K-PREP Boot Camp - Drama & Poetry Review

poetry terms

100

This is the attitude an author takes toward a subject. (HINT: It is similar to an author's point of view in argumentative writing.)

What is TONE?

200

This is the overall emotion or atmosphere created by a literary work.

What is MOOD?

300

This is the regular pattern of end rhymes in a poem.

What is RHYME SCHEME?

400

This sound device is created by the use of two or more words with the same beginning sound in close proximity to one another.

What is ALLITERATION?

500

These common expressions are types of figurative language that are not literally true.

What are IDIOMS?

drama terms

100

These are subdivisions of the acts of a play. (HINT: Each of them have a different setting.)

What are SCENES?

200

This is the vantage point, or perspective, from which a story is told.

What is POINT OF VIEW?

300

This is the way an author reveals information about a character in literature, including drama.

What is CHARACTERIZATION?

400

This extended speech in a play takes place when the actor is alone on stage (or when any other actors are out of hearing distance from him or her).

What is a SOLILOQUY?

500

When reading a script, these instructions in italics / parentheses explain how (emotion, pacing) the actor should deliver the lines in addition to giving physical directions. (HINT: They help the reader of a script envision how the play would be seen on a stage.)

What are STAGE DIRECTIONS?

analyzing poetry

100

This is the rhyme scheme of this stanza of the poem, "If." "If you can talk with crowds and keep your virtue, Or walk with kings - nor lose the common touch; If neither foes nor loving friends can hurt you; If all men count with you, but none too much; If you can fill the unforgiving minute With sixty seconds' worth of distance run - Yours is the Earth and everything that's in it, And - which is more - you'll be a Man my son!"

What is ABABCDCD?

200

This # of stanzas and this 3 of lines are present in this excerpt of "Voices of the Earth" by Archibald Lampman. Voices of the Earth We have not heard the music of the spheres, The song of star to stare, but there are sounds More deep than human joy and human tears, That Nature uses in her common rounds; The fall of streams, the cry of winds that strain The oak, the roaring of the sea's surge, might Of thunder breaking afar off, or rain That falls by minutes in the summer night.

What is 1 STANZA, 8 LINES?

300

What poetic sound device is being utilized in the following excerpt from "The Stolen Child?" "Come away, O human child! To the waters and the wild With a faery, hand in hand, For the world's more full of weeping than you can understand. Where the wave of moonlight glosses The dim grey sands with light, Far off by furthest Rosses We foot it all the night, Weaving olden dances, Mingling hands and mingling glances... ...Come away, O human child! To the waters and the wild With a faery, hand in hand, For the world's more full of weeping than you can understand.

What is REPETITION? [HINT: Come away, O human child! To the waters and the wild With a faery, hand in hand, For the world's more full of weeping than you can understand.}

400

This shifts between these two stanzas in "The Stolen Child" from.... "Come away, O human child! To the waters and the wild With a faery, hand in hand, For the world's more full of weeping than you can understand." "For he comes, the human child, To the waters and the wild With a faery, hand in hand, From a world more full of weeping than he can understand."

What is THE POINT OF VIEW SHIFTS FROM 2ND PERSON (DIRECTLY SPEAKING TO THE CHILD) TO 3RD PERSON (NARRATING WHAT THE CHILD IS DOING)?

500

This effect of a child walking away with a "faery, hand in hand" is based on the connotation of "faery."

What is IT DEPICTS NATURE AS A MAGICAL (MYSTICAL) REALM WITH A POSSIBLE ELEMENT OF CRUELTY OR MISCHIEF.

analyzing drama

100

Explain the following metaphor that Mrs. Higgins uses to insult her son and Colonel Pickering from "Pygmalion." "You certainly are a pretty pair of babies, playing with your live doll."

What is HIGGINS & PICKERING TRYING TO MAKE ELIZA INTO A PROPER LADY IS BEING COMPARED TO BABIES (CHILDREN) PLAYING DRESS-UP WITH A DOLL?

200

These two things are being compared in the metaphor from the following passage of "Romeo and Juliet"? "I am too bold; 'tis not to me she speaks. Two of the fairest stars in all the heaven, Having some business, do entreat {beg, plead} her eyes To twinkle in their spheres till they return."

What is "FAIREST STARS" AND "HER {JULIET'S} EYES?

300

Using the context clues from the following passage of "Romeo and Juliet" the word DOFF means what? "So Romeo would, were he not Romeo call'd, Retain that dear perfection which he owes Without that title. Romeo, DOFF they name; And for that name, which is no part of thee, Take all myself."

What is PUT ASIDE / RID / REMOVE?

