ENGLISH LITERATURE

LITERATURE

1. LITERATURE (JOHN BURGES WILSON): THE USE OF WORDS IN SUCH BEAUTIFUL WAY AND BY REASONS OF SUBJECT MATTER WHICH GAVES AN INTERISTING FEELING TO THE READER.

2. THE BRANCHES OF ENGLISH LITERATURE: POETRY: FUNCTIONS AS A MEDIUM OF COMMUNICATION, THE EFFECTS IS PRODUCED IN THE MIND OF THE READER OR LISTENER, COMMUNICATES BY SUGGESTION AND IMPLICATION. CHARACTERISTICS OF POETIC LANGUAGE: A. THE USE OF IMAGERY (THING) WHICH OFTEN CONCRETE USED TO AROUSE AND APPEAL THE RHE READERS OR LISTENER PHYSICAL SENSE (SEEING, HEARING, SENSASITION) WITH PURPOSE TO AROUSE LISTENER/READER IMAGINATION. B. THE USE OF FIGURATIVE LANGUAGE (WORD/EXPRESSION USED NOT ONLY IN THEIR LITERAL BUT ALSO IN THE LEXICAL MEANING. FIGURE OF RHEOTORIC SPEECH: 1. BASED ON THE FACULTY OF HUMAN INTELLECT:  - RESEMBLANCE: METAPHOR, ALLEGORY, PARABLE, FABLE, SIMILE, ETC (COMPARISON “LIKE”) - DIFFERENCE ANTITHESIS (SETTING ONE WORD IDEA AGAINST ANOTHER): EPYGRAM, ANTITHESIS, PUN, CLIMAX, ANTICLIMAX/BATHOS) 2. IMAGINATION: PERSONIFICATION, APOSTTHROPE, VISION, HYPERBOLE, ETC.  3. INDIRECTNESS: IRONY, SARCASM, EUPHEMISME, LITOTES. ETC.C. THE USE OF ARCHAIC LANGUAGE (ARCHAISM). YOU-THOU, YOU-THEE. (SUBJECT FROM).  D. USING SPECIAL SYNTAX IN ORDER TO PRODUCE RHYME/RHYTHM OR TO ACHIEVE OTHER POETIC PURPOSE.

3. VERIFICATION POETRY: RHYME: A. IS THE SIMILARITY OF SOUNDS AT THE END OF LINES. TUNE-JUNE, B. FUNCTIONS AS A OBLIGATING AND COMBINE ELEMENT IN STANZA AND PRODUCES A BEAUTIFUL EFFECT.  C.PATTERNS: A-B-A-B/A-B-C-D/A-A-B-B. RYTHM: A. IS THE REGULARITY OF THE STRESS PATTERN, B. TYPES: - INTERNAL (FOUND I, SIDE THE LINE) – EXTERNAL (FOUND FROM THE SIMILARITY OF THE RYTHM BETWEEN TWO LINES). – DIFFERENT RYTHMS TEND TO PRODUCE DIFFERENT FEELINGS. SOUND EFFECT: 1. ALITERATION: REPETITION OF THE CONSONANT SOUND OF WORDS IN A LINE. 2. ASSONANCE: REPETITION OF THE VOWEL SOUND OF WORDS IN A LINE. 3. CONSONANCE: REPETITION OF THE FIRST AND FINAL SOUND OF WORDS IN A LINE. DEAR, DOOR. FOOT: IS A UNIT OF STRESS PATTERN AS THE EFFORT OF THE POET TO TAKE FEELING TO THE READER RESULTS IN VARIOUS TYPES OF FOOT. TYPES: LAMBIC, CONSIST OF: 1. UNSTRESSED SYLLABLE AND 1 STRESSED SYLLABLE. 2.  IROHAIC: CONSIST OF 1 UNSTRESSED SYLLABLE AND 1 STRESSED SYLLABLE. 3. ANAPESTIC: CONSIST OF 2 UNSTRESSED SYLLABLES AND 1 STRESSED SYLLABLE. METRE IS THE NUMBER ON FEET. SCANNING: DESCRIBING A LINE OR STANZA WITH RESPECT TO ITS NUMBER AND TYPE OF FEET. FORM OF STANZA: THE NUMBER OF LINES IN A POEM. SEXTET: 6 LINES, SONNET: 14 LINES. QUARTETTE: 5 LINES. OCTAVE: 8 LINES. SEPTETTE: 7 LINES. FREE VERSE: NO SPECIFIC NUMBER OF LINES. HEROIC COUPLET: A STANZA CONSIST OF TWO COUPLETS. BLANK VERSE: UNRHYMED.

