Journal Topic: May 3

JOURNAL TOPIC:
You've written a lot this week; is there anything left for you to practice/improve over the weekend?  Do you need to practice more multiple choice?  Take inventory-- one last time-- and describe how you will address any areas where you feel less than 100% confident.

I am more than prepared for the essay portion of the AP exam. After writing everyday this week, I feel like the quality of my work is actually deteriorating and is why I haven't posted a few of the other essays. I am burnt out! I do feel like a bit of multiple choice work might be helpful, so this next week I will be reviewing past tests to pick up trends and strategies. I think I have gotten some helpful pointers in class from other students about what is missing in my essays, and I can make those adjustments accordingly to feel confident going into this exam.

In-Class Essay: Prewrite

In-Class Essay

In-Class Essay

In-Class Essay

Gridlock

Hope

Hope is the thing with feathers

That perches in the soul,

And sings the tune--without the words,

And never stops at all,

And sweetest in the gale is heard;

And sore must be the storm

That could abash the little bird

That kept so many warm.

I've heard it in the chillest land,

And on the strangest sea;

Yet, never, in extremity,

It asked a crumb of me.

TPCASTT

Title: Hope

Paraphrase: The poem is about a bird, that perches on a tree with the most positive outlook. Nothing can bring it down, but storm.  It remains loyal and independent.

Connotation: Hope is the bird that perches on the tree.

Attitude: Positive and uplifting, until the switch with the storm.

Shift: storm

Title(revisited): bird is symbolism of hope

Theme: Hope gives strength and perseverance through the toughest situations. Even when you don't think it will be there, it is.

Richard Cory

Whenever Richard Cory went down town,

We people on the pavement looked at him:

He was a gentleman from sole to crown,

Clean favored, and imperially slim.

And he was always quietly arrayed,

And he was always human when he talked;

But still he fluttered pulses when he said,

'Good-morning,' and he glittered when he walked.

And he was rich - yes, richer than a king -

And admirably schooled in every grace:

In fine, we thought that he was everything

To make us wish that we were in his place.

So on we worked, and waited for the light,

And went without the meat, and cursed the bread;

And Richard Cory, one calm summer night,

Went home and put a bullet through his head. 

Edwin Arlington Robinson

TPCASTT

Title: Richard Cory

Paraphrase:Richard Cory was a rich man and role model among the people. In the shift of the poem he killed himself with a bullet to his head.

Connotation: "glittered when he walked" shows how much admiration there was for him among people. "waited for the light" shows that the people just wanted more happiness in their lives and wanted people to be like the old Richard Cory.

Shift: "Went home and put a bullet through his head." Everyone admired Richard Cory, but in the end he kills himself.

Theme: Sometimes by separating someone from the rest of society, we make them feel alone.

Seventh Reading

For Poetry Boot Camp, Conor, Brady, Chanel, Ashley and I are analyzing poems and Dr. Seuss to write to in the next few days :)

The Picture of Dorian Gray: Summary Presentation

Macbeth Act 3 Notes

Act Three, Scene One

Banquo suspects Macbeth but gains comfort from the second part of the Witches' prediction — that his own children will be kings. Having announced his intention to go riding with Fleance, Banquo is persuaded by the Macbeths to return later that evening to their new palace at Forres for a special feast. However, Macbeth realizes that the Witches' prophecy regarding Banquo represents a threat to his own position. Unable to endure the thought of Banquo's descendants claiming his position, Macbeth summons two hired murderers and confirms with them prior arrangements for the killing of Banquo and Fleance.

Act Three, Scene Two

This short scene allows the audience once more into the private thoughts of the murderous couple, while holding the action momentarily in suspense. As the hired killers make their way toward Banquo, Macbeth and his wife meet secretly. His wife attempts to soothe his troubled mind but ironically feels the same doubts herself. Killing the king has provided them with many more difficulties than they first envisioned. To the astonishment of his wife, Macbeth reveals his plan to murder Banquo.

Act Three, Scene Three

The hired murderers meet as arranged. On hearing approaching horses, a signal is given, and Banquo and his son Fleance are attacked. The murderers' lantern is accidentally extinguished, and the job is left half-done: Although Banquo is killed, Fleance escapes.

