Stylistics and Discourse Analysis PDF

**Scope of Prelim** **Stylistics and Discourse Analysis** **Course Description** This course is a language and style course that will help the pre-service English teachers in exploring primarily literary texts (prose, poetry, and drama) and acquiring research-based knowledge and skills in discourse analysis. Moreover, it focuses on the relationship between style and stylistics using stylistic devices and an explanation on how language creates meaning and effect. Therefore, they will be able to develop critical and higher-order thinking skills in reading and literary studies for their students while employing the conceptual framework and schema of linguistics and literature. **Lesson 1: Overview of Stylistics** **Stylistics** is the systematic scientific study of the language of literature. It is a branch of applied linguistics. It is applied to the study of language in literary and non-literary texts. Stylistic analysis focuses on the thematic aspects of literature by analyzing its language. Thematic aspects- means relating to, or consisting of a theme or themes. Stylistics is defined as the study of the style of different writers and types of literature and elements of language. **Stylistics** is the **study of textual meaning**. Historically, it arose from the late-19th- and early-20th-century Russian formalist approach to literary meaning, which endeavored to identify the textual triggers of certain literary effects from their structures. **Stylistics** can be quite complicated when you are new to it. Many people understand 'literary' analysis because it covers a broad topic that can be easily broken down into sub-topics. Stylistic analysis, on the other hand, involves, in purity, looking at a text stylistically, and in detail, come up with objectivity to make sense out of the text. Such a level of detail requires more focus on the object rooted in the researcher's understanding of linguistics. Analyzing of style aims to create an understanding of words a text; what feeling does the text create, and how is the reader supposed to respond to them? So how do you carry out such a complex activity? **Stylistics** can be referred to as the scientific study of style in literature. Stylistic analysis is, therefore, the process of identifying how different patterns are used in speech and written work. There are, for instance, some forms of stylistic analysis where judgment of the nature and quality of literary work is based on how much a specific stylistic feature recurs. Whatever approach one takes in analyzing styles, one of the most critical steps in foregrounding. According to Leech and Short (1981), foregrounding is a deviation that is motivated by style. Mukarovsky, on the other hand, considers foregrounding as " a range of stylistic effects that happen throughout [literature](https://essayrx.com/article/what-is-comparative-literature)." It is the opposite of automaticity in a text; that can be either at a phonetic level, grammatical level, or the semantic level, which, in, many cases violates the flow of textual content. Stylistics, a branch of applied linguistics, is the **study and interpretation of texts of all types and/or spoken language in regard to their linguistic and tonal style**, where style is the particular variety of language used by different individuals and/or in different situations or settings. **Spitzer** (1887-1960), began to analyze literary works from a stylistic point of view, and therefore, Spitzer is often considered as the "father of literary stylistics". From the beginning of the 1930s to the end of the 1950s stylistics was developing slowly and was only confined to the European continent. **Reading Text from a Stylistic Perspective** Reading the text with the aim of understanding style follows a specific guideline. First, the reader needs to understand the overall picture of the text, which is the central theme that features in the text. It is only then that one can dissect the text, digging out peculiar and exciting features. In that case, here are a few points to focus on. **Ask yourself whether:** \- There are some exciting irregularities of form. Compare traditional texts and those within the genre. \- There are grammatical or graphological elements that deviate. \- There is order in the text despite the deviant characteristics \- The text has some peculiar phonological qualities, e.g., repeated sounds and missing sounds. \- There is any unusual use of words. Check for slang, jargon, standard language, and community languages in the texts. \- You can place the words in different semantic fields; check for the effect of verbs and what tense they represent. **Consider the following stanza from "*Contentment" *by Oliver Wendell Holmes.