4. TYPE OF POEM: HYMNE: A POEM OF ADORATION. (HENRY LAWSON). NARRATIVE POEM: STORY, BALLAD. LYRIC: A POEM WHICH EXPRESSES FEELING/DESCRIBES SOMETHING. DRAMATIC: A POEM WHICH READ OUT IN A DRAMA PERFORMANCE. DIDACTIC: A POEM WHICH TEACHERS MORAL LESSONS, ELEGY: A POEM OF SAD FEELING OF LOSING SOMEONE. ODE: A POEM OF PRAISE. LIMERICK: A POEM OF JOKE NON-SENSE POEM. ( JUST FOR RIDE/OLD MEN FORM PERU)

5. ROBERT BURNS-A RED RED ROSE, F.W. BOURDILLON-THOUSAND EYES, T.HOOD-THE DEATH BED, ALFRED LORD TENYSON-BREAK,BREAK,BREAK. R.HERRICK-COUNSEL TO GIRLS. NOEL LANE-THE GARDEN, WILLIAM SHAKESPEARE-MADRIGAL.

6. PROSE: ANY WRITING IN NON VERSE FORMS: ANALYZING PROSE: EXTRINSIC VALUEOF THE WORK: BIOGHRAPHY AND BACKGROUND OF THE WRITTEN. INTRINSIC VALUE: THEME, SETTING, CHARACTER.CHARACTERIZATION, PLOT: EXPOSITION-RAISING ACTION-CLIMAX, FALLING ACTION, AND RESOLUTION. THE STYLE, SUSPENSE AND FORESHADOWNING. TONE: THE NOISE OR ATTITUDE OF THE AUTHOR TOWARD THE SUBJECT, CHARACTER AND THE READERS.

7. KINDS OF PROSE: SHORT STORY: NORMALLY READ AT ONE SETTING, HAS A FEW CHARACTER, TYPICALLY LIMITS ITSELF TO A SHORT STORY, AND RATHER SHOWING ITS CHARACTERS DEVELOPING WILL SHOW THEM AT SOME EXPOSING MOMENT OF CRISIS WHETHER INTERNAL/EXTERNAL, FOCUSES UPON A PARTICULAR EPISODE OR SITUATION RATHER THAN A SERIES OF EVENTS. NOVEL: THE EXTENDED PROSE FICTION THAT APPEAR IN THE EIGHTEENTH CENTURY TO BECOME THE MAJOR LITERARY EXPRESSION OF THE MODERN WORLD. IS MORE COMPLICATED AND LONG STORY, HAS MORE CHARACTERS AND COMPLEX PLOT. TELLING ABOUT CHARACTER IN A LONG PERIOD, HAS SEVERAL ELEMENTS, SUCH AS: PLOT: THE MOST IMPORTANT EVENT. CHARACTER AND CHARACTERIZATION, SETTING: PLACE AND TIME TAKEN. STYLE: THE SHCHEME AND LANGUAGE USED. THEME. TONE: THE ATTITUDE OF THE AUTHOR TOWARDS THE SUBJECT, CHARACTER, AND READERS, NOVELLETE: IS SHORT NOVEL OR LONG SHORT STORY, NOVELLA: IS RATHER LONGER THAN A STORY. ESSAY: IS SHORT PART WRITING ON ONE SUBJECT.

8. DRAMA: IS ANY WRITING IN THE FORM OF VERSE PROSE DIALOGUE INTENDED TO PERFORMED ON THE STAGE BASED ON THE SCENARIO AND SCRIPT. IS A LITERARY WORK BECAUSE THERE IS A TEXT A PLAY THAT WILL BE PERFORMED ON THE STAGE. 

9. ELEMENTS OF DRAMA: THEME, CHARACTERS ARE ACTIVE/MAJOR CHARACTER: THE CHARACTER WHO PERFORM ACTS AND USUALLY UNDERGO CERTAIN CHANGES AS RESULT OF THE ACTION OF THE PLAY. AND PASSIVE/MINOR CHARACTERS ARE CHARACTERS IN PLAYS WHO DO NOT CHANGE FROM BEGINNING UNTIL THE ENDING. PLOT: - A SERIES OF EVENT WHICH PRESENT A SHORT SYNOPSIS OF THE MAJOR ACTION OF THE DRAMA IN QUESTION, SO THAT THE CHARACTER RELATIONSHIP WILL BECOME CLARIFIED REFERENCE TO THE MAIN EVENTS OF THE PLAY.  – THE NATURE OF THE PLOT, THE WAY IN WHICH EVENTS ARE RELATED TO EACH OTHER AND THEIR DRAMATIC EFFECT.

