner Forman/Art Resource, NY; 502 (cr)Time Life Pictures/Getty Images; 502 (tr)Private Collection/Bridgeman Art Library; 502 (cl)Royal Society, London, UK/Bridgeman Art Library; 503 (t)Southampton City Art Gallery, Hampshire, UK/Bridgeman Art Library; 503 (c)R.R.McIan, City of Edinburgh Museums and Art Galleries, Scotland/Bridgeman Art Library; 503 (b)Bildarchiv Preussischer Kulturbesitz/Art Resource, NY; 505 (t)Mary Evans Picture Library; 505 (b) Benjamin Killingbeck/Private Collection, Ackermann and Johnson Ltd, London, UK/Bridgeman Art Library; 505 (c)Christie’s Images Ltd/Bridgeman Art Library; 506 National Gallery of Victoria, Melbourne, Australia/Bridgeman Art Library; 509 Benjamin West/Montclair Art Museum, New Jersey, USA/Bridgeman Art Library; 511 Stapleton Collection/CORBIS; 513 Tate Gallery, London/Art Resource, NY; 515 Victoria & Albert Museum, London/Art Resource, NY; 516 Image Select/Art Resource, NY; 523 The Huntington Library, Art Collections, and Botanical Gardens, San Marino, California/SuperStock; 524–527 Tate Gallery, London/Art Resource, NY; 529 Chris Hellier/CORBIS; 532 National Gallery of Victoria, Melbourne, Australia/Bridgeman Art Library; 536 William Hogarth/Tate Gallery, London/Art Resource, NY; 538 Erich Lessing/Art Resource, NY; 542 St. Hilda’s College, Oxford, UK/Bridgeman Art Library; 544–549 Bridgeman Art Library; 552 National Portrait Gallery of London/SuperStock; 554–555 Museum of London, UK/Bridgeman Art Library; 556 Culver Pictures, Inc.; 557 Guildhall Art Gallery, Corporation of London/Bridgeman Art Library; 558 Culver Pictures, Inc.; 559 Snark/Art Resource, NY; 560 Hulton Archive/Getty Images; 563 Derby Museum and Art Gallery, UK/Bridgeman Art Library; 564 National Portrait Gallery of London/SuperStock; 566 Sotheby’s/akg-images; 568 Royal Holloway and Bedford New College, Surrey/Bridgeman Art Library; 569 R.



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Sheridan/Ancient Art and Architecture; 571 Victoria Art Gallery, Bath and North East Somerset Council/Bridgeman Art Library; 577 Mary Evans Picture Library; 579 Image Select/Art Resource, NY; 581 Private Collection/Image Select/Art Resource, NY; 584 Francis Bindon/Royal Hospital Chelsea, London, UK/Bridgeman Art Library; 586 Yale Center for British Art, Paul Mellon Collection, USA/Bridgeman Art Library; 588 Louvre, Paris, France/Scala/Art Resource, NY; 590 Réunion des Musées Nationaux/Art Resource, NY; 594 The Barber Institute of Fine Arts, University of Birmingham/Bridgeman Art Library; 596 Louvre, Paris, France/Réunion des Musées Nationaux/Art Resource, NY; 599 Image Select/Art Resource, NY; 602 Gervase Spencer/Victoria & Albert Museum/E. T. Archive; 607 Haynes Fine Art Gallery, Broadway, UK/Fine Art Photographic Library, London/Art Resource, NY; 612 Archivo Iconografi co, S.A./CORBIS; 613 Museum of London UK/Bridgeman art Library; 614 (t)Christian Friedrich Zincke/Lincolnshire County Council, Usher Gallery, Lincoln, UK/Bridgeman Art Library; 614 (b)Jonathan Richardson/National Gallery of Victoria, Melbourne, Australia/Bridgeman Art Library; 616 William Powell Frith/Guildhall Art Gallery, Corporation of London, UK/Bridgeman Art Library; 617 Mary Evans Picture Library; 619 Bettmann/CORBIS; 621 (t)Frontispiece to ‘London’s Remembrancer’ by John Bell/Private