** Little I ask; my wants are few; I only wish a hut of stone, (a very plain brown stone will do,) That I may call my own;- And close at hand is such a one, In yonder street that fronts the sun ***We can start by analyzing the use of words in the stanza; see how the poet uses the word 'wants.' Usually, we use this term as an adverb, yet hear is presents a noun. So, the persona only has a few needs in his life. He goes ahead to describe his few wants, specifically quoting a 'hut of stone.' According to him, his 'few wants' will be satisfied once he gets the 'hut of stone.' The next line brings in a twist he adds something to the description of the stone saying 'plain brownstone'. Semantically we can agree his 'wants are few,' but considering the details he adds, his 'wants' are not few anymore. There is more irony graphologically as the parenthetical information discloses his specific needs. He wants not just a hut, a stone, or a brownstone, but a plain brownstone. Therefore, we can establish that the persona is looking for so much more. In this case, stylistic analysis has helped us get deeper into the poem to excavate the hidden meaning.*** \* * **What is the main thought about Stylistics?** The basic idea of Stylistics is that **a stylistic choice has an \'effect\' (on the reader)**, and that it should be possible to understand the causal relation between that stylistic choice and that effect. **The study of what makes Shakespeare different from Chaucer** is an example of stylistics. The study of the use of elements of language style, such as metaphor, in particular contexts.Stylistics **examines the creativity in the use of language**. It enhances the way we think about language and its uses. Thus the stylistic process, examining the creativity of language use, develops our understanding of literature. **What are the elements of stylistics?** Four of the main style devices are **diction, syntax, imagery, and figurative language** which will be described and taught how to use properly. Definition: The style of speaking or writing determined by the choice of words by a speaker or a writer (literary devices). **What is the difference between style and stylistic?** Style mainly refers to what kind of language a writer is using, and it is used in discussions of literature. Stylistics refers to **a study of the devices used in language that affect one\'s interpretation of a text**. Examples of stylistic features are **narrative viewpoint, structure of stanzas, juxtaposition, nominalization, alliteration, metaphor, and lexical choice**. **What are the types of stylistics?** Literary stylistics: Studying forms, such as **poetry, drama, and prose**. Interpretive stylistics: How the linguistic elements work to create meaningful art. Evaluative stylistics: How an author\'s style works---or doesn\'t---in the work. **What is stylistic approach?** A Stylistics approach **teaches students how to look for and interpret stylistic dimensions of a text**. Students are made to learn how what is said is said and how meanings are made. They are taught to know what makes the language of literature different from everyday language, if it really is. **What is stylistic criticism?** Stylistics typically does not produce an interpretation of the text, as the New Criticism does; rather, like formalism and structuralism, stylistic criticism is **centrally concerned with the modes of signification that texts employ.** **What are stylistic devices in English?** Stylistic devices refer to **any of a variety of techniques to give an additional and/or supplemental meaning, idea, or feeling**. Also known as **figures of speech or rhetorical devices**, the goal of these techniques is to create imagery, emphasis, or clarity within a text in hopes of engaging the reader. In literature and writing, a figure of speech (also called stylistic device or rhetorical device) is **the use of any of a variety of techniques to give an auxiliary meaning, idea, or feeling**. Stylistic devices often provide emphasis, freshness of expression, or clarity. **What are the features of linguistic stylistics?** Linguistic stylistics, however, looks for style in terms of linguistic features of a text at different levels of linguistic description like **phonology (onomatopoeia, alliteration, eye dialect, and rhyme)**, syntax (repetition, and question in the narrative), grammar (dialect), and sematics (metaphor, irony, and simile). **What is the procedure of stylistic analysis?** Stylistic analysis -- definition\ \ Stylistic analysis in linguistics refers to **the identification of patterns of usage in speech and writing**. Stylistic analysis in literary studies is usually made for the purpose of commenting on quality and meaning in a text. Stylistics requires the use of **traditional levels of linguistic description such as sounds, form, structure and meaning**. It then follows that the consistent appearance of certain structures, items and elements in speech utterances or in a given text is one of the major concerns of stylistics. **What is stylistic essay?