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| 6745294126 | Ned's Advice: Multiple Choice | - For multiple choice, don't simply ask which is better, but which has a flaw - Be skeptical of extreme words of "Unique, only, never, most" - Find their proof. It's always in the lines, not between them. Once you have found that write your own answer first, then see which choice matches your selection best | 0 | |
| 6745303164 | Ned's Advice: Poem's | Read it once, then look at the main idea question, then reread the passage to get what it is saying metaphorically | 1 | |
| 6745305340 | Ned's Advice: Essay's 1 and 2 | For the essays, spend 10-15 minutes listing off as many examples as you can of imagery, personification, etc. Then, write the essay, writing as much as you can. Ideally you would have 12 points per essay. | 2 | |
| 6745312950 | Ned's Advice: Essay 3 | Review/Study 2-3 books (Huck Finn, Fences, Great Expectations, Macbeth) | 3 | |
| 6745314434 | Allegory | A narrative that itself is an extremed metaphor in which persons and events stand for something on a symbolic level | 4 | |
| 6745316656 | Alliteration | Repetition of first consonant sounds | 5 | |
| 6745318153 | Allusion | A reference to another work of fiction | 6 | |
| 6745318777 | Anachronism | Something out of chronological order | 7 | |
| 6745326469 | Analogy | Making a comparison between things or situations that are otherwise dissimilar | 8 | |
| 6745327683 | Aphorism | A short instructive saying | 9 | |
| 6745328402 | Archetype | An original model or type after which other similar things are patterned; a prototype | 10 | |
| 6745331076 | Assonance | Repetition of vowel sounds | 11 | |
| 6745332273 | Ballad | A popular song of romantic nature | 12 | |
| 6745332943 | Blank Verse | Unrhymed verse in iambic pentameter | 13 | |
| 6745335695 | Conceit | An elaborate poetic comparison using techniques such as analogies and metaphors | 14 | |
| 6745337887 | Consonance | The repetition of consonants, not at the beginning of words | 15 | |
| 6745339332 | Couplet | A unit of verse consisting of two successive lines, usually rhyming and having the same meter and often forming a complete thought | 16 | |
| 6745341788 | Cynicism | An attitude of scornful or jaded negativity | 17 | |
| 6745367993 | Diction | Choice and use of words in speech or writing | 18 | |
| 6745370709 | Double entendre | An ambiguity with one interpretation that is bawdy or offensive | 19 | |
| 6745371999 | Elegy | A mournful poem; a lament for the dead | 20 | |
| 6745376509 | Epic | A literary or dramatic composition that resembles an extended | 21 | |
| 6745525867 | Epithet | A descriptive word or phrase for a person | 22 | |
| 6745526482 | Euphemism | An inoffensive expression that is substituted for one that is considered offensive | 23 | |
| 6745529100 | Fable | A usually short narrative making a moral or cautionary point and which typically employs animals that speak and act like humans | 24 | |
| 6745532322 | Free Verse | Verse composed of variable unrhymed lines having not fixed metrical pattern | 25 | |
| 6745535035 | Hyperbole | Exaggeration | 26 | |
| 6745535900 | Verbal Irony | The use of language to express the opposite of its literal meaning | 27 | |
| 6745537584 | Situational Irony | When events occur that are the opposite of what one expects | 28 | |
| 6745539837 | Dramatic Irony | Occurs when the reader of a work of literature of the audience in a theatre knows something that one or more of the characters to not know | 29 | |
| 6745542712 | Juxtaposition | The act of positioning two contrasting people, things, or ideas next to each other for purposes of comparison | 30 | |
| 6745547672 | Meter | The rhythmic pattern of a stanza determined by the kind and number of lines | 31 | |
| 6745548467 | Octet | An eight line stanza or first eight lines of a sonnet | 32 | |
| 6745549694 | Omniscient Narrator | A narrator that knows the thoughts of all the characters | 33 | |
| 6745556268 | Onomatopoeia | Using words that imitate the sound they denote | 34 | |
| 6745556969 | Oxymoron | Conjoining contradictory terms | 35 | |
| 6745557528 | Parable | A simple story illustrating a moral/religious lesson | 36 | |
| 6745559065 | Paradox | A seemingly contradictory statement that may nonetheless be true | 37 | |
| 6745559722 | Paraphrase | A restatement of a text or passage in another form, often to clarify meaning | 38 | |
| 6745561686 | Parody | A literary or artistic work that imitates the characteristic style of an author or a work for comic effect or ridicule | 39 | |
| 6745565561 | Pathos | A quality, as of an experience or a work of art, that arouses feelings of pity, sympathy, tenderness, or sorrow | 40 | |
| 6745567346 | Quatrain | A stanza or poem of four lines | 41 | |
| 6745569732 | Rhetoric | Skill in using language effectively and persuasively | 42 | |
| 6745570515 | Rhythm | The patterned, recurring alternations of contrasting elements of sound | 43 | |
| 6745571674 | Sarcasm | A type of verbal irony used to convey insults or scorn | 44 | |
| 6745572902 | Satire | A literary work in which human vice or folly is attacked through irony derision or wit | 45 | |
| 6745574205 | Sestet | A poem or stanza containing six lines | 46 | |
| 6745574991 | Simile | A figure of speech in which two different things are compared using like or as | 47 | |
| 6745576565 | Skepticism | A doubting or questioning attitude or state of mind | 48 | |
| 6745577425 | Sonnet | A verse form consisting of 14 lines with a fixed Rhyme scheme | 49 | |