Collection/Bridgeman Art Library; 621 (b)Gustavo Gilabert/CORBIS; 621 (tc)Mediscan/CORBIS; 621 (bc)Private Collection, Richard Philp, London/Bridgeman Art Library; 624 Mary Evans Picture Library; 626 Getty Images; 627 North Wind Picture Archives; 629 Karen Kasmauski/CORBIS; 631 CDC/PHIL/CORBIS; 633 Mediscan/CORBIS; 637–640 Bildarchiv Preussischer Kulturbesitz/Art Resource, NY; 645 Darlene A. Murawski/Peter Arnold; 646 (t)Mark Edwards/Still Pictures/Peter Arnold; 646 (c)Andy Crump/Who/Photo Researchers; 646 (b)Joe Alexander/AFP; 648 Bridgeman Art Library; 650 Victoria & Albert Museum, London/Art Resource, NY; 652 John Bethell/Bridgeman Library, London/New York; 654 Edward Matthew Ward/Tate Gallery, London/Art Resource, NY; 659 Scottish National Portrait Gallery, Edinburgh/Bridgeman Art Library; 661 Michael Nicholson/CORBIS; 663 Mary Evans Picture Library; 666 Bettmann/CORBIS; 667 Tate Gallery, London/Art Resource, NY; 670–672 Bettmann/CORBIS; 676 Snark/Art Resource, NY; 681 Warren Faldley/CORBIS; 684 (r)Private Collection/Bridgeman Art Library; 684 (l)E. T. Archive; 685 (r)fi le photo; 685 Culver Pictures, Inc.; 685 (l)Musee Conde, Chantilly, France,Giraudon/Bridgeman Art Library; 692–693 National Gallery Collection; By kind permission of the Trustees of the National Gallery, London/CORBIS; 694 (t)The Art Archive/British Museum; 694 (bl)The Art Archive/MusÈe du Nouveau Monde La Rochelle/Dagli Orti; 694 (c)RÈunion des MusÈes Nationaux/Art Resource, NY; 694 (br)Bettmann/CORBIS; 695 (tcr)The Pierpont Morgan Library/Art Resource, NY; 695 (t)Smithsonian American Art Museum, Washington, DC/Art Resource, NY; 695 (bcl)Private Collection/Bridgeman Art Library; 695 (bcr)The Art Archive/Museo Bolivar Caracas/Dagli Orti ]; 695 The Art Archive/MusÈe du Ch‚teau de Versailles/Dagli Orti; 695 (tcl)John Keats/Private Collection/Bridgeman Art Library; 697 (c)Historical Picture Archive/CORBIS; 697 (t) George ShepherdGuildhall Library, Corporation of London, UK/Bridgeman Art Library; 697 (b)The Art Archive/Tate Gallery London/John Webb; 698 Fine Art Photographic Library/CORBIS; 701 The Pierpont Morgan Library/Art Resource, NY; 703 Royal Academy of Arts, London, UK/Bridgeman Art Library; 705 Joseph Severn/Keats-Shelley Memorial House, Rome, Italy/Bridgeman Art Library; 707 Manchester Art Gallery, UK/Bridgeman Art Library; 708 Arthur Pond/Arthur Fitzwilliam Museum, University of Cambridge, UK/Bridgeman Art Library; 710 Jasper Francis Cropsey/Johnny van Haeften Gallery, London, UK/Bridgeman Art Library; 713 George Stubbs/Roy Miles Fine Paintings/Bridgeman Art Library; 717 Mary Evans Picture Library; 719 Sotheby’s Transparency Library; 720 Private Collection/Bridgeman Art Library/SuperStock; 722 Mary Evans Picture Library; 725 Tate Gallery, London/Art Resource, NY; 728–731 Bridgeman Art Library; 733 Neue Pinakothek/AKG Images; 737 Barry Iverson; 738 Ayman Mroueh; 739 Etienne Boyer/SIPA; 740 Barry Iverson; 742 Mary Evans Picture Library; 744 Smithsonian American Art Museum, Washington, DC/Art Resource, NY; 747 Bridgeman Art Library; 749 Fine Art Photographic Library, London/Art Resource, NY; 750 City of Edinburgh Museums and Art Galleries, Scotland/Bridgeman Art Library; 754 National