Act Three, Scene Four

At Forres, Macbeth and his wife welcome the thanes of Scotland to the banquet. Immediately prior to the feast, one of the murderers appears at a side door and reveals to Macbeth the truth about the mission: their success in the killing of Banquo and their failure to murder Fleance. Macbeth recomposes himself and returns to the table. As he raises a toast to his absent friend, he imagines he sees the ghost of Banquo. As with the ethereal dagger, the ghost of Banquo appears to come and go, propelling Macbeth into alternating fits of courage and despair. Lady Macbeth invites the thanes to depart and, once alone, tries one last time to soothe her husband. But Macbeth's paranoid mind is already on to the next murder, that of Macduff. To ascertain his future with greater certainty, he makes clear his intention to visit the Weird Sisters once more.

Act Three, Scene Five

Hecate, the classical goddess of the lower world who represents the spirit of ancient witchcraft, calls the weird sisters to her to complain that her own part in Macbeth's downfall has been overlooked and that she now wishes personally to make his downfall complete. The scene is unnecessary to understanding the play and was probably not written by Shakespeare.

Act Three, Scene Six

Meeting with a rebel lord, Lennox reveals his doubts concerning Macbeth. His argument is that those who might be immediately suspected of murdering their kinsmen are less likely to have done so than Macbeth, who had killed the guards of Duncan's chamber so hastily. Although Lennox is prepared to accept Macbeth's actions, he cannot help feeling deeply suspicious of him. The other lord reveals to Lennox that Macduff has fled from Scotland to join forces with Malcolm in England. Moreover, they have requested help from England's King Edward the Confessor. Both Lennox and the other lord pray that God's vengeance may swiftly fall on the tyrannical Macbeth and that Scotland may return to peace once more.

Macbeth Act 2 Notes

Act 2, Scene 2:

After killing Duncan, Macbeth enters his private chambers where Lady Macbeth is anxiously awaiting him.  The shrieks of owls and the cries of crickets, both evil omens, pierce the air as Macbeth narrates to her the gruesome details of the murder.  He tells his wife that Donalbain cried "Murder!" and that Malcolm laughed in his sleep while Macbeth killed Duncan, but they both said their prayers again and went back to sleep.  Macbeth also tells his wife that he was unable to bless himself when he "had most need of blessing." (Act 2, Scene 2, Line 31) He thinks that he heard a voice saying, "Sleep no more! Macbeth does murder sleep." (Act 2, Scene 2, Lines 34-5) From this point on in the play, neither Macbeth nor his wife are able to have a good night's rest as they are plagued by the memories of their ghastly crime.
Suddenly, Lady Macbeth notices that her husband's hands are covered in blood and that he is still clutching the telltale dagger.  She orders him to wash up and hide all incriminating evidence.  Macbeth, however, is incapable of doing anything because he is in a state of shock, so Lady Macbeth is forced to take over.  She smears blood over the faces of Duncan's servants so that they will seem guilty of the crime.  When she returns, she promptly washes her hands and orders Macbeth to be calm.  The couple hears a loud knocking at the south entry and they fearfully retire to their chambers.

Act 2, Scene 3: 

A drunken porter stumbles through the hallways to answer the knocking at the gate.  By comparing himself to a devil-porter and the castle to the residence of Beelzebub (the devil), he implies that Inverness is an evil and sinister place.  Macduff and Lennox enter the castle and ask for Macbeth.  They ask to see the king, as Duncan had requested that he be awoken at a timely hour.  Macduff goes to the king's room to wake him up.  In the meantime, Lennox explains to Macbeth how there were earthquakes and storms raging the whole night.  In Elizabethan times, people believed that Nature mirrored human events; thus in this case, Nature has reflected the horrible murder of King Duncan.  Macduff reenters the room pale and shocked-he wakes up the whole castle to report the news that King Duncan has been murdered.
Lady Macbeth enters the room, feigning the countenance of one newly awoken.  She pretends to be horrified by the news that the king has been murdered in her own house and faints.  Malcolm and Donalbain are informed of the tragic news.  Instead of openly grieving for their father, they escape respectively to England and Ireland.  The heirs feel that the court thinks them to be the main suspects of the crime.  In addition, they risk their own lives by staying in Inverness, as they could be the murderer's next targets.  Thus, the royal heirs quickly flee Scotland.  Macbeth asks the rest of the court to reassemble in the hall to discuss this strange turn of events.

Literature Analysis #8

Literature Analysis 8

The Road

By Cormac McCarthy

1. The Road is the story of a man and his son who are trying to survive in a post-apocalyptic world.  The father keeps the son safe in this dangerous territory as they face scavengers and cannibals.  The father feels that it is important to keep his son as sane as possible during this time so he won't end up like the crazy people around them.  The son feels safe with his father as they venture until the father begins to grow ill.  This illness causes the father to die and the son is left with a choice to join a colony.  He decides to join this colony since they can keep him safe and he thinks of them as a new family.