| 6745578361 | Stoicism | Indifference to pleasure or pain; impassiveness | 50 | |
| 6745579404 | Superstition | An irrational belief that an object, action, or circumstance not logically related to a course of events influences its outcome | 51 | |
| 6745580663 | Syntax | The Grammatical arrangement of words in sentences | 52 | |
| 6745582574 | Macbeth Main Themes: CORRUPTING POWER OF UNCHECKED AMBITION | -- The main theme of Macbeth—the destruction wrought when ambition goes unchecked by moral constraints—finds its most powerful expression in the play's two main characters -- Macbeth is a courageous Scottish general who is not naturally inclined to commit evil deeds, yet he deeply desires power and advancement. -- Kills Duncan against his better judgment and afterward stews in guilt and paranoia. Toward the end of the play he descends into a kind of frantic, boastful madness. -- Lady Macbeth, on the other hand, pursues her goals with greater determination, yet she is less capable of withstanding the repercussions of her immoral acts. -- One of Shakespeare's most forcefully drawn female characters, she spurs her husband mercilessly to kill Duncan and urges him to be strong in the murder's aftermath, but she is eventually driven to distraction by the effect of Macbeth's repeated bloodshed on her conscience. -- In each case, ambition—helped, of course, by the malign prophecies of the witches—is what drives the couple to ever more terrible atrocities. The problem, the play suggests, is that once one decides to use violence to further one's quest for power, it is difficult to stop. -- There are always potential threats to the throne—Banquo, Fleance, Macduff—and it is always tempting to use violent means to dispose of them. | 53 | |
| 6745595049 | Macbeth Main Themes: THE RELATIONSHIP BETWEEN CRUELTY AND MASCULINITY | -- Characters in Macbeth frequently dwell on issues of gender. Lady Macbeth manipulates her husband by questioning his manhood, wishes that she herself could be "unsexed," and does not contradict Macbeth when he says that a woman like her should give birth only to boys. In the same manner that Lady Macbeth goads her husband on to murder, Macbeth provokes the murderers he hires to kill Banquo by questioning their manhood. Such acts show that both Macbeth and Lady Macbeth equate masculinity with naked aggression, and whenever they converse about manhood, violence soon follows. Their understanding of manhood allows the political order depicted in the play to descend into chaos. -- At the same time, however, the audience cannot help noticing that women are also sources of violence and evil. The witches' prophecies spark Macbeth's ambitions and then encourage his violent behavior; Lady Macbeth provides the brains and the will behind her husband's plotting; and the only divine being to appear is Hecate, the goddess of witchcraft. Arguably, Macbeth traces the root of chaos and evil to women, which has led some critics to argue that this is Shakespeare's most misogynistic play. While the male characters are just as violent and prone to evil as the women, the aggression of the female characters is more striking because it goes against prevailing expectations of how women ought to behave. Lady Macbeth's behavior certainly shows that women can be as ambitious and cruel as men. Whether because of the constraints of her society or because she is not fearless enough to kill, Lady Macbeth relies on deception and manipulation rather than violence to achieve her ends. -- Ultimately, the play does put forth a revised and less destructive definition of manhood. In the scene where Macduff learns of the murders of his wife and child, Malcolm consoles him by encouraging him to take the news in "manly" fashion, by seeking revenge upon Macbeth. Macduff shows the young heir apparent that he has a mistaken understanding of masculinity. To Malcolm's suggestion, "Dispute it like a man," Macduff replies, "I shall do so. But I must also feel it as a man" (4.3.221-223). At the end of the play, Siward receives news of his son's death rather complacently. Malcolm responds: "He's worth more sorrow [than you have expressed] / And that I'll spend for him" (5.11.16-17). Malcolm's comment shows that he has learned the lesson Macduff gave him on the sentient nature of true masculinity. It also suggests that, with Malcolm's coronation, order will be restored to the Kingdom of Scotland. | 54 | |
| 6745611168 | Macbeth Main Themes: THE DIFFERENCE BETWEEN KINGSHIP AND TYRANNY | -- In the play, Duncan is always referred to as a "king," while Macbeth soon becomes known as the "tyrant." The difference between the two types of rulers seems to be expressed in a conversation that occurs in Act 4, scene 3, when Macduff meets Malcolm in England. In order to test Macduff's loyalty to Scotland, Malcolm pretends that he would make an even worse king than Macbeth. He tells Macduff of his reproachable qualities—among them a thirst for personal power and a violent temperament, both of which seem to characterize Macbeth perfectly. On the other hand, Malcolm says, "The king-becoming graces / [are] justice, verity, temp'rance, stableness, / Bounty, perseverance, mercy, [and] lowliness" (4.3.92-93). The model king, then, offers the kingdom an embodiment of order and justice, but also comfort and affection. Under him, subjects are rewarded according to their merits, as when Duncan makes Macbeth thane of Cawdor after Macbeth's victory over the invaders. Most important, the king must be loyal to Scotland above his own interests. Macbeth, by contrast, brings only chaos to Scotland—symbolized in the bad weather and bizarre supernatural events—and offers no real justice, only a habit of capriciously murdering those he sees as a threat. As the embodiment of tyranny, he must be overcome by Malcolm so that Scotland can have a true king once more. | 55 | |
