reflection of language

Reading the Language -

Word Analysis (breaking down the meaning of words):
1. Completely fixed - determine, determining, determinate, determination, determined.
Even level - equal, equally, equitable, equality, equaled, equivalent
2. Fluency (understanding how words are used):
The determining factor of equitable distribution rests on the laurels of
liberty.
2. Systematic Vocabulary Development (understanding the meaning of
words.); Equivalent means to be the same or equal to another thing in
value. Used most in science; one gram is equivalent to 1000 milligrams.

Researching the language –

Develop the main ideas within the body of the composition through
supporting evidence (e.g., scenarios, commonly held beliefs,
hypotheses, definitions). Begin thinking about connecting information from what you read, what you experienced in the past and what you’re currently learning.

Writing the language –

Identify and correctly use clauses (e.g., main and subordinate),
phrases (e.g., gerund, infinitive, and participial), and mechanics of
punctuation (e.g., semicolons, colons, ellipses, hyphens).

Understand sentence construction (e.g., parallel structure,
subordination, proper placement of modifiers) and proper English
usage (e.g., consistency of verb tenses.)

Demonstrate an understanding of proper English usage and control
of grammar, paragraph and sentence structure, diction, and syntax.

-Reading, writing and researching the language at the same time -

Interpret and evaluate the impact of ambiguities, subtleties,
contradictions, ironies, and incongruities in a text.

Explain how voice, persona, and the choice of a narrator affect
characterization and the tone, plot, and credibility of a text.

Identify and describe the function of dialogue, scene designs,
soliloquies, asides, and character foils in dramatic literature.

Analyze a work of literature, showing how it reflects the heritage,
traditions, attitudes, and beliefs of its author. (Biographical
approach)

Students write clear, coherent, and focused essays. The writing exhibits
students’ awareness of audience and purpose. Essays contain formal
introductions, supporting evidence, and conclusions.

Students apply their knowledge of word origins to determine the meaning
of new words encountered in reading materials and use those words
accurately. (do you get what the story is trying to say?)
1.1 Identify and use the literal and figurative meanings of words and
understand word derivations. (can you figure out if a word is trying to tell you something about the story or if the word literally tells you something about the story?)
1.2 Distinguish between the denotative and connotative meanings of
words and interpret the connotative power of words. (Words have positive and negative characteristics. Can you figure out the difference? )
1.3 Identify Greek, Roman, and Norse mythology and use the
knowledge to understand the origin and meaning of new words.( Words have birthdays which we call the origin of words. Words that are drawn from Greek and Roman Mythology can be difficult to get at times. To command this knowledge requires you to grasp its understanding. e.g.,
the word narcissistic (which means to be in love with yourself which infers one to be conceited and unaware of other things beautiful. The word narcissistic is drawn from the myth of Narcissus and Echo. The word Herculean is also draw from Greek Myth; it is a word that describes of something incredible happening.)

When we read, we break down words to understand their meaning. Do we get what the story is saying? Can we figure out what the word is trying to describe? Can we determine their positive or negative qualities? Is the origin of a word drawn mythology? Let’s break this down in bullet form:
- Grasp the vocabulary
- retell the story or passage
- figure out the words meaning
- determine its connotation
- draw the connection to the mythology

Example of a passage – Julius Caesar

And when you saw his chariot but appear,
Have you not made a universal shout,
That Tiber trembled underneath her banks,
To hear the replication of your sounds
Made in her concave shores?
And do you now put on your best attire?
And do you now cull out a holiday?
And do you now strew flowers in his way
That comes in triumph over Pompey's blood? Be gone!
Run to your houses, fall upon your knees,
Pray to the gods to intermit the plague
That needs must light on this ingratitude.
-Grasp the vocabulary-

The passage is heavy with figurative vocabulary: “That Tiber Trembled..the concave shores..triumph over Pompey’s Blood..” These passages connotate a tone that is characteristic to an authoritarian angry at its people.
-Retell the story passage-

A Roman tributary, Marullus, is commanding the commoners to go back to work and to stop making holiday out of the triumph over Pompey. “ Be gone! Run to your houses…” the governing voice shouts to its citizenry that they are fools to celebrate the defeat of Pompey and ignorant to the voices that speak of truth to you of the real plague. He orders the festive crowd to go home and pray. Gratitude of Pompey’s defeat in celebration is wrong and unjust.
-connation of word significance-

Tiber is a river that runs through the historic lands of Greece. The historic allegory, or the allusive significance of Tiber is to convey the importance of a battle that left Pompey’s blood, a general of Rome, to stream down the waters of Tiber.




Voice –
When describing a thought, ask yourself the following:
1. What is your voice – active or passive
2. What is your tense – present, past or future
3. Do you have understanding in a word?



Questions to know -

1. Which of the following sentence would make the most effective opening statement?
2. Which of the following sentences supports the main idea of an essay?