** When students engage in stylistic analysis, they **interpret text based on the words, grammar and tone**. This will help students focus on text at a granular level and understand the influence language has on overall interpretation. **What is the style in literary stylistics?** Style in literature is the **literary element that describes the ways that the author uses words** --- the author\'s word choice, sentence structure, figurative language, and sentence arrangement all work together to establish mood, images, and meaning in the text. **Is irony a stylistic device?** Overall, as a literary device, irony functions as **a means of portraying a contrast or discrepancy between appearance and reality**. This is effective for readers in that irony can create humor and suspense, as well as showcase character flaws or highlight central themes in a literary work. **How do you identify a stylistic device?** The easiest stylistic device to identify is **a simile**, signaled by the use of the words \"like\" or \"as\". A simile is a comparison used to attract the reader\'s attention and describe something in descriptive terms. Example: The beast had eyes as big as baseballs and teeth as long as knives. **What are stylistic features in film?** Along with the literary elements such as **plot, setting, characterization, structure, and theme**, which make up the text or screenplay, there are many different film techniques used to tell the story or narrative. Attention is paid to sound, music, lighting, camera angles, and editing. **What are the principles of stylistic discourse?** Discourse stylistics aims **to introduce readers to a procedure of observation which trains to critical reading**. The point of principle of discourse stylistics is that there is no linguistically identifiable distinction between literary and non-literary texts, and that literature is a culturally defined notion. **What is the difference between discourse analysis and stylistics?** While **Discourse** is essentially communication, **Stylistics** on the other hand is concerned with the study of the pattern and style of what is communicated. In this study, we shall attempt to discuss **Discourse** and **Stylistics** and explore the various ways each of them approach **analysis** of a given text. Diction is **a literary device that\'s the choice of words or style used by the writer in order to convey their message**. Basically, that\'s a fancy way of saying that diction is the way in which the author wants to write to a specific audience. **Review of Prose and Drama Genres ** **What is prose in literature?** ** ** **Prose** is verbal or written language that follows the natural flow of speech. It is the most common form of writing, used in both fiction and non-fiction. Prose comes from the Latin "prosa oratio," meaning "straightforward." **Prose i**s a form of written or spoken language that usually exhibits a natural flow of speech and grammatical structure. A related narrative device is the stream of consciousness, which also flows naturally but is not concerned with syntax. The word \"prose\" first appears in English in the 14th century. In writing, **prose **refers to **any written work that follows a basic grammatical structure** (think words and phrases arranged into sentences and paragraphs). This stands out from works of poetry, which follow a metrical structure (think lines and stanzas). **What is an example of prose?** Prose is ordinary language that follows regular grammatical conventions and does not contain a formal metrical structure. This definition of prose is an example of prose writing, as is most **human conversation, textbooks, lectures, novels, short stories, fairy tales, newspaper articles, and essays**. **Style** There are broadly four forms of prose. They are **narrative, descriptive, expository and persuasive**. The narrative form builds a storyline with characters. The story can be fiction or non-fiction. 1. ** Narrative** is a spoken or written account of connected events; a story. 2. ** Descriptive** means presenting observations about the characteristics of someone or something; serving to describe a descriptive account. 3. ** Expository **is something intended to explain or describe. An essay that is intended to explain a series of events is an example of an\ expository essay. 4. ** Persuasive **is good at persuading someone to do or believe something through reasoning or the use of temptation. The prose is a lot more normal as it uses a language that is ordinarily used while writing or speaking. Prose differs from poetry in its unit of construction. While [poetry is built in terms of verses and stanzas](https://englishsummary.com/elements-poetry/), Prose is written in terms of sentences and paragraphs. Magazine articles, [novels](https://englishsummary.com/category/novel/), [short stories](https://englishsummary.com/category/short-story/), encyclopedias, letters, editorials, articles, and journals are all [examples of prose](https://englishsummary.com/category/english-essays/). **Style of Prose** The content of the **Prose** can be fictional, nonfictional and heroic. Fictional Prose employs creative design and imaginative writing. The examples can be **parables, drama, novels and short stories.