Lague 1 Writing about Literature The type of pape.docx

Lague 1
Writing about Literature
The type of papers you will write and how to write them
For this course, you will be writing literary analysis as formal
essays for the midterm and
final exams. They are persuasive in nature. According to
William Whitla in his book The English
Handbook: A Guide to Literary Studies, a persuasive essay
“attempts to persuade a reader that
the position you are defending is valid . . . . Your case will
depend on your evidence, and how
you marshal it for your purposes (88). The evidence used in
literary analysis consists of
quotations from the text(s) that support your assertion (thesis)
and your interpretation of those
quotations. The biggest difference between what I am
describing here and a “research paper” is
that you do not need to do outside research to support your

ideas. All the evidence you need is
embedded in the author’s work. Of course, that means you have
to read closely and think
carefully about what the author writes in the text(s), but that is
part of the study of
literature. Also, the text(s) really are sources for your paper;
therefore, you must document every
quotation. This is also true for paraphrases of action and speech
in the text(s). In this course, you
must use MLA documentation guidelines. This includes both in-
text notations and a Works Cited
page. (Note: This document illustrates the use of introductory
signals and in-text notations,
also called parenthetical citations, for all paraphrases and
quotations and includes a Works Cited
page, all following MLA guidelines.)
When you receive an assignment, Whitla writes that you must
first “separate [the] subject
matter from the formal requirement” (89), like the number of
texts/authors your must cover than
the length of the paper. You need to satisfy all the formal
requirements of the assignment to earn

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your best grade. Then, you have to consider the subject matter
of the assignment. Whitla
explains, “Many assignments state or assume an abstract
concept, a theme, a mode of character
analysis, or state a position, and then ask you to apply that
concept to a limited number of texts .
In many cases, it is clear that . . . the principle is really not
open to question” (90). At other
times, you may be allowed to choose your own subject matter.
Finally, you need to look at what
the assignment says about the subject matter, looking for key
words that explain how you need to
address them. Here is an example from a possible Shakespeare
module in this course.
Writing Prompt:
Whether Shakespeare’s sonnets are addressed to the dark lady
or the young man,
themes of beauty and love run deeply through all of them. This
statement is true
in both those sonnets that follow a more traditional approach
and those challenge
the traditional conventions of sonnet-making. Write a 300-word

essay, posted in
the appropriate discussion forum, that discusses how
Shakespeare develops one of
these themes throughout one of the sonnets you have read for
the class. Post your
work as a “new post”; then, write a 100 word “reply” to one
other student’s work.
Notice the formal requirements about length and the number of
texts to include in your “new
post” essay. Also, notice that a second, shorter “reply”
assignment is required to get full credit.
Then, look at subject matter. Two themes are pointed out at the
beginning of the prompt. These
are two from which you are allowed to choose. The prompt also
states that you must develop
your choice of theme “throughout” the sonnet you choose. In
other words, quoting one or two
lines is not sufficient.
As you write, keep in mind the basic requirements for an
academic essay. At the
beginning of your introduction, identify the full name(s) and
title(s) that you will cover in your

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essay. Make sure for format the text(s) title correctly. Since you
are writing a short essay, you
need a thesis statement in your introduction, as Whitla states,
one that is clearly stated,
unambiguous, and tightly focused on one idea (102). It should
be stated in one, concise sentence.
The thesis should be at the end, not the beginning, of your
introduction.
Whitla also says that a thesis has to be defended (102). This is
where the body of the
essay comes in. It should point to several lines that support your
thesis and explain how they
help Shakespeare develop the theme you are discussing. Use
“short quotations” of four or few
lines. For longer quotations, paraphrase or summarize (write it
without looking in your book to
make sure that you really are using your own words then check
it against the text for accuracy),
not forgetting to provide documentation. However, avoid the
temptation to paraphrase or
summarize everything because it is the quotations that provide
your strongest evidence. Use as

many quotations as are appropriate to your chosen theme and/or
as many as you can fit into the
body of an essay of the length required. For a paper, make every
attempt to take the whole work
into consideration because meaning can change drastically,
especially in a sonnet. A reading
journal for a longer work can be more selective.
There are a few things to keep in mind as you write out your
support. First, organize the
quotations and paraphrases you use into chronological order,
which is easier for the reader to
follow. Always introduce (introductory signals) all of them.
Your introductory signals should
be phrases, not sentences (they tend to result in run-ons), and
normally, but not always, include
the author’s name. Then, after presenting a quotation or
paraphrase, interpret (explain) it;
quotations and paraphrases are facts, and facts do not explain
themselves. They are illustrations
that support the position you have taken in your thesis.
However, they are not a substitute for
explaining your own point of view. Whitla suggests explaining
“how and why you are using