400

The following passage from "Romeo & Juliet" is a soliloquy because... "(Enter Juliet above at a window.) But soft! What light through yonder window breaks? It is the East, and Juliet is the sun! Arise fair sun, and kill the envious moon, Who is already sick and pale with grief..."

What is ROMEO IS DELIVERING THE SPEECH WHERE JULIET CANNOT HEAR HIM, SO HE IS BASICALLY ALONE ON STAGE.

500

This is how the setting impacts the conflict in Pygmalion as evidenced in the following lines from Mrs. Higgins. "But on what terms? Is she a servant? If not, what is she?"

What is BECAUSE OF THE TIME PERIOD, IT WAS NOT PROPER FOR A YOUNG LADY TO LIVE WITH TWO GENTLEMEN SINCE THEY WERE NOT RELATED OR MARRIED?

nerdy know it all

100

The directions included with this play indicate that it was written to be performed in this format instead of on a stage. Act Two Fade In: Interior of classroom—Full shot Ms. Smith's English class, two weeks later. The desks have been arranged into a semicircle to allow presentations in the center. A large television has been positioned on Ms. Smith's desk in the front center of the room. [As the act begins, nervous energy is pumping through the students as the last presentation, Jason's, is about to be made. The students eye Jason expectantly as he takes his place front and center. Ms. Smith is positioned on a high-legged chair at the back center of the room, ready to score the presentation.] MS. SMITH: (giving Jason a hopeful smile) You may begin, Jason. Angle on Jason JASON: (facing the class and speaking knowledgeably, as though well-prepared) My project is about the main character from The Call of the Wild. Since Ms. Smith is always talking about the elements of fiction, I figured I'd focus on Buck's point of view. Angle on Ms. Smith [Ms. Smith, writing on a score sheet, looks up, surprised, when she hears her name and Jason's mention of point of view.] Angle on Jason JASON: (continuing confidently) Now, for those of you thinking a dog can't have a viewpoint on things, I remind you that pets let us know their feelings. They sense things and react—like we do, I guess. So I figured I'd show Buck's reaction to being stolen from his home—"doggie-napped" is what I call it—and I'll show what it was like, from Buck's point of view, for him to be taught the "law of club and fang." [Camera pans faces of students in class. They look intently at the television on Ms. Smith's desk as Jason shows the video of his The Call of the Wild presentation. As the video ends, the class erupts into enthusiastic applause.] Angle on Ms. Smith MS. SMITH: (smiling broadly with approval) Well, Jason, I'd say you've done an excellent and very creative job of meeting the project requirements. By holding a camera low to the ground and moving with quick, darting motions like a dog in captivity, you have effectively portrayed Chapter I from Buck's point of view. Full shot [A bell rings, and Ms. Smith dismisses the class. The students quickly grab their things and exit the classroom, but Ms. Smith asks Jason to remain behind.] Angle on Ms. Smith MS. SMITH: (with a twinkle in her eye) Now, Jason, you know what this successful presentation means, don't you? Angle on Jason JASON: (eyes searching Ms. Smith's face) Umm … you know I can do my work from now on? Angle on Ms. Smith MS. SMITH: (with a slight smile) No, I always knew you could do the work. Now YOU know you can do the work. Angle on Jason JASON: (smiling and speaking with an air of confidence) Thanks, Ms. Smith. [Jason grabs his backpack and heads out the door.] Fade Out.

What is TELEVISION OR MOVIE? (Evidence: Fade In, Full shot, Angle on Jason)

200

This is the number of stanzas in the poem "Sunset." I once believed that sunset Was a moment I could measure— One second, once per day: A bright orb's curvature Dropped below the horizon And was gone until morning. I thought sunset signaled night— The way a green light signals "GO"; The way a flipped switch signals poser "ON" or "OFF"; The way a vacuum cleaner swallows all other sound. I once believed that sunset remained an inflexible event— Day after week after year, precise as any calendar or clock. I once believed that dark and light left very little between Skies of deep black or brilliant blue...occasional clouds. I thought sunset made light scurry like mice fleeing hawks; Like a play's applause muffled by heavy curtains; Like heat stifled by a summer rainstorm's rapid soak. I once believed in sunset precise as centimeters on rulers; Precise as microscopic differences in fingertips; Precise as perfect harmony. Truly, sunset is somehow both incandescent and poorly lit. Sunset is not sudden. It is neither beginning nor end. Sunset does not fall; it rather floats along perimeters. Truly, sunset is as hard to capture as it is to count, Sunset measures not in seconds but in shades of color. Sunset descends but never lands; Dissolves but fails to disappear. Truly, sunset changes constantly but cannot always be seen. Sunset manages the calendar—not the other way around. Sunset is not precision. It is the indistinct haze of a miracle. Nature never varies the artistry of sun-goes-down. Nature does not require the confines of human imagination.