2. The theme of the story is the power of family and love.  The father loved his son and wanted to see him safe and unharmed.  He gave his son morals to give him humanity in the inhumane times.  Without the father's love for his son, the father would not have lasted as long through his disease and the son would have been lost.

3. The book has a depressing tone.  The father and son must survive through these difficult times.  They are constantly facing death without food or water.  When they do have food and water, scavengers are trying to take it from them.  The father is also trying to keep his son sane in this insane world.  It is tough for the audience to watch this child grow up in this environment.

4. McCarthy uses setting, characters, and syntax to represent the theme and tone of his book.  The setting is a desolate wasteland which immediately connects with the depressing tone and gives the reader a feeling of emptiness.  His characters are constantly struggling to survive and face death often.  His syntax shows how the characters connect with each other and the importance of family in these trying times.

BNW Quote

“If one's different, one's bound to be lonely.”

This simple quote is the main theme of the satire. In Brave New World, the society is created for everyone to be the same. No individuality other than class distinction, which is predetermined, makes the population mundane and controlled. The 'savages', or naturally born people, are outcasts in society and looked down upon.

Brave New World Ch 2 & 3

Literature Analysis #7

Literature Analysis #7

Their Eyes Were Watching God

By Zora Neale Hurston

1. After a long absence, Janie Crawford is now back at Eatonville, Florida. People gossip about her and her young husband, Tea Cake. Her grandmother's wants to marry Janie and finds the perfect fit, Logan Killicks. One day, Joe Starks and Janie flirt and she runs off with him and they get married. They travel to Eatonville where Jody hopes to have a “big voice.” Jody makes some negative comments about Janie's appearance, so she does the same. Jody beats her for making fun of him and their marriage breaks down. Jody gets ill and he soon dies. Janie feels free for the first time in years. Later when she encouters Tea Cake, a man twelve years her junior, Janie is attracted to him. Despite negative gossip people made, she begins dating Tea Cake. Janie marries Tea Cake and leaves town to go with Tea Cake to Jacksonville. A terrible hurricane takes place in the Everglades, and as they flee the rising waters, a rabid dog bites Tea Cake. Tea Cake doesn’t realize the dog’s condition and three weeks later, he falls ill. Tea Cake becomes convinced that Janie is cheating on him. He shoots at Janie, and in order to save herself, she kills him. She is  put on trial for murder but all-male jury finds her not guilty.

2. One of the themes in this book is about gender issues. Janie needs to get married to a man so that her life would be safe. This leads to the idea that women are dependent on men to protect them.

3.Hurston’s main tones are celebratory and sympathy of the richness of African-American culture. 

4. 1)Allusion: The author makes references to the, Civil War, General Sherman Eatonville, Florida, George Washington, Abraham Lincoln, and Booker T. Washington

2) Metaphor: "Janie saw her life like a great tree in leaf with the things suffered, things enjoyed, things done and undone. Dawn and doom was in the branches."

3)Foreshadow: "Nanny sent Janie along with a stern mien, but she dwindled all the rest of the day as she worked. And when she [Nanny] gained the privacy of her own little shack she stayed on her knees so long she forgot she was there herself….Towards morning she muttered, "Lawd, you know mah heart. Ah done de best Ah could do. De rest is left to you." She scuffled up from her knees and fell heavily across the bed. A month later she was dead.

4)Imagery : "She was stretched on her back beneath the pear tree soaking in the alto chant of the visiting bees, the gold of the sun and the panting breath of the breeze when the inaudible voice of it all came to her. She saw a dust-bearing bee sink into the sanctum of a bloom; the thousand sister-calyxes arch to meet the love embrace and the ecstatic shiver of the tree from root to tiniest branch creaming in every blossom and frothing with delight. So this was a marriage! She had been summoned to behold a revelation. Then Janie felt a pain remorseless sweet that left her limp and languid."

5)Symbolism: the head-rag Janie wears represents the constraints imposed on women by men in power.