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them and what you conclude from them” (108). By extension,
quotations and paraphrase are not
effective when placed at the ends of paragraphs. Comment on
the material you have borrowed
from the text before going on to your next point.
Your conclusion should be what Whitla calls “emphatic and
confident, not apologetic”
(107). Avoid the additional temptations, to simply repeat
everything you already wrote in the
essay or to add new support that really should be developed in
the body of the essay. Remember,
you are trying to persuade your reader to accept the truth of
your thesis, in this case trying to
show your professor that you understand the sonnet.
An easy way to plan a literary analysis is to begin with a
temporary assertion proposal.
My textbook, Formulas for Composition, explains this proposal
as a planning chart used to
match data (quotations) from the text(s) with interpretation
(Lague 105-108). It is very easy to
create such a chart. Start by writing your thesis at the top of the

page; then, divide the remainder
of the page into two columns. Microsoft Word’s tables works
well. In the left hand column, write
out the quotations and paraphrases with their in-text notations
you plan to use in chronological
order. In the right column, directly across from each quotation
or paraphrase, write out a note to
yourself concerning what you would like to say to interpret it.
Keep the quotations and
paraphrases lined up with their interpretations so that there will
be no confusion as you write.
Once you have the chart complete, you can follow it to write
your essay. As you add a quotation
or paraphrase to the paper, follow it with the interpretation you
planned. Work through your
whole chart, not forgetting to add a conclusion to your paper.
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Works Cited

Lague, Victoria. Formulas for Composition. 3rd ed. Dubuque,
IA: Kendall Hunt, 2009. Print.
Whitla, William. The English Handbook: A Guide to Literary
Studies. Chichester,
United Kingdom: Whiley-Blackwell, 2010. Print.
Lague 1
Sample Discussion Posts for Discussion 1 and the Mini-Essays
Discussion 1:
For Discussion 1, your initial post to the discussion should be
an independent paragraph, about
150 to 200 words long. Start with a sentence that explains what
the paragraph is about. Support
that sentence in the body of the paragraph, and end with a
concluding sentence that wraps up the
paragraph. Make sure you write about what the discussion
requires.
Discussion question:
After you have read through the material and links on this page,
go to Discussion 1:

Literary Analysis. Your assignment is to post your ideas about
what you have read, what
you understand and don't understand. Post a question. Answer a
question. Whatever it
takes to make sure you understand the idea of a literary
analysis. You need to get a
conversation going about the material in this module. You may
need to come back to the
discussion more than one time, spend time reading through what
other students have
posted, and respond to what you have read.
Sample Post (257 words):
All the material included in sections “Elements of Literature”
and “Writing about
Literature” was very helpful and interesting to me. Since I love
everything that has to do
literature, I fell in love with all the information provided. As I
was reading “Elements of
Literature,” I found some terms that I was already familiar with;
however, many others
were totally new for me. Even though I like reading novel and
short stories so much, I did
not know the appropriate terminology that is used to talk
effectively about what I’ve

read. For instance, I learned the meaning of the term “plot”
which is kind of the
backbone of novels and short stories. It was interesting how the
plot in a story can be
graphed to follow the action in a story or novel. I suppose
play’s plot works in the same
way. Using the appropriate language is very important
especially when it comes to
writing about literature and trying to get our ideas across to
someone else in the class or
to the professor. The part that shows the proper way of writing
an essay in “Writing about
Literature” was very helpful to me, especially the part about
how to support the thesis
with quotations because my big mistake is that I tend to
paraphrase rather than quote the
author’s work. Writing is something that becomes kind of hard
to me because English is
not my first language. However, all the information provided in
the module it is going to
help me out while writing about literature.

