1.TRANSITIONAL PHRASES AT THE BEGINNING OF PARGRAPHS AND WITHIN THE PARAGRAPH WILL ALLOW FOR SMOOTH FLOW OF IDEAS.
Accordingly, Additionally, Equally, Effectively, In such Ways, Despite, Comparably, Furthermore, Consequently, Subsequently, Moreover, This is at odds with, Thereby, Correspondingly, Likewise. Moreover, Conversely, Notwithstanding, Nevertheless, Whereas, This is at odds with…
2. UNLESS THE QUESTION ASKS FOR YOU TO DISCUSS A SPECIFIC SECTION (SCENE, CHAPTER, STANZA ETC), YOUR ANALYSIS SHOULD COVER THE TEXT IN CHRONOLOGICAL ORDER. THAT WAY, YOUR MARKER WILL REALISE YOU KNOW THE TEXT IN ITS ENTIRITY.
3. IDENTIFY AND DESCRIBE MORE DIFFICULT TECHNIQUES WHEN POSSIBLE.
“Aesthetic Features” is a holistic expression for “techniques
ANADIPLOSIS is the repetition of the last word of a preceding clause. The word is used at the end of a sentence and then used again at the beginning of the next sentence. Fear leads to anger. Anger leads to hate. Hate leads to suffering” (Yoda, Star Wars)
EUPHONY is the claim or study of inherent pleasantness or beauty (euphony) or unpleasantness (cacophony) of the sound of certain words and sentences.
ANAPHORA repeating a sequence of words at the beginnings of neighboring clauses, thereby lending them emphasis. It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness (Charles Dickens A tale of Two Cities)
ASYNDETISM is a stylistic scheme in which conjunctions are deliberately omitted from a series of related clauses. Examples are veni, vidi, vici and its English translation "I came, I saw, I conquered."
QUIXOTISM impracticality in pursuit of ideals, especially those ideals manifested by rash, lofty and romantic ideas or extravagantly chivalrous action. It also serves to describe an idealism without regard to practicality. An impulsive person or act might be regarded as quixotic.
CONNOTATION A connotation is frequently described as either positive or negative, with regards to its pleasing or displeasing emotional connection. For example, a stubborn person may be described as being either strong-willed or pig-headed; although these have the same literal meaning (stubborn), strong-willed connotes admiration for the level of someone's will (a positive connotation), while pig-headed connotes frustration in dealing with someone (a negative connotation).
TONE encompasses the attitudes toward the subject and toward the audience implied in a literary work. Tone may be formal, informal, intimate, solemn, somber, playful, serious, ironic, guilty, condescending, or many other possible attitudes. Tone and mood are not interchangeable. The tone of a story is often defined as what the author is feeling towards the subject, rather than what the reader feels. What the reader feels is defined as the mood.
MODALITY (HIGH, MEDIUM, LOW) is used to show the range of responses that can exist between a total reinforcement of a statement or point of view and a complete negation of a statement or point of view; put simply, Modality is the difference between yes and no in relation to an issue.
Modality allows the writer to soften or strengthen language throught he use of words such as
• may be
SUPERLATIVE is the form of an adjective (or adverb) that indicates that the person or thing (or action) modified has the quality of the adjective (or adverb) to a degree greater than that of anything it is being compared to in a given context. English superlatives are typically formed with the suffix -est (e.g. healthiest, weakest) or the word most (most recent, most interesting).
TRICOLON CRESENDO – Wherefore rejoice? What conquest brings him home? What tributaries…binds his chariot wheels?
DOUBLE ENTENDRE - is a figure of speech in which a spoken phrase is devised to be understood in either of two ways. Often the first (more obvious) meaning is straightforward, while the second meaning is less so: often risqué or ironic. "What is the difference between ignorance and apathy?" would be "I don't know and I don't care".
SYNECHDOCHE - is closely related to metonymy (the figure of speech in which a term denoting one thing is used to refer to a related thing); indeed, synecdoche is sometimes considered a subclass of metonymy. It is more distantly related to other figures of speech, such as metaphor. sonnets and other forms of love poetry frequently use synecdoches to characterize the beloved in terms of individual body parts rather than a whole, coherent self. This practice is especially common in the Petrarchan sonnet, where the idealised beloved is often described part by part, from head to toe.