What is THREE STANZAS?

300

This excerpt from "One Summer Day" employs which type of figurative language when describing natural elements such as dusk, wind, and the sea. Finally Dusk closes umbrellas with a chilly touch, And Wind, like a broom, sweeps all the visitors to their cars. The Sea stretches foamy fingers toward them in farewell, And murmurs good night to the departing Sun.

What is PERSONIFICATION?

400

The reader can find this information under the heading "Interior of classroom—Full shot" in Act Two of the play, " A Surprising Point of View" (located below). Act Two Fade In: Interior of classroom—Full shot Ms. Smith's English class, two weeks later. The desks have been arranged into a semicircle to allow presentations in the center. A large television has been positioned on Ms. Smith's desk in the front center of the room. [As the act begins, nervous energy is pumping through the students as the last presentation, Jason's, is about to be made. The students eye Jason expectantly as he takes his place front and center. Ms. Smith is positioned on a high-legged chair at the back center of the room, ready to score the presentation.] MS. SMITH: (giving Jason a hopeful smile) You may begin, Jason. Angle on Jason JASON: (facing the class and speaking knowledgeably, as though well-prepared) My project is about the main character from The Call of the Wild. Since Ms. Smith is always talking about the elements of fiction, I figured I'd focus on Buck's point of view. Angle on Ms. Smith [Ms. Smith, writing on a score sheet, looks up, surprised, when she hears her name and Jason's mention of point of view.] Angle on Jason JASON: (continuing confidently) Now, for those of you thinking a dog can't have a viewpoint on things, I remind you that pets let us know their feelings. They sense things and react—like we do, I guess. So I figured I'd show Buck's reaction to being stolen from his home—"doggie-napped" is what I call it—and I'll show what it was like, from Buck's point of view, for him to be taught the "law of club and fang." [Camera pans faces of students in class. They look intently at the television on Ms. Smith's desk as Jason shows the video of his The Call of the Wild presentation. As the video ends, the class erupts into enthusiastic applause.] Angle on Ms. Smith MS. SMITH: (smiling broadly with approval) Well, Jason, I'd say you've done an excellent and very creative job of meeting the project requirements. By holding a camera low to the ground and moving with quick, darting motions like a dog in captivity, you have effectively portrayed Chapter I from Buck's point of view. Full shot [A bell rings, and Ms. Smith dismisses the class. The students quickly grab their things and exit the classroom, but Ms. Smith asks Jason to remain behind.] Angle on Ms. Smith MS. SMITH: (with a twinkle in her eye) Now, Jason, you know what this successful presentation means, don't you? Angle on Jason JASON: (eyes searching Ms. Smith's face) Umm … you know I can do my work from now on? Angle on Ms. Smith MS. SMITH: (with a slight smile) No, I always knew you could do the work. Now YOU know you can do the work. Angle on Jason JASON: (smiling and speaking with an air of confidence) Thanks, Ms. Smith. [Jason grabs his backpack and heads out the door.] Fade Out.

What is A DESCRIPTION OF MS. SMITH'S ENGLISH CLASS, INCLUDING HER DESKS AND OTHER PROPS.

500

This type of writing (persuasive, narrative, or descriptive) is utilized in the following poem, "Sunset." I once believed that sunset Was a moment I could measure— One second, once per day: A bright orb's curvature Dropped below the horizon And was gone until morning. I thought sunset signaled night— The way a green light signals "GO"; The way a flipped switch signals poser "ON" or "OFF"; The way a vacuum cleaner swallows all other sound. I once believed that sunset remained an inflexible event— Day after week after year, precise as any calendar or clock. I once believed that dark and light left very little between Skies of deep black or brilliant blue...occasional clouds. I thought sunset made light scurry like mice fleeing hawks; Like a play's applause muffled by heavy curtains; Like heat stifled by a summer rainstorm's rapid soak. I once believed in sunset precise as centimeters on rulers; Precise as microscopic differences in fingertips; Precise as perfect harmony. Truly, sunset is somehow both incandescent and poorly lit. Sunset is not sudden. It is neither beginning nor end. Sunset does not fall; it rather floats along perimeters. Truly, sunset is as hard to capture as it is to count, Sunset measures not in seconds but in shades of color. Sunset descends but never lands; Dissolves but fails to disappear. Truly, sunset changes constantly but cannot always be seen. Sunset manages the calendar—not the other way around. Sunset is not precision. It is the indistinct haze of a miracle. Nature never varies the artistry of sun-goes-down. Nature does not require the confines of human imagination.

What is DESCRIPTIVE?