FIRST QUARTER REVIEW

This first quarter has passed soooo quickly! In this class, lit terms, SMART goals, and Dickens have been prevalent .... With the curve ball, 'writing as a spectator sport', keeping us all on our toes. I have completed all of the assigned work and have been collaborating with Chanel and Ashley for our senior project. The days we have free play have been utilized to talk about our SMART goals among our groups. I think that the new, more independent, approach to learning is VERY beneficial and allows each of us to learn in a way that best suits us :)

Lit Terms 109-the rest

1. Rhetorical Question: question suggesting its own answer ot not requiring an answer; used in argument or persuasion.

Example: "Yes. Why not?"
"Here was a Caesar! When comes such another?"--From Julius Caesar by Shakespeare.
"Are you serious?"

2. Rising Action: plot build up, caused by conflict and complications, advancement toward climax.


3. Romanticism: movement in western culture begining in the eighteenth and pearking in the nineteenth century as a revolt against Classicism; imagination was valued over reason and fact.

Example: Jane Austen's Persuasion; Mansfield Park
Emily Bronte's Wuthering Height

4. Satire: ridicules or condemns the weakness and wrong doings of indivduals, groups, institutions, or humanity in general.

Example: "The city stopped washing its buses because they kept getting dirty again."
"We should hire illegal immigrants as teachers because that way we can pay them less."

5. Scansion: the analysis of verse in terms of meter.


6. Setting: the time and place in whcih events in a short story, novel, play, or narrative poem occur.

Example: A Tale Of Two Cities-London and Paris 1775-1790
background French Revolution

7. Simile: a figure of speech comparing two essentially unlike things through the use of a specific word of comparison.

Example: "My stomach is growling like a bear."
"You are as sweet as chocolate."

8. Soliloquy: an extended speech, usually in a drama, delivered by a character alone on stage.

Example: "To be or not to be"--Hamlet; Shakespeare
"O conspiracy,
Sham' st thou to show thy dan'rous brow by night,
When evils are most free? O, then by day
Where wilt thou find a cavern dark enough
To mask thy monstrous visage? Seek none, conspiracy;
Hide it in smiles and affability:
For if thou path, thy native semblance on,
Not Erebus itself were dim enough
To hide thee from prevention."
--Brutus

9. Spiritual: a folk song, usually on a religious theme.


10. Speaker: a narrator, the one speaking.

Example: narrator

11. Stereotype: cliché; a simplified, standardized conception with a special meaning and appeal for members of a group; a formula story.

Example: "All teenagers are rebels."
"All children don't enjoy healthy food."
" Women take forever to do anything."

12. Stream of Consciousness: the style of writing that attempts to imitate the natural flow of a character's thoughts, feelings, reflections, memories, and mental images, as the character experiences them.

Example: "Such fools we all are, she thought, crossing Victoria Street. For Heaven only knows why one loves it so, how one sees it so, making it up, building it round one, tumbling it, creating it every moment afresh; but the veriest frumps, the most dejected of miseries sitting on doorsteps (drink their downfall) do the same; can't be dealt with, she felt positive, by Acts of Parliament for that very reason: they love life. In people's eyes, in the swing, tramp, trudge; in the bellow and the uproar; the carriages, motor cars, omnibuses, vans, sandwich men shuffling and swinging; brass bands; barrel organs; in the triumph and the jingle and the strange high singing of some aeroplane overhead was what she loved; life; London; this moment of June."
-Virginia Woolf, Mrs. Dalloway

13. Structure: the planned framework of a literary selection; its apparent organization.


14. Style: the manner of putting thoughts into words; a characteristic way of writing or speaking.

Example: Jane Austen--romantic; gothic; heroic
F.Scott Fitzgerald--imaginary sentences; american dream

15. Subordination: the couching of less important ideas in less important structures of language.


Example: "Even though the broccoli was covered in cheddar cheese, Emily refused to eat it." (subordinate clause+main clause)
"Unless Kate finished her calculus hw, she will have to suffer during class tomorrow."
16. Surrealism: a style in literature and painting that stresses the subconscious or the nonrational aspects of man's existence characterized by the juxtaposition of the bizarre and the banal.

Example: Salvador Dali--The Persistence of Memory

17. Suspension of Disbelief: suspend not believing in order to enjoy it.

Example: Spider Man; Super Man

18. Symbol: something which stands for something else; yet has a meaning of its own.

Example: Flag is the symbol of the country.
Red-bloody; The Red Badge Of Courage-the tranformation(fail to success) of Henry Fleming and honor.

19. Synesthesia: the use of one sense to convey the experience of another sense.

Example: "I see the sound of the car."
"I catch the sound of rain."