** When writing is fact-based it is called non-fictional prose. The examples can be biographies and formal essays. Heroic Prose is based on lore or popular tales. It employs aggrandizement of age-old expressions which are often transmitted through oral traditions. They include fables, lore, and legends. **Forms of Prose** There are broadly four forms of prose. They are narrative, descriptive, expository and persuasive. The narrative form builds a storyline with characters. The story can be fiction or non-fiction. It usually follows a set chronology (not always) and the sequence of exposition, building tension and action, climax, denouement. The expository form provides unembellished and basic information like in essays and speeches. t tries to explain a phenomenon, topics, and themes. They lack an argumentative pitch or storytelling ability. The descriptive form provides details about something like scientific or medical reports. They also lack any story or argument. It uses the five senses and builds in-depth information on the chosen topic. It is often used with narrative, persuasive and descriptive forms. **The Types of Prose** 1. ** Novel **is a fictitious prose narrative of book length, typically representing character and action with some degree of realism. It is a long narrative divided into chapters. 2. ** Short story** is a story with a fully developed theme but significantly shorter and less elaborate than a novel. It has one pot and one single impression. 3. ** Legend** is a fictitious narrative that talks about origin. 4. ** Anecdotes **is a short amusing or interesting story about a real incident or person. 5. ** Plays **are presented on stage with many actions and scenes. 6. ** Fables **a short story, typically with animals as characters, conveying a moral. 7. ** Biography **is an account of someone\'s life written by someone else. 8. ** Oration **is a formal speech, especially one given on a ceremonial occasion. 9. ** Essay **is a short piece of writing on a particular subject. 10. ** News **is newly received or noteworthy information, especially about recent or important events. **What are the different genres of prose?** **There are four distinct types of prose that writers use:** - Nonfictional prose. Prose that is a true story or factual account of events or information is nonfiction. \... - Fictional prose. A literary work of fiction. \... - Heroic prose. \... - Prose poetry. **What is Genre?** **Genre** is any form or type of communication in any mode with socially-agreed-upon conventions developed over time. **Genre** (from [French](https://en.wikipedia.org/wiki/French_language) *genre* \'kind, sort\') is any form or type of [communication](https://en.wikipedia.org/wiki/Communication) in any mode (written, spoken, digital, artistic, etc.) with socially-agreed-upon conventions developed over time. In popular usage, it normally describes a [category](https://en.wikipedia.org/wiki/Category_of_being) of [literature](https://en.wikipedia.org/wiki/Literature), [music](https://en.wikipedia.org/wiki/Music), or other forms of art or entertainment, whether written or spoken, audio or visual, based on some set of stylistic criteria, yet genres can be aesthetic, rhetorical, communicative, or functional. Genres form by conventions that change over time as cultures invent new genres and discontinue the use of old ones. **What are the 5 main genres?** This genre is often broken up into five subgenres: **fantasy, historical fiction, contemporary fiction, mystery, and science fiction**. Nonetheless, there are more than just five types of fiction, ranging from romance to graphic novels. **What genre is prose literature?** In general, however, we can say that the most common genres of prose are **the short story, the novella, and the novel**. **What are the 6 elements of prose?** The basic elements of prose are: **character, setting, plot, point of view, and mood** **How do you identify a genre?** Genre consists of four elements or parts: character, story, plot and setting. An equation for remembering the genre is: **Story (Action) + Plot + Character + Setting = Genre**. This becomes an easy way to remember the elements of a genre. **Is prose a genre?** There are numerous genres in literature, including poetry and prose, fiction and nonfiction, short stories and novels, dramas, fables, fairytales, legends, biographies, and reference books. **This is one example of Prose. We\'ll read carefully this bible story \"The Prodigal Son\", and we\'ll answer the comprehension questions after the selecton.