Portrait Gallery, London/SuperStock; 755 The Art Archive; 756 Fitzwilliam Museum, University of Cambridge/Bridgeman Art Library; 757–758 The Huntington Library, Art Collections, and Botanical Gardens, San Marino, CA/SuperStock; 761 Yale Center for British Art, Paul Mellon Collection, USA/Bridgeman Art Library; 762 Blake, William/Fitzwilliam Museum, University of Cambridge, UK/Bridgeman Art LibraryMERCHANDISE; 763 Guildhall Art Gallery, London, Great Britain/HIP/Art Resource, NY; 764 City of Westminster Archive Centre, London, UK/Bridgeman Art Library; 766 Tate Gallery, London/Art Resource, NY; 767 (l)William Blake/Fitzwilliam Museum, University of Cambridge, UK/Bridgeman Art Library; 767 (r)Tate Gallery, London/Art Resource, NY; 768 Ozias Humphrey/Private Collection/Bridgeman Art Library; 770 Courtesy of Thomas Brod and Patrick Pilkington/Bridgeman Art Library; 772 Bonhams, London, UK/Bridgeman Art Library; 775 Gavin Graham Gallery, London, UK/Bridgeman Art Library; 776 Erich Lessing/Art Resource, NY; 777 Working Title Films/ZUMA/CORBIS; 779 John Martin/Yale Center for British Art, Paul Mellon Collection, USA, Paul Mellon Collection/Bridgeman Art Library; 780 Benjamin Robert Haydon/National Portrait Gallery, London, UK, Giraudon/Bridgeman Art Library; 782 Victoria & Albert Museum, London/Art Resource, NY; 784 Joseph Nicholls/Private Collection, Christie’s Images Ltd/Bridgeman Art Library; 787 Thomas Girtin/Private Collection, Agnew’s, London, UK/Bridgeman Art Library; 790 Tate Gallery, London/Bridgeman Art Library; 793 The Art Archive/Culver Pictures; 795 Abbot Hall Art Gallery, Kendal, Cumbria, UK/Bridgeman Art Library; 796 Bryan Reinhart/Masterfi le; 799 National Portrait Gallery of London; 800 British Museum, London, UK/Bridgeman Art Library; 801–802 Bibliotheque Nationale, Paris/AKG Images; 805 Christie’s Images Ltd; 807–823 E. T. Archive; 826 Christie’s Images Ltd; 829 Christie’s Images Ltd/Bridgeman Art Library; 831 Min. Defense - Service Historique de l’Armee de Terre,France, Giraudon/Bridgeman Art Library; 833 National Portrait Gallery, London/SuperStock; 836 British Museum/E. T. Archive; 837 (r)Private Collection, Christie’s Images Ltd/Bridgeman Art Library; 837 The Stapleton Collection/Bridgeman Art Library; 838 Private Collection/Bridgeman Art Library; 839 Yelagin Island Palace, St. Petersburg, Russia/Bridgeman Art Library; 841 Hessisches Landesmuseum, Darmstadt, Germany/Bridgeman Art Library; 842 National Portrait Gallery, London/SuperStock; 844 Tate Gallery, London/Art Resource, NY; 848 Manchester Art Gallery, UK/Bridgeman Art Library; 849 Sir William Allan/Roy Miles Fine Paintings/Bridgeman Art Library; 850 Getty Images; 852 Mary Evans Picture Library; 856Tate Gallery, London/SuperStock; 858 Rijksmuseum Vincent Van Gogh, Amsterdam, The Netherlands/Bridgeman Art Library; 861 Academy of Natural Sciences of Philadelphia/CORBIS; 863 National Portrait Gallery/akg-images; 865 William Hilton/Lincolnshire County Council, Usher Gallery, Lincoln, UK/Bridgeman Art Library; 867 Walter Crane/Bridgeman Art Library; 869 Tate Gallery, London/Art Resource, NY; 872 Museo Nazionale di Villa Giulia, Rome, Italy/Nimatallah/Art Resource, NY; 875 (t)Smithsonian American Art Museum, Washington, DC/Art Resource, NY; 875 (bc)Smithsonian American Art Museum, Washington, DC/Art Resource, NY; 875 (b)Church of Santi Nicola e Cataldo Lecce, Puglia, Italy/Bridgeman Art Library; 875 (tc)Giraudon/Art Resource, NY; 877 Fine Art Photographic Library, London/Art Resource, NY; 880 Victoria & Albert Museum, London/Bridgeman Art Library; 881 Christie’s Images Ltd/CORBIS; 883 Smithsonian American Art Museum, Washington, DC/Art Resource, NY; 884 Joe McDonald/CORBIS; 887 Brooklyn Museum of Art/CORBIS; 890 Victoria and Albert Museum, London/Art Resource, NY; 893 Erich Lessing/Art Resource, NY; 898 (r)Getty Images; 898 (l)Everett Collection; 898 (r)Aaron Haupt; 899 File photo; 899 (t)Christie’s Images Ltd; 899 (l)William Nicholson/Scottish National Portrait Gallery, Edinburgh, Scotland/Bridgeman Art Library; 906–907 George William Joy/Museum of London, UK/Bridgeman Art Library; 908 (tc)The Art Archive/British Museum/Eileen Tweedy; 908 (t)Mary Evans Picture Library; 908 (b)Bildarchiv Preussischer Kulturbesitz/Art Resource, NY; 908 (bc)CORBIS; 909 (cw from top)The Pierpont Morgan Library/Art Resource, NY; 909 (cw from top)Giraudon/Art Resource, NY; 909 (cw from top)Getty Images; 909 (cw from top)Mary Evans Picture Library; 909 (cw from top)Bettmann/CORBIS; 911 (t)Ford Madox Brown/Birmingham Museums and Art Gallery/Bridgeman Art Library; 911 (bl)James Hakewill/



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Private Collection, Christie’s Images Ltd/Bridgeman Art Library; 911 (br)British Library, London, UK/Bridgeman Art Library; 913 Rykoff Collection/CORBIS; 915 Joseph Nash/Private Collection, Bonhams, London, UK/Bridgeman Art Library; 917 RÈunion des MusÈes Nationaux/Art Resource, NY; 919 Tate Gallery, London/Art Resource, NY; 921 The Art Archive/Dagli Orti; 922 National Portrait Gallery of London; 924 Christie’s Images Ltd; 928 Victoria & Albert Museum, London/Art Resource, NY; 929 The Stapleton Collection/Bridgeman Art Library; 932 Musee National du Bardo, Tunis, Tunisia/Erich Lessing/Art Resource, NY; 933 Underwood & Underwood/CORBIS; 934 Erich Lessing/Art Resource, NY; 935 British Museum, London, Great Britain/Erich Lessing/Art Resource, NY; 936 Musee National du Bardo, Tunis, Tunisia/Erich Lessing/Art Resource, NY; 938 (b)Bettmann/CORBIS; 938 (bc)Tate Gallery, London/Art Resource, NY; 938 (t)Fine Art Photographic Library, London/Art Resource, NY; 938 (tc)Ricco/Maresca Gallery/Art Resource, NY; 939 John Brett/Private Collection/Bridgeman Art Library; 941 Museum of Fine Arts, Boston, Charles H. Bayley Picture and Painting Fund; 945 Alinari/Art Resource, NY; 947 Images.com/CORBIS; 949 (t)Sandi Fellman; 949 (b)Jay Dickman; 950 Carol Beckwith/Millennium Tribal Wisdom of the Modern World; 951 Getty Images; 951 Getty Images; 953 Erich Lessing/Art Resource, NY; 954 Fine Art Photographic Library, London/Art Resource, NY; 956 Christ Church College, Oxford by N. Herkomer/E. T. Archive; 957 Mary Evans Picture Library/The Image Works; 957 Mary Evans Picture Library/The Image Works; 958 Mary Evans Picture Library; 960 Private Collection, Christie’s Images Ltd/Bridgeman Art Library; 961 Private Collection, Bourne Gallery, Reigate, Surrey/Bridgeman Art Library; 963 Sir Hubert von Herkomer/Royal Academy of Arts, London, UK/Bridgeman Art Library; 964 Image Select/Art Resource, NY; 965 Erich Lessing/Art Resource, NY; 966 Getty Images; 968 Victoria & Albert Museum, London/Art Resource, NY; 971 Cragside House, Northumberland, UK, National Trust Photographic