20. Synecdoche: another form of name changing, in which a part stands for the whole.

Example: Wheels-Car
Thread-Clothes
Hand-Worker

21. Syntax: the arrangement and grammatical relations of words in a sentence.


22. Theme: main idea of the story; its message(s).


23. Thesis: a proposition for consideration, especially one to be discussed and proved or disaproved: the main idea.


24. Tone: the devices used to create the mood and atmosphere of a literary work; the author's perceived point of view.

Example: "Goddamn money. It always ends up making you blue as hell."
"Caltholics are always trying to find out if you're Catholic."--Catcher in the Rye:Bitter; Sacrastic; Tough

25. Tongue in Cheek: a type of humor in which the speaker feigns seriousness; a.k.a. "dry" or "dead pan".

26. Tradegy: in literature: any composition with a somber theme carried to a disastrous conclusions; a fatal event; protagonist usually is heroic but tragically(fatally) flawed.


27. Understatement: opposite of hyperbole; saying less than you mean for emphasis.


28. Vernacular: everyday speech


29. Voice: the textual features, such as diction and sentence structures, that convey a writer's or speaker's persona.


30. Zeitgeist: the feeling of a particular era in history.

Writing as a Spectator Sport Essay / Prewrite

WRITING AS A SPECTATOR SPORT

So.... I have experienced "writing as a spectator sport". I was challenged by Conor, Chanel, and Ashley to respond to the 1976 Open Essay Question. Here it is...

BOB 1

There is a clear distinction between those who have and those who haven't. After looking over the third period member blogs, this is what I think:

GREAT JOB:

Ming

Sam

Reed

Matt

Felicitas

Conor

ME :)

Josh

Dulce

Dani

Chanel

Isiah

Alex

Erika

Justin

Ashley

Valerie

Devon

Travis

Tanner

Ryunhee

Abby

Alicia

Kris

Jason

Sebastian

Nathan

GOOD:

Cassidy

Haleigh

Troy

Brady

BEHIND:

Brittany

Karianne

Carly

Lacey

Bailey

Colleen

Conner

I AM HERE

This grading period in Dr. Preston's class has been so much more rewarding than last semester. I am now following my peer's blogs, shifting my focus in many aspects to my ultimate goal, and finally becoming accustomed to the new learning environment. We now have working days, Monday's, Wednesday's and Friday's, where we can work with classmates to collaborate on our individual talents and futures. We still are preparing for the AP exam in some form daily, just in a way that is useful for each individual. The freedom we now have is extremely helpful in each of us achieving our goals in the most efficient way. In my case, I have been focusing lately on creating my senior project along with Ashley and Chanel. Also, at the top of my list, is now finding my candidate and prompt for the "Writing as a Spectator Sport" assignment, which I will have up soon. :)

Let Terms 83-108

LIT TERMS 83-108 (Omniscient POV to Rhetorical Question)






Omniscient Point of View: knowing all things, usually the third person.


Onomatopoeia: use of a word whose sound in some degree imitates or suggests its meaning.

Oxymoron: a figure of speech in which two contradicting words or phrases are combined to produce a rhetorical effect by means of a concise paradox.


Pacing: rate of movement; tempo.
CLICK FOR EXAMPLE

Parable: a story designed to convey some religious principle, moral lesson, or general truth.


Paradox: a statement apparently self-contradictory or absurd but really containing a possible truth; an opinion contrary to generally accepted ideas.


Parallelism: the principle in sentence structure that states elements of equal function should have equal form.


Parody: an imitation of mimicking of a composition or of the style of a well-known artist.


Pathos: the ability in literature to call forth feelings of pity, compassion, and/or sadness.


Pedantry: a display of learning for its own sake.


Personification: a figure of speech attributing human qualities to inanimate objects or abstract ideas.


Plot: a plan or scheme to accomplish a purpose.


Poignant: eliciting sorrow or sentiment.


Point of View: the attitude unifying any oral or written argumentation; in description, the physical point from which the observer views what he is describing.


Postmodernism: literature characterized by experimentation, irony, nontraditional forms, multiple meanings, playfulness and a blurred boundary between real and imaginary.


Prose: the ordinary form of spoken and written language; language that does not have a regular rhyme pattern.


Protagonist: the central character in a work of fiction; opposes antagonist.


Pun: play on words; the humorous use of a word emphasizing different meanings or applications.


Purpose: the intended result wished by an author.


Realism: writing about the ordinary aspects of life in a straightfoward manner to reflect life as it actually is.