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Remaining Discussions:
The discussions that remain in the course begin with a Mini-
Essay about 300 words long. They
require what any essay requires, an introductory paragraph with
a thesis statement, supporting
body paragraphs, and a conclusion. For the Mini-Essay, a short
introduction with a thesis, one
supporting body paragraph, and a short conclusion.
Your Mini-Essay should answer the discussion question that is
posed for the assignment. You
should think of it as short version of a literary analysis that
will allow you to practice what you
have learned in this module and express your opinion about the
literature in question. Here’s a
sample for a discussion question that asks students to discuss
the issue of power in the poem
“Ozymandias” by Percy Bysshe Shelley. Notice that it has three
paragraphs (introduction,
supporting body paragraph and conclusion), that the thesis is at
the end of the introduction, and

that the quotations are followed by parenthetical citations
giving the line number(s) for each
quotation.
Sample Literary Analysis Mini-Essay:
Powerful people sometimes forget that all people, rich and poor,
powerful and powerless,
eventually come to the same end. It’s a good idea for anyone to
keep in mind. If people
want to leave a legacy after the are gone, they should choose
one that lasts. Power is
fleeting, though, and Percy Bysshe Shelley’s poem,
“Ozymandias,” expresses that idea.
The poem’s speaker relates an account told to him by “a traveler
from an antique land”
(1). He has no direct knowledge of the image he is about to
relate, but the story has
caught his imagination enough to pass it. As he tells the
traveler’s story word for word,
describing the remains of an ancient Egyptian stature that has
been reduced to rubble. He
describes “Two vast and trunkless legs of stone [that] / Stand
in the desert. Near them on
the sand, / Half sunk, a shattered visage lies” (2-4), the
“wrinkled lip and sneer of cold

command” (5) still visible on the face. The speaker than brings
the original sculptor
through the inscription on the pedestal. In reality, the
inscription was probably
commanded by Ozymandias himself, the man whose “passions”
(6) and mocking hand
and heart (7) were captured by the sculptor’s art. His inscription
is meant as a warning to
anyone who would have challenged Ozymandias. It reads, “My
name is Ozymandias,
King of Kings: / Look on my works, ye mighty, and despair!”
(10-11). Immediately
afterwards, the poem’s readers are brought back thousands of
years to the present when
the poem returns abruptly to the speaker who proclaims that
nothing remains of the statue
(12) and goes on to describe the desert surroundings. Nothing is
left of Ozymandias or his
great kingdom.
By the end of the poem, the symbol of Ozymandias’ power has
returned to the desert, just
like Ozymandias himself. Therefore, the readers of the poem are
left to consider the

fleeting nature of power.
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The numbers that belong in the MLA parenthetical citations
depend on what type of literary
work you are analyzing. Here are the requirements:
Literary Work Default MLA Parenthetical Citation
Prose (novels, novellas, short stories) Page numbers
For example, page 7: (7)
Short Poem Line numbers
For example, line 3: (3)
For example, lines 3 through 5: (3-5)
Poem separated into numbered sections Section and line
numbers
For example, section 1, line 12 (1.12)
Play Act, scene, and line numbers; if lines
numbers are not give, provide act and scene
numbers.
For example, act 1, scene 6, line 5 (1.6.5)

For example, act 1, scene 8: (1.8)
Prose on a website Paragraph numbers (You will have to count
the paragraphs. The first time you provide a
citation, show that paragraphs numbers are
being use.
For example, paragraph 4: (para. 4)
Lague 1
Elements of Literature
Glossary of Literary Terms
When you study literature, like any other discipline, you should
become familiar with the terminology that is used. There are
more
terms than those listed below, but this list is a good place to
start. You can always learn more terms as the semester
progresses.
Alliteration:

Alliteration is a poetic method of repeating the first consonant
sounds in a line of poetry.
Assonance:
Assonance is a poetic method that relies on close repetition of
vowel sounds to create rhymes. The rhymes may seem to be just
a little off,
not quite what one might expect. For example, vowels sounds
are sometimes close, but not identical, like love and prove.
Audience:
This is the reader. Unlike the audience for a TV program, the
audience for fiction must be engaged. That means the person
reading the
story, novel, play or poem, has to work a bit to get everything
out of the literature that the creator put in to it.
Character:
The protagonist is the character at the center of the story, the
main character; sometimes called the “hero” or “heroine,” the
protagonist
does not necessarily act in a “heroic” manner. Sometimes, there
is a major character that works against the interests of the
protagonist
whether he/she realized it or not. This character is called an
antagonist. Sometimes, the protagonist meets his or her match
in the
antagonist.

