Use the third letter of your first name to determine your new first name:

> > >> > a = poopsie b = lumpy

> > >> c = buttercup d = gadget
> > >> e = crusty f = greasy
> > >> g = fluffy h = cheeseball
> > >> i = chim-chim j = stinky
> > >> k = flunky l = boobie
> > >> m = pinky n = zippy
> > >> o = goober p = doofus
> > >> q = slimy r = loopy
> > >> s = snotty t = tootie
> > >> u = dorkey v = squeezit
> > >> w = oprah x = skipper
> > >> y = dinky z = zsa-zsa>
> > >> > Use the second letter of your last name to determine the first half of your new
last name:
> > >> > a = apple b = toilet
> > >> c = giggle d = burger
> > >> e = girdle f = barf
> > >> g = lizard h = waffle
> > >> i = cootie j = monkey
> > >> k = potty l = liver
> > >> m = banana n = rhino
> > >> o = bubble p = hamster
> > >> q = toad r = gizzard
> > >> s = pizza t = gerbil
> > >> u = chicken v = pickle
> > >> w = chuckle x = tofu
> > >> y = gorilla z = stinker
> > >> > Use the fourth letter of your last name to determine the second half of your new
last name:
> > >> a = head b = mouth
> > >> c = face d = nose
> > >> e = tush f = breath
> > >> g = pants h = shorts
> > >> i = lips j = honker
> > >> k = butt l = brain
> > >> m = tushie n = chunks
> > >> o = hiney p = biscuits
> > >> q = toes r = buns
> > >> s = fanny t = sniffer
> > >> u = sprinkles v = kisser
> > >> w = squirt x = humperdinck
> > >> y = brains z = juice
Making it all fit: A Short Guide to Analyzing Literature

Here are a few ideas to help you wade through the process that results in the
development of your thesis statement and then, of course, your paper.

Literal Level:

"What you see is what you get," or "A rose is a rose is a rose." The literal
meaning of literature is the meaning on the level of the story. What happens?
To whom? When? Where? How does it begin? How does it progress? How
does it end?

Interpretive Level:

A study of figurative techniques (such as similes, metaphors, personification,

archetypes) and style points (such as diction, structure, language usage) to
arrive at underlying meaning which is merely implied, and not directly stated.

Symbolic Level:

The symbolic level is a set of conclusions drawn from a study of figurative

language and style. A complete analysis on the interpretive level will result in
conclusions about the symbolic significance elements of character, plot and
setting.

Thematic Level:

The thematic level is a conclusion drawn from a study of symbols within the
world of the piece. A complete analysis on the symbolic level will result in
conclusions about the thematic significance of the work as a whole.

The Social Level:

The social level is a conclusion drawn from a study of the theme or themes of
the piece. It may be a comment on the greater context of the world surrounding
the literature. At this level it is wise to be aware of the historical context of the
piece.

Your Thesis:

Your thesis is the result of your analysis of a work of literature, be it a Haiku or

an entire novel. It is wise to begin with the literal level and move through the
levels of complexity in a structured way to be sure that your conclusion about
the piece is valid and supportable. Your thesis is what you believe to be not
only true but also important.
 QUESTIONS TO ASK WHEN WRITING ABOUT POETRY

Questions about point of view, plot, setting and theme:

 Who is speaking? What characterizes the speaker? To whom is he or
she speaking? Why is he or she speaking?
 What is the speaker's tone? What is the speaker's emotional state?
 What situation is being described? What are the conflicts or tensions
in this situation?
 What is the setting--social situation, physical place, and time?
 Why is it important to the speaker?
 What universal idea is the speaker communicating?

Questions about diction, descriptive and figurative language:

 What are all the possible shades and levels of meaning in the words of this
poem?
 Is there any wordplay (double meanings and puns) in this poem?
 What types of figurative language is used? What is the effect of these
usages?

Questions about imagery:

 What are the images that are prominent in the poem?
 Why does the poet use these particular images?

Questions about rhythm:

 What metrical pattern does the poem use? What is appealing about the
pattern?
 How closely does the poet stick to the established pattern? Why? How?
 What variations from the established pattern does the poet make? Why?
 How does the poet establish emphasis?

Questions about sound:

 What links are there to the sound qualities of the poem's words--
especially to rhyme, internal rhyme, and end rhyme?
 What effect does alliteration and other word sounds have on the poem?

Questions about structure:

 What devices does the poet use to give the poem structure?
 Does the poet use rhyme scheme, stanzas, double spaces,
indentations, repetition of words and images, line lengths, rhetorical
organization?