** ***THE PRODIGAL SON*** *** The Parable of the Prodigal Son is one of the parables of Jesus in the Bible, appearing in Luke 15:11- 32*** ** ** The Parable of the Prodigal Son, one of the best-known stories in the Bible, has captured the imagination of commentators, preachers, and writers. This book explores the reconfiguring of the character of the Prodigal Son and his family in literature in English. It considers diverse literary periods and genres in which the paradigm is particularly prevalent, such as Elizabethan literature, the work of Shakespeare, the novels of female Victorian writers, the American short story tradition, novels focused on the lives of ordained ministers, and the poetry of Elizabeth Bishop and Iain Crichton Smith. Drawing on scholarship from biblical and literary studies, it aims to demonstrate the remarkable potency of the parable in generating new, and at times contradictory, meanings in different contexts. These include issues left open in the parable, such as the Prodigal Son's motive for leaving and his response to his father's welcome, which are given multiple expressions, both positive and negative. Historical and literary criticism are brought into dialogue to explore this remarkably resilient and nimble character as he dances through drama, novels, and poetry across the centuries. The Parable of the Prodigal Son (also known as the parable of the Two Brothers, Lost Son, Loving Father, or of the Forgiving Father) is one of the parables of Jesus in the Bible, appearing in Luke 15:11--32. Jesus shares the parable with his disciples, the Pharisees and others. In the story, a father has two sons. The younger son asks for inheritance from his father, who grants his son\'s request. This son, however, is prodigal (i.e., wasteful and extravagant), thus squandering his fortune and eventually becoming destitute. As consequence, he now must return home empty-handed and intend to beg his father to accept him back as a servant. To the son\'s surprise, he is not scorned by his father but is welcomed back with celebration and a welcoming party. Envious, the older son refuses to participate in the festivities. The father tells the older son: \"you are ever with me, and all that I have is yours, but thy younger brother was lost and now he is found.\" The Prodigal Son is the third and final parable of a cycle on redemption, following the parable of the Lost Sheep and the parable of the Lost Coin. In Revised Common Lectionary and Roman Rite Catholic Lectionary, this parable is read on the fourth Sunday of Lent (in Year C); in the latter it is also included in the long form of the Gospel on the 24th Sunday of Ordinary Time in Year C, along with the preceding two parables of the cycle. In the Eastern Orthodox Church it is read on the Sunday of the Prodigal Son. The parable begins with a man who had two sons, and the younger of them asks his father to give him his share of the estate. The implication is the son could not wait for his father\'s death for his inheritance, he wanted it immediately. The father agrees and divides his estate between both sons. Upon receiving his portion of the inheritance, the younger son travels to a distant country and wastes all his money in extravagant living. Immediately thereafter, a famine strikes the land; he becomes desperately poor and is forced to take work as a swineherd. (This, too, would have been abhorrent to Jesus\' Jewish audience, who considered swine unclean animals.) When he reaches the point of envying the food of the pigs he is watching, he finally comes to his senses: "And when he came to himself, he said, How many hired servants of my father\'s have bread enough and to spare, and I perish with hunger! I will arise and go to my father, and will say unto him, Father, I have sinned against heaven, and before thee, and am no more worthy to be called thy son: make me as one of thy hired servants. And he arose, and came to his father. But when he was yet a great way off, his father saw him, and had compassion, and ran, and fell on his neck, and kissed him." --- Luke 15:17--20, KJV. This implies the father was hopefully watching for the son\'s return. In most versions of Luke, the son does not even have time to finish his rehearsed speech, as the father calls for his servants to dress him in a fine robe, a ring, and sandals, and slaughter the \"fatted calf\" for a celebratory meal. The older son, who was at work in the fields, hears the sound of celebration, and is told about the return of his younger brother. He is not impressed, and becomes angry. He also has a speech for his father: "And he answering said to his father, Lo, these many years do I serve thee, neither transgressed I at any time thy commandment: and yet thou never gavest me a kid, that I might make merry with my friends: but as soon as this thy son was come, which hath devoured thy living with harlots, thou hast killed for him the fatted calf." --- Luke 15:29--30, KJV The parable concludes with the father explaining that because the younger son had returned, in a sense, from the dead, celebration was necessary: "It was meet that we should make merry, and be glad: for this thy brother was dead, and is alive again; and was lost, and is found." --- Luke 15:32, KJV **For Stylistic Literary Analysis** **Please answer the following comprehension questions. (This is for oral presentation in the virtual class)** 1. ** What is the literary genre of the prodigal son?