Major characters are those characters about which the audience
learns the most and comes to care about the most while minor
characters are less central to the story than major characters..
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Round characters are very clearly individuals. They seem like
real people. The audience gets to know a lot about them because
they
express a full range of human emotions and are firmly placed in
the community. On the other hand, flat characters can be
somewhat lost
in the background, needing to be in the story, but not a main
part of it.
A dynamic character is one that changes during the course of
the story because of what he or she experiences in it. A flat
character does
not change through the course of the story. He or she is the
same kind of person at the end of the story as he or she is at the
beginning.
Dramatic elements:
Dramatic elements are those elements that apply to plays.
Reading a play is somewhat artificial because plays are merely
scripts of

dialogue whose true meaning does not come alive until the play
is performed before a life audience.
The dramatis personae is a list of characters in the play. The
terms for “character” apply here. There are no narrators in
drama, unlike
other fictional forms.
An act is a large division in a play made up of “scenes.” They
function like chapter breaks in a book. The number of acts and
scenes
varies from one-act plays to plays with several acts. Usually,
the text of the play also applies numbers to the lines of the play
(not the
sentences or paragraphs).
Dialogue is the term given to the words characters speak to each
other. A soliloquy is a speech by one character given alone on
the stage
that gives the character’s innermost thoughts to the audience.
An aside is a brief comment by one character, supposedly
muttered so that
the other characters on stage do not hear it. Only the audience
hears the aside. Like the soliloquy, an aside tells the audience
what the
character is really thinking.
Stage directions are the playwright’s directions about
motivation, gesturing, tone of voice, costuming and setting.

The stage set is composed of all the props (structures and items)
that indicate where and when the action takes place. Therefore,
the stage
set supplies the setting for the play.
Foreshadowing:
Foreshadowing is something that happens or something that is
said, either by the narrator in prose fiction or a character, that
gives a hint
about what is to come later in the story. In using foreshadowing,
the writer does not undermine any suspense he or she is
building into the
story. Instead, the elements of foreshadowing may only be clear
when the story ends or when it is read a second time. The more
literary
fiction you read, the more likely you will be to be able pick out
foreshadowing the first time you see it.
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Fictional Genre:
Genres pertain to distinctive types of literature. There are many
types of genre fiction. Children’s fiction, fantasy, horror,
mystery,
romance, science fiction, detective stories, thrillers, westerns,
and young adult are the major fiction genres. Each of these

genres include
elements that are specific to the genre. For example, in a
children’s novel, the main character is always a child or at least
a character that a
child can relate to, the themes are aimed at children, and the
vocabulary and sentence structure or aimed at a very young
reader.
Irony:
Verbal irony is at work when the words literally mean the
opposite of what the speaker really means. One type of irony is
“understatement,” which deliberately diminishing the response
of an idea to an extreme degree. “Hyperbole” is the opposite of
“understatement.” It is a gross exaggeration of the truth.
Dramatic irony occurs in plays (and sometimes in other forms)
when the audience knows something a character does not know.
Metaphor:
A metaphor is a type of figurative (rather than literal) language
that is used to imply a comparison between one thing and
another. A
simile is a type of metaphor that is recognized by the use of the
words “as” or “like.” They are part of the visual/figurative
imagery of
prose or poetry.
Meter:

Meter is the rhythm of the language used in poetry. Sometimes
the rhythm is broken within a line of poetry; this break is called
a caesura.
There are many types of rhythmical patterns:
The iamb is the natural rhythm of the everyday speech of
English. It is defined as one “unstressed” syllable followed by
one “stressed”
syllable, which is called a foot. For example, the word “hotel”
has a first unstressed syllable (ho) and a final stressed syllable
(tel) where
the voice stresses that last syllable over the first one as the
word is spoken. Lines of poetry that used “iambs” are defined
by the number of
“iambs” they contain. Common forms are iambic trimester
(three iambs), iambic tetrameter (four iambs), and iambic
pentameter (five
iambs), which is the form that Shakespeare used. Varying the
meter helps to create interest as conforming to closely to a
certain meter for
too long in a poem quickly becomes boring to the audience.
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Narrator:
The narrator is the person who provides additional information