Library/Derrick E. Witty;/Bridgeman Art Library; 974 Private Collection, The Maas Gallery, London, UK/Bridgeman Art Library; 975 Christie’s Images Ltd; 979 National Portrait Gallery, London/SuperStock; 981 Musee Crozatier, Le Puy-en-Velay, France/Bridgeman Art Library; 984 Hulton Archive/Getty Images; 986 Private Collection, Barbara Singer/Bridgeman Art Library; 989 Private Collection/Bridgeman Art Library; 991–994 Getty Images; 995 Charles Plante Fine Arts English/Bridgeman Art Library; 998 Hulton-Deutsch Collection/CORBIS; 1000 AKG Images; 1001 Galerie Berko, Brussels, Belgium/Fine Art Photographic Library, London/Art Resource, NY; 1003 Reginald-Grenville Eves, Towner Art Gallery, Eastbourne, East Sussex, UK/Bridgeman Art Library; 1005 Geoffrey Clements/CORBIS; 1006 Christie’s Images Ltd/Bridgeman Art Library; 1007 Fine Art Photographic Library, London/Art Resource, NY; 1017 Musee Crozatier, Le Puy-en-Velay, France/Bridgeman Art Library; 1020 (r)Aaron Haupt; 1020 Hulton Archive/Getty Images; 1021 (l)Getty Images; 1021 (t)The Everett Collection; 1028–1029 Tate Gallery, London/Art Resource, NY; 1030 (t)Percy Wyndham Lewis/Stapleton Collection, UK/Bridgeman Art Library; 1030 (b)The Art Archive/Culver Pictures; 1030 (bc)Scala/Art Resource, NY; 1030 (tc)Snark/Art Resource, NY; 1031 (tl)Sava Botzaris/Private Collection, Bonhams, London, UK/Bridgeman Art Library; 1031 (tc)Vanessa Bell/Private Collection, The Stapleton Collection/Bridgeman Art Library; 1031 (bc)Getty Images; 1031 (b)The Art Archive/Culver Pictures; 1031 (tr) Joy and John Halas & Batchelor Collection Ltd./Bridgeman Art Library; 1033 (tr)Bibliotheque des Arts Decoratifs, Paris, France, Archives Charmet/Bridgeman Art Library; 1033 (tl)The Art Archive/Domenica del Corriere/Dagli Orti; 1033 (b)Snark/Art Resource, NY; 1035 Erich Lessing/Art Resource, NY; 1037 The Art Archive/Imperial War Museum; 1039 RÈunion des MusÈes Nationaux/Art Resource, NY; 1041–1043 Tate Gallery, London/Art Resource, NY; 1044 (t)Ignace Henri Jean Fantin-Latour/Fitzwilliam Museum, University of Cambridge, UK/Bridgeman Art Library; 1044 (tc) Bildarchiv Preussischer Kulturbesitz/Art Resource, NY; 1044 (bc) Scala/Art Resource, NY; 1044 (b) Indianapolis Museum of Art, USA, Gift of Mr. and Mrs. Harrison Eiteljorg/Bridgeman Art Library; 1045 Topical Press Agency/Getty Images; 1047 Tate Gallery, London/Art Resource, NY; 1050 Private Collection/Bridgeman Art Library, London; 1055 Pretoria Art Museum, Pretoria, South Africa; 1057 Giraudon Art Resource, NY; 1060 Bildarchiv Preussischer

Kulturbesitz/Art Resource, NY; 1061 Alinari/Art Resource, NY; 1064 Phillip Hollas/TIME; 1066 Vanessa Bell/University of Hull Art Collection, Humberside, UK/Bridgeman Art Library; 1067 Aubrey Beardsley/Private Collection/Bridgeman Art Library; 1068 John Collier/Bateman’s, East Sussex, UK, National Trust Photographic Library/John Hammond/Bridgeman Art Library; 1070Private Collection/Bridgeman Art Library; 1072 Robert Maier/Animals, Animals; 1073 Private Collection/Bridgeman Art Library; 1077 AKG Images/London; 1079 Dreweatt Neate Fine Art Auctioneers, Newbury/Bridgeman Art Library; 1082 Joe McDonald/Animals, Animals; 1084 Hulton-Deutsch Collection/CORBIS; 1085 Bettmann/CORBIS; 1089 Mary Evans Picture Library; 1091Imperial War Museum/E. T. Archive; 1092 Bettmann/CORBIS; 