Tag Archives: fiction/literature

Cultural Literacy: Allusion

There are several places along the continuum of English Language Arts instruction, I would think, where this Cultural Literacy worksheet on allusion could come in handy.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Rotten Reviews: On Ezra Pound

“A village explainer, excellent if you were a village, but if you were not, not.”

Gertrude Stein, in Dictionary of Biographical Quotation 1978

Excerpted from: Bernard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.

Rotten Reviews: Paradise Lost by John Milton

“…do you not know that there is not perhaps one page in Milton’s Paradise Lost in which he has not borrowed his imagry [sic] from the scriptures? I allow and rejoice that Christ only appealed to the understanding and affections; but I affirm that after reading Isaiah, of St. Paul’s Epistle to the Hebrews, Homer and Virgil are disgustingly tame to me and Milton himself barely tolerable.”

Samuel Taylor Coleridge, Letters 1796

“I could never read ten lines together without stumbling over some Pedantry that tipped me at once out of Paradise, or even Hell, into the schoolroom, worse than either.”

Edward Fitzgerald, Letters, 1876

Excerpted from: Bernard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.

Cultural Literacy: Aesop’s Fables

Given the stunning decline in introspection and the pursuit of virtue in American culture, I wonder if anyone anywhere needs or wants this Cultural Literacy worksheet on Aesop’s Fables . If so, there it is.

Also, if you want to teach Aesop’s Fables, there are several lesson plans posted on this blog: just use Aesop’s Fables as a search term on the home page and you’ll find them.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

The Great Gatsby

Several students in the school in which I serve expressed interest in the literature of the Jazz Age and Gatsby in particular, so here is a short reading on The Great Gatsby along with the vocabulary building and comprehension worksheet that attends it.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

A Rotten Reviews Omnibus on Edgar Allan Poe

“After reading some of Poe’s stories one feels a kind of shock to one’s modesty. We require some kind of spiritual ablution to cleanse our minds of his disgusting images.”

Leslie StephenHours in a Library 1874

“A verbal poet merely; empty of thought, empty of sympathy, empty of love for any real thing…he was not human and manly.”

John Burroughs, The Dial 1893

Excerpted from: Bernard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.

Double Entendre

“Double Entendre (noun): A provocative ambiguity in an expression, especially a humorous or risqué connotation in a word or phrase; double meaning. British: double-entente.

‘The editor was also often on the edge of panic about suspected double entendre, and after thirty-one years I recall his concern about an Arno drawing of one of his elderly gentlemen of the old school dancing with a warmly clinging young lady and saying, ‘Good God, woman, think of the social structure!’ Ross was really afraid that “social structure” could be interpreted to mean a certain distressing sexual phenomenon of human anatomy.’ James Thurber, The Years with Ross”

Excerpted from: Grambs, David. The Random House Dictionary for Writers and Readers. New York: Random House, 1990.

2001: A Space Odyssey

“A science-fiction novel (1968, from his own screenplay) by Arthur C. Clarke (b. 1917). While the novel demonstrates Clarke’s ability to extrapolate from known data, it also represents a philosophical quest for the meaning of life and an investigation into the evolutionary process. 2010: Odyssey Two (1982) is a sequel; it was followed by 3001: the Final Odyssey (1997). The film version (1968), directed by Stanley Kubrick, was a masterly blend of technical wizardry and obscure symbolism, criticized by some for its tedium but praised by others for its moments of striking imagery. The music was by various composers, but most memorable of all was the ‘Sunrise’ opening of Richard Strauss’s Also Sprach Zarathustra (1896). The film acquired a cult status as a vision of the technological future, even if space exploration had not advanced nearly as far in reality by 2001. It inspired a sequel (1984) directed by Peter Hyams under the title 2010, but fans of the original movie were not impressed and gave it the alternative title Ten Past Eight.

David Bowie’s song ‘A Space Oddity‘ plays none too subtly on Clarke’s title.”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

Rotten Reviews: The Moviegoer

Mr. Percy’s prose needs oil and a good checkup.”

The New Yorker

Excerpted from: Bernard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.

Term of Art: Alliteration

“Alliteration: (Latin ‘repeating and playing upon the same letter’) A figure of speech in which consonants, especially at the beginning of words, or stressed syllables, are repeated. It is a very old device indeed in English verse (older than rhyme) and is very common in verse generally. It is used occasionally in prose. In Old English poetry alliteration was a continual and essential part of the metrical scheme and until the late Middle Ages was of was often used thus. However, alliterative verse becomes increasingly rare after the end of the 15th century and alliteration—like assonance, consonance and onomatopoeia—tends to more to be reserved for the achievement of special effect.

There are many classic examples, like Coleridge’s famous description of the sacred river Alph in Kubla Khan:

Five miles meandering with a mazy motion

Any others less well known, like this from the beginning of Norman MacCaig’s poem Mutual Life:

A wild cat, fur-fire in a bracken brush,

Twitches his club-tail,  rounds his amber eyes

At rockabye rabbits humped on the world. The air

Crackles about him. His world is a rabbit’s size.

And this, from the first stanza of R.S. Thomas’s The Welsh Hill Country:

Too far for you to see

The fluke and the foot-rot and the fat maggot

Gnawing the skin from the small bones,

The sheep are grazing at Bwlch-y-Fedwen,

Arranged romantically in the usual manner

On a bleak background of bald stone.

Alliteration is common in nonsense verse:

Be lenient with lobsters, and ever kind to crabs,

And be not disrespectful to cuttle-fish or dabs;

Chase not the Cochin-China, chaff not the ox obese,

And babble not of feather-beds in company with geese

in tongue-twisters:

Betty Botter bought some butter,

But, she said, the butter’s bitter;

If I put it in my batter

It will make my batter bitter,

But a bit of better butter,

That would make my batter better.

in jingles:

Dingle digle doosey,

The cat’s in the well,

The dog’s away to Bellingen

To buy the bairn a bell.

and in patter beloved of drill sergeants and the like:

Now then, you horrible shower of heathens, have I your complete hattention?

Hotherwise I shall have to heave the whole hairy lot of you into the salt box

where you will live on hopeful hallucinations for as long as hit pleases God and

the commanding hofficer”

Excerpted from: Cuddon, J.A. The Penguin Dictionary of Literary Terms and Literary Theory. New York: Penguin, 1992.