about what is happening in fiction or what the characters are
thinking.
There are several varieties of narrator that an author may create.
The narrator is not usually considered to be a character, but a
kind of
speaker who tells the story. The audience should not assume
that the narrator and the author are the same person. That does
not happen in
fiction.
The limited-omniscient narrator seems to know everything, but
is limited in some way. He or she may know all about only one
of some
of the characters, giving that character’s point of view about a
situation and that character’s prejudices.
The omniscient narrator is one that is completely reliable. The
audience can believe everything he or she says because the
omniscient
narrator knows everything about all the characters.
A first person narrator is one who tells his or her story from the
first person point of view (I/me/my). He or she is an active
participant in
the actions of the story and interacts with the other characters.
This is the only time a narrator can also be considered as a
character. Like
everyone, the first-person narrator is limited by his or her
personal experience, beliefs and values. The reader must always

keep in mind
that a first person narrator is always telling the story from his or
her own perspective and may not know everything that is going
on the the
story.
The third-person narrator is either an omniscient or limited
omniscient narrator who speaks in an objective manner (never
using
I/me/my). The characters are referred to as “he,” “she,” or
“they.” The narrator, therefore, is outside the story, not a part
of the action.
An unreliable narrator is one that the audience cannot trust for
some reason. The fact that the narrator is not reliable may be
withheld
from the reader until the end of the story and he or she could
turn out to be prejudiced or even insane! Part of the work the
audience needs
to do is figure out how much of the narrator’s information is
accurate.
Paradox:
Paradox literally means “beyond what is thought” and indicates
that two contradictory ideas are considered equally believable.
One
example is the “oxymoron,” which is a word or phrase that
contains its opposite within itself.

Personification:
Personification occurs when human characteristics are applied
to something that is not alive. It works best in short works, and
is usually
found in poetry.
Lague 5
Plot:
The plot is what happens in the story. Keep that work “what” in
mind. The plot is composed of the events that happen to the
characters
and what the characters do in the story. The main plot, then, is
what holds most of the audience’s interest. A subplot also tells
what
happens in the story, but it is less important than the main plot.
Subplots are usually about minor characters. The longer the
work of
literature, the more subplots there may be.
There are several elements that feed into the plot of a story:
Stories depend on an emotional, physical, or social problem;
there are
conflicts between characters or within a character’s mind (an
internal conflict). The chronology of the story is the time
sequence of

events. Sometimes, writers disrupt their chronology with
flashbacks that explain events prior to the opening of the story,
or they sometime
use foreshadowing to look ahead.
The plot in prose fiction (novels, novellas, short stories) follow
a certain structure:
The exposition conveys information at the beginning of a story.
It introduces the
characters and places the story in a setting of time and place. In
other words, it gets
the story going.
The rising action begins where the story starts to get
complicated. Conflicts arise
that move the story forward. Obstacles are placed in the way of
the characters.
Sometimes, conflicts are resolved or thought to be resolves only
for new conflicts to
arise. Rising action, as shown in the image to the left, makes up
most of the story.
The climax of a story is the point at which everything must
change. It marks a
turning point in the story. Things may get better or worse, but
they definitely change. The climax is the most dramatic point in
the story.

Falling action occurs after the climax as the plot starts to wind
down to the end of the story. The story is still moving forward,
but the
reader knows the end is near.
The resolution, or dénouement, is the point at which the
conflict in the story disappears; the problem is solved. Usually
this happens at
or near the end of the story. However, sometimes there is a false
resolution earlier in the story. It seems as if the conflict has
disappeared
in a certain way, but as the reader continues, he or she learns
that the conflict truly disappears in a completely different way
at the end of
the story.
Poetic genres:
Genres pertain to distinctive types of literature. There are
several poetic genres. Here are a few of them. A ballad is a long
singing poem
that tells a story (usually of love or adventure), written in
quatrains (four lines). This is called “narrative form” because it
tells a story.
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Blank verse is an unrhymed iambic pentameter line, which so
often what Shakespeare used in his plays. Free verse has no
regular rhythm
other than the natural rhythm of the language.
Point of view:
Point of view in literature is what the narrator (or the “speaker”
in a poem) sees or tells the audience. As you read, you should
notice your
own impression of the narrator (or speaker) at the beginning and
whether or not (and why) your impression changes as your
reading
progresses.
Prose fiction:
Prose fiction is composed of short stories, novellas, and novels.
A novel is longer than 150 pages. Unlike the short story, it is
meant to be
read over several. There tend to be more characters with the
minor characters being fully developed with life histories and
“inner lives” of
their own. They interact with each other, creating social
conflicts. The novels tend to comment on social issues. The
novel has the space to
contain a whole world and a lifetime. The novella is a long
short story or a short novel that is anywhere from 75 to 150
pages. A short