** \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ 2. **What is the tone of the selection?** \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ **3. What literary elements do parables use?** **\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_** ** ** ** 4. What is the mood of the prodigal?** **\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_** ** ** ** 5. What is the theme of this literary piece?** **\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_** ** 6. Is the prodigal son an allegory?** **\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_** ** 7. What is the literal sense of the parable of the prodigal son?** **Romeo And Juliet** **by William Shakespeare** ** ** ***An age-old vendetta between two powerful families erupt into bloodshed. A group of masked Montagues risk further conflict by gatecrashing a Capulet party. A young lovesick Romeo Montague falls instantly in love with Juliet Capulet, who is due to marry her father's choice, the County Paris. With the help of Juliet's nurse, the women arrange for the couple to marry the next day, but Romeo's attempt to halt a street fight leads to the death of Juliet's own cousin, Tybalt, for which Romeo is banished. In a desperate attempt to be reunited with Romeo, Juliet follows the Friar's plot and fakes her own death. The message fails to reach Romeo, and believing Juliet dead, he takes his life in her tomb. Juliet wakes to find Romeo's corpse beside her and kills herself. The grieving families agree to end their feud*.** ***Act I*** *** Romeo and Juliet begins as the Chorus introduces two feuding families of Verona: the Capulets and the Montagues. On a hot summer\'s day, the young men of each faction fight until the Prince of Verona intercedes and threatens to banish them. Soon after, the head of the Capulet family plans a feast. His goal is to introduce his daughter Juliet to a Count named Paris who seeks to marry Juliet. Montague\'s son Romeo and his friends (Benvolio and Mercutio) hear of the party and resolve to go in disguise. Romeo hopes to see his beloved Rosaline at the party. Instead, while there, he meets Juliet and falls instantly in love with her. Juliet\'s cousin Tybalt recognizes the Montague boys and forces them to leave just as Romeo and Juliet discover one another.*** ***Act II*** *** Romeo lingers near the Capulet house to talk with Juliet when she appears in her window. The pair declare their love for one another and intend to marry the next day. With the help of Juliet\'s Nurse, the lovers arrange to marry when Juliet goes for confession at the cell of Friar Laurence. There, they are secretly married (talk about a short engagement). Parting is such sweet sorrow that I shall say goodnight till it be morrow.*** *** *** ***Act III*** *** Following the secret marriage, Juliet\'s cousin Tybalt sends a challenge to Romeo. Romeo refuses to fight, which angers his friend Mercutio who then fights with Tybalt. Mercutio is accidentally killed as Romeo intervenes to stop the fight. In anger, Romeo pursues Tybalt, kills him, and is banished by the Prince. Juliet is anxious when Romeo is late to meet her and learns of the brawl, Tybalt\'s death, and Romeo\'s banishment. Friar Laurence arranges for Romeo to spend the night with Juliet before he leaves for Mantua. Meanwhile, the Capulet family grieves for Tybalt, so Lord Capulet moves Juliet\'s marriage to Paris to the next day. Juliet's parents are angry when Juliet doesn\'t want to marry Paris, but they don\'t know about her secret marriage to Romeo.*** ***Act IV*** *** Friar Laurence helps Juliet by providing a sleeping draught that will make her seem dead. When the wedding party arrives to greet Juliet the next day, they believe she is dead. The Friar sends a messenger to warn Romeo of Juliet\'s plan and bids him to come to the Capulet family monument to rescue his sleeping wife.