Refrain: a phrase or verse recurring at intervals in a poem or song; chorus.


Requiem: any chant, dirge, hymn, or musical service for the dead.


Resolution: point in a literary work at which the chief dramatic complication is worked out; denouement.


Restatement: idea repeated for emphasis.


Rhetoric: use of language, both written and verbal in order to persuade.


Rhetorical Question: question suggesting its own answer or not requiring an answer; used in argument or persuasion.

Dicken's Group LAQ's

Literary Analysis: Great Expectation

1. Great Expectations by Charles Dickens, is his thirteenth novel which is a blidungsroman, or a coming of age novel. Pip, an orphan who is about six years old, encounters an escaped convict in the village churchyard while visiting the graves of his mother, father, and siblings. The convict scares Pip into stealing food and a file to grind away his shackles from the home he shares with his abusive older sister and her kind, passive husband Joe Gargery, a blacksmith. The next day, soldiers recapture the convict while he is engaged in a fight with another convict; the two are returned to the prison ships they escaped from. He is unclear with his thoughts about a father, he is always testing and questioning the men around him and trying to pull ideas of what a father would or should be like. There is Joe, who is emotional and kind, wanting a emotional relationship amongst people and then there is Jagger, who is all about the profits and making more money than others, he cares to be wealthy and high class in society. Jagger is described as an over powering animal who Pip wants to avoid becoming, but at the same time, it is a great possibility that Jagger is a reflection of what Pip can and may become. His feelings and heart is torn by Estella who is adopted by Mrs. Havisham, who has trained her into destroying men. She has lost the ability to love and care, later on asking for Pip's forgiveness (eleven years later, aat the end of the novel) after the death of her absuvise husband's death.

2. Themes
Notions of and obsession with society and class lead the protagonist of Great Expectations into self-destruction and a loss of dignity. In the world of this novel, society is divided among class lines, creating impenetrable barriers between social classes. When characters attempt to break through these barriers, they only find loneliness and loss. Society is both exalted as a productive and efficient means of organizing human chaos and it is revealed to be internally rotten.

Those characters in Great Expectations who dream the most, hope the most, and plan the most are ultimately wounded by their dreams, hopes, and plans. Likewise, when characters realize their dreams, they do not find the happiness that they expected. Characters use their dreams, hopes, and plans to erase or undo the past.Great Expectations is a novel about the loss and rediscovery of innocence. Innocence is lost when it is introduced to society and to a societal value system. This encounter establishes a habit of self-consciousness and self-absorption within in the protagonist leading to his ultimate denial of his identity. Innocence is understood as the human state of being unaware of any other values than one’s own and it is characterized by a solid sense of identity.

In Dickens's Great Expectations, love is closely tied to destruction, and it is the protagonist’s guiding light and reason for living. Love is defined and portrayed in many different ways: as romance, narcissistic love, filial love, infatuation, obsession, and unconditional love. Love both blinds the protagonist and sets him free. Love is closely tied to appearances, and, therefore, to deception

Friendship is closely tied to loyalty and is tested often in Great Expectations. Friendship is not found to be indestructible and immune to human folly. Friendship quietly and gradually disintegrates when wealth and social are introduced. Characters who are obsessed with their future often forget the past and the relationships that dwelt there. Loss of friendship and betrayal wounds the protagonist.

3.
 "I had heard of Miss Havisham up town – everybody for miles round, had heard of Miss Havisham up town – as an immensely rich and grim lady who lived in a large and dismal house barricaded against robbers, and who led a life of seclusion."
     -Pip’s hometown is socially stratified. He lives in the "village," and Miss Havisham lives "up town." Apart from reminding us of a certain Billy Joel song, this delineation between the wealthy and working class in Kent is palpable and is reinforced by the gate that guards Miss Havisham’s decaying riches. Early on, we see how great privilege is closely linked to loneliness.

"I wished Joe had been rather more genteelly brought up, and then I should have been so too."
     -Pip takes all his cues from Joe. He learns how to interact with the world through his brother-in-law. Here, we see Pip focused on what the he lacks rather than what he has. His introduction to "society" makes him fully aware of the absence of things. Pip wants to belong to Miss Havisham’s world, but he does not have the key to unlock it.