-Writing Prompts-
Write a biographical narrative of a person or group of persons:
a. Relate its sequence of events effectively and with significance.
b. Locate scenes and incidents in specific places.
c. Describe with concrete sensory details the sights, sounds,
and smells of a scene and the specific actions, movements, ges­
tures, and feelings of the characters.
d. Use interior monologue to depict the characters’ feelings.
d. Pace the presentation of actions to accommodate changes in
time and mood.
e. Use descriptive structures to describe appearances, images,
shifting perspectives, and sensory details.

Liberties Veil –

Orbs from celestial spheres in flight like Arcadia’s chariots,
A behemoth mass, strides along the tides of echoing Hellas,
And to Troy; her death of Alexander in Cleopatra’s rags,
The plight of irony masked in mockery the death concealed,

Darkness in blood enveloping all that sense could rapture,
The crash of steel and spiteful fury set fire the canopy blue,
And the ghost of Hamlet manifesting his prophetic image,
Her haloed crown now stained beyond the angelic ivory,

Mother planet; your liberty veiled by antiquating verses,
By looming miscreants that breed the perpetual fraudulence,
Your nature is the yolk of such things eternal and divine,
The snapshot ebbing panic stoic like ancient warrings,

April’s swindled lilacs robbed still warm from Autumn’s capture,
Her gardened callous tar exposing the soils which bare her lies,
Was not the plight of God in One? Was not the voice of verse his Son?
Has not the lure of bait escaped Angels worked? To trap the boundless fallen?

We shadow our light and veil our liberties and old myths return,
Like Dutch Master’s who cloak deceit by despot shrouds.

My Blue Truck

Yes, it's true, the patient thorns of virtue,
Sting in subtle waves, the innocent dreams,
the stingy waiting rooms of childhood,

I never learned to still my anxious panic,
Heckling the furniture and cursing the floors,
When the worry grew loud I couldnt bear it,

And finally, like the end of a painful shot,
The screeching rubber of the blue truck heard,
My Dad, my hero, my everything rode down,

Away went the grieving sad grunts
And my tremoring fears,
Dad, the Shaman Warrior, swept up my tears.

Alliteration
The triage of attraction in literary structure is literary device, believability and sequential. Alliteration falls into the literary device category. Writer’s, especially poets, use alliteration to attract the reader/audience to a particular scene, moment, and action. Proximal attraction occurs if and only if the believability of the author’s intent is believable uniform to the plot sequence. Alliteration – a literary device prescribing similar consonant sounds to words in physical approximation. Alone, Alliteration may spark acute interest, be it trivially, randomly, with little or mention. Its strength depends upon other factors; author’s purpose, intent, tone, diction, believability and uniformity to its plot.
Question - Choose a character, a statement, a theme, an occurrence, an image, or a scene in a novel, play, or poem and write a personal essay developing your response to your choice. There are two ways to develop this paper. (1) You may make a point by point comparison and/or contrast between the work and yourself. (2) You may refer to the work briefly and then devote the rest of your essay to your own response. For example, you could refer to the novel only once, at the beginning of the paper, using the reference to the novel as a jumping off point for your discussion; or you could refer to the work in your conclusion, to wrap up your topic.
Act 5; scene 1; Hamlet.
Shakespeare’s Hamlet is a juxtaposing carousel of structures; an inlay of levels, within the structural parameters of believability and sequence. Setting, the dramatic personae’s; both dead and alive, the metaphysical embeddings, such as Hamlet’s ghost and MacBeth’s witches, the situational ironies between character and audience, the play of words through dialogue and/or soliloquy, the binding literal and figurative historical references through allusion, foreshadowing, and other literary methods. All the ambiguities and nuances that may hinder believability and uniformity are covered. In Act 5, Scene 1, Hamlet is vexed by the insignificance of Yorick, once an important member of the court, an elderly advisor to Hamlet, now, dust and bones. The significance here is the contradiction of life and death; a parallel to Hamlet's own life, as he fears his life will as well be insignificant. This makes Hamlet contemplate his own methodical madness of conviction.

Rhetorical Proximity – an approximate connection of emotional attraction by the audience towards the aesthetic value of an author’s work. Weak rhetorical proximity may be in the informative; directions to the library, a puzzle, a dinner menu; Strong rhetorical proximity is generally found in Shakespeare, the master of word play; the repetitive sequence of intermittent breaks within lines, methodical ironies of verbal situational and the dramatic , the paradoxical relationships, the contradictions, the clown motifs, the metaphysical insertions; the dual nature of circumstance constantly streams around, each having significant interest at various moments in the play. We are fully involved. In Hamlet, the play by William Shakespeare, at any time, throughout the play, there are simultaneous slices of drama and mini dramas present, embracing a central conflict. The ghost, Hamlet, the fog, a castle, the royal bloodline of Denmark; would be an example of rhetorical proximities; thus, what manifests is an attractive quality that bounds the audience to its personae.