*** ***Act V*** *** The vital message to Romeo doesn\'t arrive in time because the plague is in town (so the messenger cannot leave Verona). Hearing from his servant that Juliet is dead, Romeo buys poison from an Apothecary in Mantua. He returns to Verona and goes to the tomb where he surprises and kills the mourning Paris. Romeo takes his poison and dies, while Juliet awakens from her drugged coma. She learns what has happened from Friar Laurence, but she refuses to leave the tomb and stabs herself. The Friar returns with the Prince, the Capulets, and Romeo\'s lately widowed father. The deaths of their children lead the families to make peace, and they promise to erect a monument in Romeo and Juliet\'s memory.*** ** ** **For Stylistic Literary Analysis** **Be able to answer the following questions in our virtual session.** ** ** **1. What are the literary elements in Romeo and Juliet?** ** ** **2. What is the style of Romeo and Juliet?** ** ** **3.What literary devices is used in Act 1 Scene 4 in this selection?** ** ** **4. What is an example of metaphor here?** ** ** **5.What is the most important theme in this novel?** ** ** **6. What are oxymorons used?** ** Oxymorons are figure of speech in which apparently contradictory terms appear in conjunction (e.g. faith unfaithful kept him falsely true).** ** ** **7. In your own opinion, how old was Romeo?** ** ** **8. What are the 3 main themes in Romeo and Juliet?** - **GENRES OF DRAMA** **What is Drama?** **Drama i**s a mode of fictional representation through [dialogue](https://literarydevices.net/dialogue/) and performance. It is one of the literary genres, which is an imitation of some action. Drama is also a type of a [play](https://literarydevices.net/play/) written for theater, television, radio, and film. **Types of Drama** Let us consider a few popular types of drama: - **[Comedy](https://literarydevices.net/comedy/) **-- Comedies are lighter in [tone](https://literarydevices.net/tone/) than ordinary works, and provide a happy [conclusion](https://literarydevices.net/conclusion/). The intention of dramatists in comedies is to make their audience laugh. Hence, they use quaint circumstances, unusual characters, and witty remarks. - **[Tragedy](https://literarydevices.net/tragedy/) **-- Tragic dramas use darker [themes](https://literarydevices.net/theme/), such as disaster, pain, and death. [Protagonists](https://literarydevices.net/protagonist/) often have a [tragic flaw](https://literarydevices.net/tragic-flaw/) --- a characteristic that leads them to their downfall. - **[Farce](https://literarydevices.net/farce/) **-- Generally, a [farce](https://literarydevices.net/farce/) is a nonsensical [genre](https://literarydevices.net/genre/) of drama, which often overacts or engages slapstick [humor](https://literarydevices.net/humor/). - **[Melodrama](https://literarydevices.net/melodrama/) **-- [Melodrama](https://literarydevices.net/melodrama/) is an exaggerated drama, which is sensational and appeals directly to the senses of the audience. Just like the farce, the characters are of a single dimension and simple, or may be stereotyped. - **Musical Drama** -- In musical dramas, dramatists not only tell their stories through acting and dialogue, but through dance as well as music. Often the story may be comedic, though it may also involve serious [subjects](https://literarydevices.net/subject/). **What are the 4 genres of drama?** They are **comedy, tragedy, tragicomedy, and melodrama**. These contain different characteristics of drama, which include, plot, characters, music, dialogue, etc. Also, most plays contain elements of some or all of these different genres **Examples of Drama in Literature** **Example \#1: *Much Ado About Nothing *(By William Shakespeare)** *Much Ado About Nothing *is the most frequently performed Shakespearian [comedy](https://literarydevices.net/comedy/) in modern times. The play is romantically funny, in that love between [Hero](https://literarydevices.net/hero/) and Claudio is laughable, as they never even get a single chance to communicate on-stage until they get married. Their relationship lacks development and depth. They end up merely as [caricatures](https://literarydevices.net/caricature/), exemplifying what people face in life when their relationships are internally weak. Love between Benedick and Beatrice is amusing, as initially their communications are very sparky, and they hate each other. However, they all of sudden make up, and start loving each other. **Example \#2: *Oedipus Rex* (By Sophocles)** **[Tragedy](https://literarydevices.net/tragedy/):** Sophocles' mythical and immortal drama *Oedipus Rex* is thought to be his best classical [tragedy](https://literarydevices.net/tragedy/). Aristotle has adjudged this play as one of the greatest examples of tragic drama in his book, *Poetics,* by giving the following reasons: - The play arouses emotions of *pity *and *fear*, and achieves the tragic [*Catharsis*](https://literarydevices.net/catharsis/). - It shows the downfall of an extraordinary man of high rank, Oedipus. - The central [character](https://literarydevices.net/character/) suffers due to his tragic error called [*Hamartia*](https://literarydevices.net/hamartia/); as he murders his real father, Laius, and then marries his real mother, Jocasta. - [Hubris](https://literarydevices.net/hubris/) is the cause of Oedipus' downfall. **Example \#3: *The Importance of Being Earnest *(By Oscar Wilde)** **[Farce](https://literarydevices.net/farce/):** [Oscar Wilde](https://literarydevices.net/oscar-wilde/)'s play, *[The Importance of Being Earnest](https://literarydevices.net/the-importance-of-being-earnest/),* is a very popular example of Victorian farce. In this play, a man uses two identities: one as a serious person, Jack (his actual name), which he uses for Cesily, his ward, and as a rogue named Ernest for his [beloved](https://literarydevices.net/beloved/) woman, Gwendolyn. Unluckily, Gwendolyn loves him partially because she loves the name Ernest. It is when Jack and Earnest must come on-stage together for Cesily, then Algernon comes in to play Earnest' role, and his ward immediately falls in love with the other "Ernest." Thus, two young women think that they love the same man -- an occurrence that amuses the audience. **Example \#4: *The Heiress* (By Henry James)** **[Melodrama](https://literarydevices.net/melodrama/):** *The Heiress* is based on Henry James' [novel](https://literarydevices.net/novel/) the *Washington Square. Directed for stage performance by *William Wyler, this play shows an ungraceful and homely daughter of a domineering and rich doctor. She falls in love with a young man, Morris Townsend, and wishes to elope with him, but he leaves her in the lurch. The author creates melodrama towards the end, when Catherine teaches a lesson to Morris, and leaves him instead. **SURVEY OF PROSE AUTHORS/DRAMATISTS AND THEIR UNIQUES STYLES** 1. **William Shakespeare (1564 -1616)** **Best known for: King Lear, Romeo & Juliet, Hamlet** An English poet, playwright and actor, widely regarded as the greatest writer in the English language. Shakespeare wrote 39 plays, 154 sonnets, two long narrative poems and a few other verses. His plays have been translated into every major living language and are performed more often than those of any other playwright. His early plays were primarily comedies and histories, which are regarded as some of the best work ever produced of this type. He then wrote ***mainly tragedies*** including Hamlet, Othello, King Lear and Macbeth until about 1608, when he wrote tragicomedies. 2. **Leo Tolstoy (1828-1910)** Best known for: War and Peace, Anna Karenina, A Confession Count Lev Nikolayevich Tolstoy was a Russian writer famous for his realist fiction. He first achieved literary acclaim in his twenties with his semi-autobiographical work. Tolstoy also wrote short stories, several novellas as well as plays and numerous philosophical essays. Tolstoy's ideas on non-violent resistance, which he wrote about in The Kingdom of God Is Within You, were to have a profound impact on Mohandas Gandhi, Martin Luther King, Jr., and James Bevel. 3. **Charles Dickens (1812-1870)** Best known for: Great Expectations, A Christmas Carol, Bleak House An English writer and social critic, Dickens was famous in his own lifetime, giving lectures and performing readings. By the 20th century critics and scholars had recognized him as a literary genius for his realism, comedy, prose style, unique characterizations and social criticism, while others complained his work was sentimental and lacked psychological depth. Despite his lack of formal education, Dickens edited a weekly journal for 20 years, wrote 15 novels, five novellas, hundreds of short stories and non-fiction articles. His novels were mostly published in monthly or weekly installments which kept readers in suspense and allowed him to modify his plot and character development based on feedback. 4. **Victor Hugo (1802-1885)** Best known for: Les Misérables, The Hunchback of Notre-Dame, Odes et Ballades One of the greatest French writes, Hugo was a poet, novelist, and dramatist of the Romantic movement. Many of his works have inspired music, both during his lifetime and after his death, including the musicals Notre-Dame de Paris and Les Misérables. He also campaigned for social causes such as the abolition of capital punishment. Later in life Hugo became a passionate supporter of republicanism, after years of being a committed royalist, and his work touches upon most of the significant political and social issues and the artistic trends of his time. 5. **Edgar Allan Poe** Best known for: The Raven, The Tell-Tale Heart, The Cask of Amontillado American writer, editor, and literary critic, Poe is best known for his poetry and short stories, particularly his tales of mystery and the macabre. Poe is generally considered the inventor of the detective fiction genre and helped the emerging science fiction genre. \* * \* * \* *

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