"Whenever I watched the vessels standing out to sea with their white sails spread, I somehow thought of Miss Havisham and Estella; and whenever the light struck aslant, afar off, upon a cloud or sail or green hill-side or water-line, it was just the same. Miss Havisham and Estella and the strange house and the strange life appeared to have something to do with everything that was picturesque. "
     -The horizon in Great Expectations is often tied to the concept of dreams, hopes, and plans. Sometimes, Pip looks out onto the marshes and sees nothing but low, flat, wet land that leads to nothing. However, whenever the horizon is populated by sails or other things, Pip instantly feels closer to his dreams. His fear is having nothing on the horizon, nothing to live for, and nothing upon which to hang his hopes. The marsh land is almost like a mirror of Pip’s mind.

"She had adopted Estella, she had as good as adopted me, and it could not fail to be her intention to bring us together. She reserved it for me to restore the desolate house, admit the sunshine into the dark rooms, set the clocks a going and the cold hearths a blazing, tear down the cobwebs, destroy the vermin – in short, do all the shining deeds of the young Knight of romance, and marry the Princess"
     -Pip’s dreams seem to be made of images, actions, and theatrical elements rather than emotions or substantive encounters. Instead of being able to imagine a real moment of happiness and understanding with Estella, Pip imagines dramatically and magically curing Satis House. It’s all very Beauty and the Beast.

"But if you think as Money can make compensation to me for the loss of the little child – what come to the forge – and ever the best of friends! –"
     -Jaggers, who is used to London society, assumes that all humans are greedy and are hungry for money. Joe defies this assumption and is later angered by it. Jaggers seems unaware that relationships exist that are stronger than money. He deals with a corrupt society daily.

"Well," said he, "I believe you. You'd be but a fierce young hound indeed, if at your time of life you could help to hunt a wretched warmint, hunted as near death and dunghill as this poor wretched warmint is!"
     -Six year-old Pip is completely truthful and honest. Here we see the sharp contrast between innocent youth and the corrupt criminal. Pip loses a bit of this innocence, however, by feeding the convict and by supplying him with a file. He becomes an accessory to the convict’s crime, and this evening stays with Pip forevermore, causing him huge guilt at having to rob his sister and lie to Joe.

"The unqualified truth is, that when I loved Estella with the love of a man, I loved her simply because I found her irresistible. Once for all; I knew to my sorrow, often and often, if not always, that I loved her against reason, against promise, against peace, against hope, against happiness, against all discouragement that could be. Once for all; I loved her nonetheless because I knew it, and it had no more influence in restraining me, than if I had devoutly believed her to be human perfection."
     -So, Pip is not necessarily in love with Estella, but he may just be in lust with Estella? He sees her faults clear as day, but he has not power over this love/list. Even though loving Estella promises sadness, destruction, and pain, Pip cannot help but be drawn to her. She’s like a Siren from Homer’s Odyssey. She’s impossible to resist, and there’s something a little out of the ordinary or fantastical about the strength of her power over Pip.

4. Characters
- Philip Pirrip, nicknamed Pip, an orphan and the protagonist and narrator of Great Expectations. Throughout his childhood, Pip dreamed of becoming a blacksmith. As a result of Magwitch's anonymous patronage, Pip travels to London and becomes a gentleman. Pip assumes his benefactor is Miss Havisham, and discovering that his true benefactor is a convict shocks him.
-Joe Gargery, Pip's brother-in-law, and his first father figure. He is a blacksmith who is always kind to Pip and the only person with whom Pip is always honest. Joe is very disappointed when Pip decided to leave his home and travel to London to become a gentleman rather than be a blacksmith
-Mrs. Joe Gargery, Pip's hot-tempered adult sister, who raises him after their parents' death but constantly complains of the burden of raising Pip. Orlick, her husband's journeyman, attacks her, and she is left disabled until her death.
-Miss Havisham, wealthy spinster who takes Pip on as a companion and who Pip suspects is his benefactor. Miss Havisham does not deny this as it fits into her own spiteful plans that derive from her desire for revenge after being jilted at the altar several years before. She later apologises to Pip as she is overtaken by guilt. He accepts her apology, and she is badly burnt when her wedding dress, which she has never taken off since her jilting, catches fire when she sits too close to the fireplace. Pip saves her, but she later dies from her injuries.
-Estella, Miss Havisham's adopted daughter, whom Pip pursues throughout the novel. She does not know that she is the daughter of Molly, Jaggers's housekeeper, and Abel Magwitch, Pip's convict. Estella was given up for adoption to Miss Havisham after her mother, Molly, is tried for murder. Estella represents the life of wealth and culture for which Pip strives. Since Miss Havisham ruined Estella's ability to love, Estella cannot return Pip's passion. She warns Pip of this repeatedly, but he will not or cannot believe her.
-Jaggers, prominent London lawyer who represents the interests of diverse clients, both criminal and civil. He represents Pip's benefactor and Miss Havisham as well. By the end of the story, his law practice links many of the characters.