1093 George C. Beresford/Beresford/Getty Images; 1095 Erich Lessing/Art Resource, NY; 1097Getty Images; 1101 Colin Woodbridge/Alamy; 1102 Archives Larousse, Paris, France,Giraudon/Bridgeman Art Library; 1103 POPPERFOTO/Alamy; 1104BETTMAN/CORBIS; 1105 Tate Gallery, London/Art Resource, NY; 1106 Getty Images; 1107 MusÈe Victor Hugo/akg-images; 1109 Fine Art Photographic Library, London/Art Resource, NY; 1111 Hagia Sophia, Istanbul, Turkey/Erich Lessing/Art Resource, NY; 1112 Tretjakov Gallery/akg-images; 1115 Paul Almasy/CORBIS; 1117 Alfred Eisenstaedt/Time Life Pictures/Getty Images; 1119Private Collection/The Stapleton Collection Bridgeman Art Library; 1122 Getty Images; 1124 Images.com/CORBIS; 1129 CORBIS; 1131 Private Collection/Bridgeman Art Library; 1132 CORBIS; 1134 Wernher Krutein/Liaison International; 1136 Hulton Getty/Liaison Agency; 1138 UPI/Bettmann/CORBIS; 1140 Hunterian Art Gallery, University of Glasgow; 1143 Musee d’Orsay/Art Resource, NY; 1144 Private Collection/Bridgeman Art Library; 1149 George C. Beresford/Getty Images; 1153–1154 akg-images; 1157 Private Collection/Chris Beetles/Bridgeman Art Library; 1158 Fine Art Photographic Library, London/Art Resource, NY; 1160 Tate Gallery, London/Art Resource, NY; 1161 Southampton City Art Gallery, Hampshire, UK/Bridgeman Art Library; 1162 Sotheby’s/akg-images; 1165 Henry Lamb/South African National Gallery, Cape Town, South Africa/Bridgeman Art Library; 1166 Art Resource, NY; 1168 Archive Photos; 1170 Getty Images; 1174 Mary Evans Picture Library/Robin Adler; 1176 Private Collection/Bridgeman Art Library; 1177 William Morris Gallery, Walthamstow, UK/Bridgeman Art Library; 1179 Fine Art Photographic Library/CORBIS; 1181Hulton-Deutsch Collection/CORBIS; 1182 Bradford Art Galleries and Museums, West Yorkshire, UK/Bridgeman Art Library; 1184 Jerry Cooke/Time & Life Pictures/Getty Images; 1186 Musee Royaux des Beaux-Arts de Belgique, Brussels, Belgium/Bridgeman Art Library; 1187 Victoria & Albert Museum, London/Art Resource, NY; 1192 Bettmann/CORBIS; 1194 Private Collection/Bridgeman Art Library; 1200 Getty Images; 1202 Horace Bristol/CORBIS; 1204 Christie’s Images Ltd/SuperStock; 1205 Sir Cedric Morris/Glynn Vivian Art Gallery, Swansea, Wales/Bridgeman Art Library; 1210 ZIGMUND LESZCZYNSKI/Animals, Animals; 1213 CORBIS; 1217 Alamy Images; 1218(t)Bettmann/CORBIS; 1218 (br)Aaron Haupt; 1218 (bl)Hulton-Deutsch Collection/CORBIS; 1219 (t)Christie’s Images Ltd; 1219 (b)fi le photo; 1219(cl)Mary Evans Picture Library; 1219 (cr)File photo; 1219 (c)File photo; 1226–1227 Mark Copelad/Private Collection, Portal Gallery Ltd/Bridgeman Art Library; 1228 (t)Alexander Moffat/Scottish National Portrait Gallery, Edinburgh, Scotland/Bridgeman Art Library; 1228 (br)Bettmann/CORBIS; 1228 (cl)Lydia de Burgh/Government of Northern Ireland, Stormont, N. Ireland/Bridgeman Art Library; 1228 (cr)Getty Images; 1229 (tl)London, UK, Boltin Picture Library/Bridgeman Art Library; 1229 (b)Wolfgang Kaehler/CORBIS; 1229 (tr)MC PHERSON COLIN/CORBIS SYGMA; 1229 (cr)Benjamin Lowy/CORBIS; 1229 (cl)Sion Touhig/CORBIS; 1231 (br)Kim Sayer/CORBIS; 1231 (bl)DESMOND BOYLAN/Reuters/CORBIS; 1231 (t)Getty Images; 1233Bettmann/CORBIS; 1235 Tate Gallery, London/Art Resource, NY; 1237 Werner Forman/Art Resource, NY; 1239 Tate Gallery, London/Art Resource, NY; 1241Tim Mara/Wolverhampton Art Gallery, West Midlands, UK/Bridgeman Art Library; 1242 Getty Images; 1244 Arthur Tress/Photonica; 1246 Getty Images; 1248 Private Collection/Bridgeman Art Library; 1250 Collection of Andrew McIntosh Patrick, UK/Bridgeman Art Library; 1252 Pam Ingalls/CORBIS; 1254 Getty Images; 1257 (t)Henry Herbert La Thangue/Oldham Art Gallery, Lancashire, UK/Bridgeman Art Library; 1257 (c)Bettmann/CORBIS; 1257