Questions about free verse (lyric poetry):

 What structural devices (divisions within the poem, line length,
repeated syntatical units) does the poet use and how do they
complement the poet's meaning?
 What patterns of imagery--descriptive and figurative--does the poet use?

Questions about symbolism:

 What are the symbols in the poem you are reading?
 Why do think they are symbols? What do they mean?
 THE ASSIGNMENT

Select three poetry pieces we have covered during the unit in class. Consider
pieces that use the same elements of writing in different ways or push the
definition of an element by using it in an unexpected ways. If you would like
to explore the poetry of a poet that was not covered, you may see me for
permission.

INTRO:

Your papers will have an explanatory introduction about the author and
analytic summaries of each poem. Your introduction must biographical
information about the poet or an interesting fact about the poet a “hook”—
something to catch the reader’s interest. It must also include the name of
the author and the titles of poetry pieces. Poem titles are either in quotation
marks or italicized. In your thesis Remember, the thesis consists of two
parts: the topic of your paper, and what direction you will be going in (what
are you trying to prove). It must also include a sentence that tells the reader
about the way the paper will be organized.

BODY:

Your paper must discuss each of the pieces (1 paragraph for each piece).

CONCLUSION:

The conclusion page must re-name the poet and the poetry pieces that
support your thesis. Conclude with a stellar, memorable sentence that wraps
things up and leaves the reader with a favorable, lasting impression.

SELF EDITING:

Write your paper in present tense. Your essay must be 3-4 pages, but more
are fine, if necessary. Do a spell check, and then read your essay aloud to
yourself. Read it aloud to a parent, older sibling, or friend whose judgment
you can trust. Make sure he/she understands the requirements of the essay.
Finally, have someone proofread it for spelling, punctuation, usage, etc.

FOLLOW CLASS STANDARDS FOR WRITING:

This paper must be typed, double-spaced. Use 12 font and standard

margins. A heading must be in the upper right hand corner and it should be
written in blue or black ink. Single-spaced, essays that are written in pencil or
turned in with jagged edges will be returned, and you will lose ten percent
automatically.

Style Sheet for Revising Poetry

1. Cliché
Eliminate clichés, which are the vermin of imaginative writing. Initially
fresh images, clichés have been taken over and made mundane by too
frequent usage. They have lost their original authority, power, and
beauty. They raise their predictable heads (aaah, a cliché!) in the early
drafts of even the most experienced writers. Turning a cliché against
itself by intentionally using it in an inverted form can revive it. Puns
can give a cliché a renewed life. However, if a poem is merely going to
repeat a cliché, cut it.

2. Abstract
Identify all abstract or general nouns and replace them with concrete
or specific ones. Words like "love," "freedom," "pain," "sadness,"
"anger," and other emotions and ideas need to be channeled through
the physical imagery of the five senses: Sight, Sound, Smell, Touch,
Taste (SSSTT). Creating original metaphors is the most difficult part of
poetry writing, not just for beginners, but also for those who have been
working with words for years. This, however, is what makes a poem
distinctive and interesting.

3. Verbs
Fortify the physical character of the poem by using strong action verbs
instead of linking verbs in the passive voice. Because active verbs and
concrete nouns are more visceral, dynamic, and persuasive, they
reduce the need for modifiers. Avoid overusing the "-ing" form of verbs
because it dilutes and reduces their strength. It is like driving a
speedboat without raising the anchor.

4. Compress
Cut, compress, and condense! Imagine that you must pay your reader
a dollar a word to read your prose. Naturally, you will want to use few
words to say as much as possible. Then, imagine that you must pay
your reader five dollars a word to read your poetry. Compress,
especially when the progress of the poem is impeded by imprecise or
indecisive language. Try the following experiment. Put a gob of frozen
orange juice on your tongue. This pure, concentrated slush, without
any liquid to dilute its sweet potency, is so pungent it stings. Make
your poem like that. Cut everything that can be cut until what's left
penetrates the flesh with its sweet, burning flavor.
5. Risk
Be daring in your writing. Experiment and take chances. Risk-taking
adds originality and spontaneity to the poem, which leads to
imaginative and linguistic breakthroughs. Read a wide variety of
contemporary poets so that you will begin to understand the breadth
of poetry's language and modern imagination. You will also become
more conscious of its many voices. You cannot mature as a poet unless
you read widely. If you refuse to read, you refuse to grow.