story does not usually exceed 75 pages. It is meant to be read in
one sitting. It is closer to poetry than to the novel in that they
both rely on
the intensity of the emotional effect. A short story restricts
itself to one or two settings and only a handful of characters. It
emphasizes one
dramatic event and the characters’ actions to it, often with one
event and one character’s reaction to it. Therefore, the short
story tends to
be psychological.
Prosody:
Prosody is an understanding of the poems poetic language and
structure. The language tends to communicate the ideas
expressed in the
poem is a less direct manner than prose. Meaning is derived
both from the denotation of words (their literal meaning) and
the
connotation of words (the emotional meanings the words convey
in their context in the literary text). A good reader pays
attention to
both. Figurative language is also important. Metaphors may be
used liberally, or the whole poem may be an extended metaphor.
Prosody also includes symbols.
Rhyme schemes:
The rhyme scheme is the rhyming pattern of a poem.

Alliteration is a poetic form that repeats initial consonant
sounds while assonance
is a rhyme based solely on the repetition of vowels sounds.
Vowels sounds are sometimes close, but not identical, like love
and prove.
End rhyme occurs at the end of a line. Slant rhyme describes
words that almost rhyme, like bush and brush.
Satire:
Satire is an indirect attack at someone or something.
Occasionally, the attack is so indirect that a person being
satirized might not even
recognize him or herself in the satire. Be careful not to confuse
this term with irony.
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Setting:
The setting is the impression of place and time that is described
in the story and is given in the story’s exposition. It can affect
the
atmosphere or mood of the story and is meant to evoke an
emotional response from the audience. It can also be used to
foreshadow later
events. Physical setting is made up of the physical places where
the plot unfolds. Temporal setting is the time in which the

events occur.
A cultural setting is one that contains a set of beliefs and
values. These will change with the physical/temporal setting
and with the
characters. They are not necessarily beliefs and values that the
author holds or that he or she expects the audience to accept as
their own,
but they are beliefs and values that are logical and natural with
the physical/temporal setting of the story.
Sonnet:
A sonnet is a one-stanza poem of fourteen lines. There are three
types of sonnets: Italian (or Petrarchan), Spenserian and
Shakespearean.
For the purposes of this course, the Shakespearean sonnet is the
most important of the two as he wrote some of the most famous
sonnets in
the English language. Usually, the Shakespearean sonnet is
composed of four divisions within the poem, three quatrains
(three sets of
four lines each; lines 1-12), with each quatrain having its own
rhyme scheme, and a rhymed couplet (lines 13-14) with end
rhyme (line
of poetry whose last words rhyme). The couplet at the end is
usually a commentary on what came earlier in the poem, and the
meaning of
the sonnet can be completely changed by that couplet.

Speaker:
Speaker is the term used for the narrator of a poem. Ordinarily,
you should not confuse the speaker with the poet. However,
sometimes
the speaker of the poem seems to be the poet speaking about
him or herself. Often, though, what seems to be the poet
speaking about him
or herself is really the poet creating a speaker who merely
speaks using the poet’s beliefs, anxieties, values, etc. Some
speakers may reveal
a lot about themselves; others are less visible, not seeming to
reveal themselves at all. The concept of a first- or third-person
speaker, as it
is discussed under narrator can apply to poetry as well a prose.
Stanza:
A stanza is one section of a poem. Stanzas are separated from
each other by white space on the page. Each stanza usually one
idea or
image.
Symbol:
Symbols are elements in prose or the imagery of poems that
represent something other than the obvious. In that way, they
are like the
denotation and connotation of words (as explain in prosody):

They indicate some literal object or concept, but also have a
deeper meaning
that adds to the meaning of the story, play, or poem.
Lague 8
Theme:
The theme is the basic idea behind the story. It is something
special that the author wants to say, some message he or she
wants to express
to the audience through the plot and characters. Sometimes, the
theme of a story is not obvious, and the audience has to work a
bit (think!)
to figure it out.
Tone:
Tone is developed by the diction (word choices) used by the
author. It indicates the solemnity, playfulness, or teasing
quality of the
writing. In poetry, meter and rhyme contribute to tone.

Lague 1 Writing about Literature The type of pape.docx

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