| 6745614160 | Huck Finn Main Themes: RACISM AND SLAVERY | -- Although Twain wrote Huckleberry Finn two decades after the Emancipation Proclamation and the end of the Civil War, America—and especially the South—was still struggling with racism and the aftereffects of slavery. By the early 1880s, Reconstruction, the plan to put the United States back together after the war and integrate freed slaves into society, had hit shaky ground, although it had not yet failed outright. As Twain worked on his novel, race relations, which seemed to be on a positive path in the years following the Civil War, once again became strained. The imposition of Jim Crow laws, designed to limit the power of blacks in the South in a variety of indirect ways, brought the beginning of a new, insidious effort to oppress. The new racism of the South, less institutionalized and monolithic, was also more difficult to combat. Slavery could be outlawed, but when white Southerners enacted racist laws or policies under a professed motive of self-defense against newly freed blacks, far fewer people, Northern or Southern, saw the act as immoral and rushed to combat it. -- Although Twain wrote the novel after slavery was abolished, he set it several decades earlier, when slavery was still a fact of life. But even by Twain's time, things had not necessarily gotten much better for blacks in the South. In this light, we might read Twain's depiction of slavery as an allegorical representation of the condition of blacks in the United States even after the abolition of slavery. Just as slavery places the noble and moral Jim under the control of white society, no matter how degraded that white society may be, so too did the insidious racism that arose near the end of Reconstruction oppress black men for illogical and hypocritical reasons. In Huckleberry Finn, Twain, by exposing the hypocrisy of slavery, demonstrates how racism distorts the oppressors as much as it does those who are oppressed. The result is a world of moral confusion, in which seemingly "good" white people such as Miss Watson and Sally Phelps express no concern about the injustice of slavery or the cruelty of separating Jim from his family. | 56 | |
| 6745624375 | Huck Finn Main Themes: INTELLECTUAL AND MORAL EDUCATION | By focusing on Huck's education, Huckleberry Finn fits into the tradition of the bildungsroman: a novel depicting an individual's maturation and development. As a poor, uneducated boy, for all intents and purposes an orphan, Huck distrusts the morals and precepts of the society that treats him as an outcast and fails to protect him from abuse. This apprehension about society, and his growing relationship with Jim, lead Huck to question many of the teachings that he has received, especially regarding race and slavery. More than once, we see Huck choose to "go to hell" rather than go along with the rules and follow what he has been taught. Huck bases these decisions on his experiences, his own sense of logic, and what his developing conscience tells him. On the raft, away from civilization, Huck is especially free from society's rules, able to make his own decisions without restriction. Through deep introspection, he comes to his own conclusions, unaffected by the accepted—and often hypocritical—rules and values of Southern culture. By the novel's end, Huck has learned to "read" the world around him, to distinguish good, bad, right, wrong, menace, friend, and so on. His moral development is sharply contrasted to the character of Tom Sawyer, who is influenced by a bizarre mix of adventure novels and Sunday-school teachings, which he combines to justify his outrageous and potentially harmful escapades. | 57 | |
| 6745627215 | Huck Finn Main Themes: THE HYPOCRISY OF "CIVILIZED" SOCIETY | When Huck plans to head west at the end of the novel in order to escape further "sivilizing," he is trying to avoid more than regular baths and mandatory school attendance. Throughout the novel, Twain depicts the society that surrounds Huck as little more than a collection of degraded rules and precepts that defy logic. This faulty logic appears early in the novel, when the new judge in town allows Pap to keep custody of Huck. The judge privileges Pap's "rights" to his son as his natural father over Huck's welfare. At the same time, this decision comments on a system that puts a white man's rights to his "property"—his slaves—over the welfare and freedom of a black man. In implicitly comparing the plight of slaves to the plight of Huck at the hands of Pap, Twain implies that it is impossible for a society that owns slaves to be just, no matter how "civilized" that society believes and proclaims itself to be. Again and again, Huck encounters individuals who seem good—Sally Phelps, for example—but who Twain takes care to show are prejudiced slave-owners. This shaky sense of justice that Huck repeatedly encounters lies at the heart of society's problems: terrible acts go unpunished, yet frivolous crimes, such as drunkenly shouting insults, lead to executions. Sherburn's speech to the mob that has come to lynch him accurately summarizes the view of society Twain gives in Huckleberry Finn: rather than maintain collective welfare, society instead is marked by cowardice, a lack of logic, and profound selfishness. | 58 |