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(b)Daniel Nevins/SuperStock; 1259 Geray Sweeney/CORBIS; 1260 Stapleton Collection, UK/Bridgeman Art Library; 1262 Gerrit Greve/CORBIS; 1265 From Running in the Family by Michael Ondaatje.Copyright 1982 by Michael Ondaatje.Used by permission of W.W. Norton & Company, Inc; 1266 Scala/Art Resource, NY; 1267 Henri Cartier-Bresson/Magnum Photos; 1269 Carel Weight/Private Collection/Bridgeman Art Library; 1271 Derek Hudson/Getty Images; 1273 Owen Franken/CORBIS; 1276–1277 Robbie Jack/CORBIS; 1278 Kevin Casey; 1279 Smithsonian American Art Museum, Washington, DC/Art Resource, NY; 1280 The Fleming-Wyfold Art Foundation/Bridgeman Art Library; 1283 Sir Peter Scott/Private Collection/Bridgeman Art Library; 1284 Hulton Getty Images/Tony Stone Images; 1286 Ancient Art & Architecture; 1288 Philip Richardson; Gallo Images/CORBIS; 1290 Bridgeman Art Library; 1292 Pierre Holtz/Reuters/CORBIS; 1295 Fay Goodwin/Network/SABA; 1297 Victoria & Albert Museum, London/Art Resource, NY; 1298 Hulton Getty/Liaison Agency; 1299 Geoffrey Clements/CORBIS; 1300 africanpictures.net; 1304 Miriam Berkley; 1306 Margaret Courtney-Clarke/CORBIS; 1306–1308 The Newark Museum/Art Resource, NY; 1309 Bowers Museum of Cultural Art/CORBIS; 1310 Christie’s Images Ltd/CORBIS; 1313 Jacques Langevin/CORBIS SYGMA; 1315 Miguel S. Salmeron/FPG International; 1318 Time Life Syndication/Henry Grossman; 1320 Adrian Burke/

CORBIS; 1322 Shiko Nakano/Photonica; 1323 John Carnemolla/Australian Picture Library/CORBIS; 1327 Pressens Bild/Globe Photos; 1329 Yann Arthus-Bertrand/CORBIS; 1331 MC PHERSON COLIN/CORBIS SYGMA; 1333 (t)Art Gallery of Ontario, Toronto, Canada/Bridgeman Art Library; 1333 (b)John N. Trager; 1335 Space Telescope Science Institute/CORBIS; 1336 Steve Peck/Courtesy of Michael Rosenfeld Gallery, New York City; 1340 Robert Holmes/CORBIS; 1342 Simon Reddy/Alamy; 1344 Sophie Bassouls/CORBIS SYGMA; 1346–1347 Private Collection/Bridgeman Art Library; 1349 Lou Wall/CORBIS; 1351 Private Collection/Bridgeman Art Library; 1355 Anthony Loew/Time Life Pictures/Getty Images; 1357 Private Collection, Bonhams,London,UK/Bridgeman Art Library; 1361 (t)Paulo Fridman/TIME; 1361 (c)Todd France/CORBIS; 1361(b)Nick Baratta for Teen People; 1362 (tl)Phil Knott/Camerapress/Retna; 1362(b)Michael Lavine/CORBIS; 1362 (bc)Michael Halsband/TIME; 1362 (tr)Niels Van Iperenn/Retna; 1362 (tc)Fred Prouser/Reuters; 1363 (l)Michael Halsband/TIME; 1363 (c)Robert Delahanty/CORBIS; 1363 (r)Ted Thai/TIME; 1366 Chris Ballentine/Alamy Images; 1373 Nancy Sheehan/Photo Edit; 1374 Aaron Haupt; 1374 (tl) Thierry Orban/CORBIS SYGMA; 1374 (b) Colin McPherson/CORBIS; 1375 (cl) BASSOULS SOPHIE/CORBIS SYGMA; 1375 (cr)fi le photo; 1375(t)Bettmann/CORBIS; 1375 (b)fi le photo; 1375 (c)fi le photo.


REFERENCE SECTION

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