Literature Analysis #6

Literature Analysis: The Great Gatsby

 1.  The plot involves a mysterious man named Gatsby.  He  is known by many, but personally known by few.  Gatsby throws lavish, grand parties frequently.  He does this in order to impress an old love named Daisy, and try to get her back.  When an opportunity arises to get her back, Gatsby jumps on it and they rekindle their love.  However, Gatsby's pursuits eventually end in his murder.

2.  The theme of the novel is love.  All of Gatsby's actions were driven by love.  For example, he threw parties, went out of his way to meet up, and took the blame for a hit and run to win Daisy's love.  Love is the reason why Gatsby was living in the past, and couldn't look to his future. Ironically, love is also what ended his life. 

3. The author's tone is solemn. Examples include when Tom breaks his mistress' nose when she disrespects him, when Gatsby is shot dead in his pool, and when Myrtle is run over.  The book consists of tense, serious scenes.  There is almost no humor or happy experiences in the novel. 

4. Five literary elements/techniques that helped my understanding of the theme/tone were imagery, characterization, setting, symbolism, and diction.  An excerpt of symbolism is the green light on Daisy's dock. "A single green light, minute and faraway, that might have been the end of a dock."  It represents the hopefulness and longing for love.  Although Gatsby cannot reach it, it is always there- just like his devotion for Daisy. An example of setting was East Egg and West Egg.  The two both represented wealth, but it also demonstrated that Daisy and Gatsby were disparate; they had grown apart.  An instance of imagery is the valley of ashes.  "This is a valley of ashes--a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens; where ashes take the forms of houses and chimneys and rising smoke and, finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air. Occasionally a line of gray cars crawls along an invisible track, gives out a ghastly creak, and comes to rest, and immediately the ash-gray men swarm up with leaden spades and stir up an impenetrable cloud, which screens their obscure operations from your sight."  This quote uses vivid imagery for the reader to visualize.

Lit Terms 31-56

Dialect: the language of a particular district, class, or group of persons; the sounds , grammar, and diction employed by people distinguished from others.

Dialectics: formal debates usually over the nature of truth.

Dichotomy: split or break between two opposing things.

Diction: the style of speaking or writing as reflected in the choice and use of words.

Didactic: having to do with the transmission of information; education.

Dogmatic: rigid beliefs and principles.

Elegy: a mournful, melancholy poem, especially a funeral song or lament for the dead, sometimes contains general reflections on death, often with a rural or pastoral setting.

Epic: a long narrative poem unified be a hero who reflects the customs, morals, and aspirations of his nation of race as he makes his way through legendary and historic exploits, usually over a long period of time (definition bordering on circumlocution).

Epigram: witty aphorism.

Epitaph: any brief inscription in prose or verse on a tombstone; a short formal poem of commemoration often a credo written by the person who wishes it to be on his tombstone.

Epithet: a short, descriptive name or phrase that may insult someone's character, characteristics.

Euphemism: the use of indirect, mild or vague word or expression for one though to be coarse, offensive, or blunt.

Evocative (evocation): a calling forth of memories and sensation; the suggestion or production through artistry and imagination of a sense of reality.

Exposition: the beginning of a story that sets forth facts, ideas and/or characters, in a detailed explanation.

Expressionism: movement in art, literature, and music consisting of unrealistic representation of an inner idea or feeling.

Fable: a short, simple story, usually with animals as characters, designed to teach a moral truth.

Fallacy: a false or misleading notion, belief, or argument; any kind of erroneous reasoning that makes arguments unsound.

Falling Action: part of the narrative or drama after the climax.

Farce: a boisterous comedy involving ludicrous action and dialogue.

Figurative Language: apt and imaginative language characterized by figures of speech.

Flashback: a narrative device that flashes back to prior events.

Foil: a person that, by contrast, makes another seem better or more prominent.

Folk Tale: a story passed on by word of mouth.

Foreshadowing: in fiction and drama, a device to prepare the reader for the outcome of the action; "planning" to make the outcome convincing, though not to give it away.

Free Verse: verse without conventional metrical pattern, with irregular pattern or no rhyme.