(a) Saying the opposite of what is meant ("Beautiful weather!" in a storm). (b) Audience knows what character does not (audience knows Hamlet hides; Polonius does not). (c) Outcome opposite of expectation ("The Lottery"ّs cheerful village ends in a stoning).
Soliloquy = speech delivered alone on stage, voicing inner thought to the audience. Shakespeare's verse = blank verse (unrhymed iambic pentameter). Examples: "O, that this too too solid flesh would melt" (1.2); "To be, or not to be" (3.1); "How all occasions do inform against me" (4.4).
Munro — Nobel 2013, master of the long short story (e.g., "Boys and Girls" / Lives of Girls and Women). Atwood — The Handmaid's Tale, Survival, "The City Planners." King — Cherokee/Greek/German; The Truth About Stories, Green Grass, Running Water.
PEEL: Point (topic sentence), Evidence (quotation), Explain (analysis), Link (back to thesis). Thesis qualities: specific, debatable, supportable.
In-text: (Orwell 102). Works Cited: Orwell, George. 1984. Secker and Warburg, 1949.
B. Three quatrains in alternating rhyme + closing couplet.
A. Caulfield's SIFT method.
Ethos = appeal through credibility/character of speaker. Pathos = appeal to audience emotion. Logos = appeal to logic, reason, evidence.
Bandwagon: appeal to popularity ("Everyone is using this"). Testimonial: endorsement by celebrity/authority. Glittering generality: vague positive language without specifics ("Vote for change").
Frost: dominant figure = extended metaphor (roads = life choices); speaker stance = retrospective, hesitant ("sorry," "looked … as far as I could"); form = formal stanzas, ABAAB rhyme, iambic-tetrameter pulse — the regularity contrasts with the speaker's inner uncertainty. Sandburg: dominant figure = metaphor + personification (fog as cat); speaker stance = observational, almost meditative; form = free verse, brevity, white space — enacts the fog's transience. Common ground: both find natural figures for psychological/aesthetic states; difference: Frost's natural world is a stage for human dilemma, Sandburg's is the subject itself. Marks: 2 figures, 2 stance, 2 form, 2 synthesis.
Devices: (1) Antithesis ("looking before and after") suggesting human reason should span past and future; (2) Diction of decay ("fust in us unus'd") imaging unused reason as rotting meat. Self-criticism: Hamlet shames himself for inaction, comparing himself to the soldiers who go to die "for an eggshell" while he, with greater cause, has done nothing. Compared with 3.1's contemplative "To be" (which weighs whether to act at all), 4.4 has Hamlet committed to action, lashing himself for delay. The shift dramatises movement from philosophical doubt toward decisive resolve. Marks: 2 devices, 2 self-criticism, 2 comparison, 2 communication.
(a) Pathos (children, glacier, urgency) and emotional juxtaposition (despair → hope). (b) Ethical concerns: oversimplified science ("12 years left" is a metaphorical IPCC heuristic, not a literal deadline); use of children's images for a fundraising frame can be argued as exploitative. (c) Implied response: viewer's grief and parental protectiveness redirected into immediate donation. Marks: 2 techniques, 2 ethics, 1 audience response.
Sample thesis: "Atwood frames suburban order as not merely alienating but symptomatic — the planners' 'sanitary' tidiness is a denial whose precise vocabulary betrays the disorder it claims to suppress." Evidence: (1) the medical/clinical adjectives ("sanitary," "rational") whose connotations imply illness rather than wellness; (2) the prophesied future thaw — eventual cracks in driveways, lawn-paint peeling — that locates collapse already inside the order. Marks: 2 thesis, 2 evidence and analysis.
K/U (3): correct understanding of text and devices. Thinking (4): quality and depth of argument; specific evidence selection; counter-reading awareness. Communication (5): clear introduction with thesis, well-organised paragraphs (PEEL), embedded quotations with citation, conclusion that synthesises rather than merely restates, voice/conventions. Application (3): transfer of literary analysis terms; relevance of evidence to claim. Sample first sentences for Option 1: "Shakespeare frames the murder of King Hamlet as a single-act poisoning that becomes the play's master metaphor: where Claudius drips 'leperous distilment' into one ear, the entire kingdom hears the infection spread, and the disease imagery that follows — Hamlet's 'unweeded garden,' his 'ulcerous place' for Gertrude, the 'foul disease' Hamlet sees in 4.4 — turns one murder into a diagnosis of an entire moral order."
(a) "Each … was prepared." (Each = singular subject.) (b) "The novel that I read last semester was very engaging." (Remove redundant "it"; "that" preferred for restrictive clauses.) (c) "Hamlet … is conflicted." (Singular subject Hamlet.) (d) "better" — drop "more" (avoid double comparative). (e) "whose essays" (possessive — "who's" = "who is").
Look for: a specific story title and author; a clear claim about why the story should be added (literary merit + curriculum value); a plan of evidence (form, theme, voice). Marks: 1 hook, 2 claim specificity, 1 plan, 1 conventions.
(a) Audience analysis (2): age-appropriate concern, prior knowledge, channel preference. (b) 4 shots × 1 = 4. (c) Ethics (1): truthfulness in claims, no fear-mongering, no overclaiming threat of AI. (d) Transfer (1): close-reading skills (tone, framing, source) applied to media construction.
Strong responses: a specific connection (e.g., framing operates in both — what the narrator foregrounds in Munro is structurally analogous to what the camera frames in a TikTok; ironic tone in Atwood is structurally analogous to ironic tone in advertising). 2 marks for connection, 2 for examples (one each), 1 for communication.
Look for: specific reflection on sustained-argument skill, source evaluation, project management, oral defence; honest acknowledgement of one challenge (time management, sourcing, sustaining argument across pages); transfer to one specific real-world or post-secondary context. Marks: 1 specificity of skill, 2 challenge depth, 1 transfer, 1 communication.
K/U (2): accurate use of two strands' concepts. Thinking (2): substantive insight, not generic. Communication (2): organisation, register, conventions. Application (1): explicit transfer to non-English context (university paper, civic life, professional work, personal media use). Strong responses tie language-construction insights — the gap between sayer and said in Hamlet's soliloquies, the framing choices of news writers, Munro's retrospective ironic distance — to a coherent statement about what literary/media skills do in the world.