10. PLOT/DRAMATIC STRUCTURE: EXPOSITION: SHOWS SOME SORT OF CHANGE TAKING PLACE IN THE CHARACTERS’ LIVE/THE SOCIAL ORDER. RAISING ACTION: SITUATION LOWER TO HIGHER. CLIMAX: COMLICATION ARISES FROM THIS CHANGE AS THE CHARACTERS SEEK TO COME TO TERMS WITH THE PROBLEMS THAT HAVE DEVELOPED TO THAT SENSE OF DISORDER PREVAILS. FALLING ACTION, RESOLUTION: SUDDENLY EVENT WHICH CONSEQUENT SUFFERING: FLOOD, EARTHQUAKE OR THE CHARACTERS AT LEAST COME TO TERMS WITH NEW SITUATION THAT HAS DEVELOPED. STYLE, SETTING (TIME AND PLACE WHICH THE EVENTS TAKES)

11. DIFFERENCES BETWEEN DRAMA AND TEXT PLAY: DRAMA: CAN BE ENJOYED BY WATCHING IT, THE DARAM’S WRITER STARTS THE STORY WITH PUBLIC ISSUES, NEEDS ACTRESS/ACTORS TO PERFORM ON THE STAGE TO AUDIENCE. TEXT PLAY: CAN BE ENJOY BY READING IT, CAN ALSO BE PERFORMED ON THE STAGE.

12. DIFFERENCE CHARACTERISTICS OF DRAMA AND NOVEL:

DRAMA	NOVEL
A. ISN’ T PURE LITERATURE: MIX ART STAND UP WITH THE ELEMENTS OF AGE SETTING AND INTERPRETATION/SECOND ART.	A. A PURE LITERATURE, BECAUSE IT IS INDEPENDENT OF THE SECOND ART.
B. THERE IS MORE ACTUALITY AND CLEARNESS THROUGH DIALOGUE ACTION OR MOVEMENT. COSTUME, MUSIC AND SCENERY THAT CAN DIRECTLY BE ENJOYED BY THE AUDIENCE.	B. THE ACTUALITY AND CLEARNESS SUBSTITUTED WITH NARATIVE REPRESENTATION WHICH THE READ COULD ENJOY DIRECTLY.
C. ISN’T SELF CONTAINED	C. SELF CONTAINED.
D. PLAY IS PLANNED TO BE ENJOYED AT A SINGLE PURPOSE.	D. THAT IS INTEREST WILL BE MAINTAINED AND RETURN TO IT WHEN EVEN OVER.
E. THE DEVELOPMENT OF THE PLOT IS ELIMINATED.	E. THE DEVELOPMENT OF THE PLOT IS UNLIMITTED.
F. THE CHARACTERIZATION CAN BE ACKNOWLEDGED BY AUDIENCE DIRECTLY.	F. THE CHARACTERIZATION IS DIFFICULT TO BE ACKNOWLEDGED BY THE READER.
G. THE SETTING IS EXPOSED IN REALITY BUT ONLY THE MOST IMPORTANT NATURAL BACKGROUND/ENVIRONMENT.	G. SETTING INCLUDES THE ENTIRE ENVIRONMENT OF A STORY, THE MANNER. CUSTOM WAY OF LIFE WHICH ENTER INTO ITS COMPOSITION AS WELL.

13. PLAYWRIGHT’S AND NOVELIST’S BENEFIT: PLAYWRIGHT: HAS TO HOLD GOOD ON THEORETICAL OR THE SECOND ART. NOVELIST: CAN DESCRIBE SETTING TO THE DETAILS AND IN A LONGER DESCRIPTION AND HIS WORK HAS TO BE JUDGED BY THE ACCURACY AND POWER OF HIS DESCRIPTION.

14. DRAMATIC FORM MEANS HOW THE MATERIAL IS PRESENTED WITHIN THE BASIC STRUCTURE.

15. KINDS OF DRAMA: A. COMEDY:  THERE IS DISORDER THAT THREATENS THE CHARACTERS’ LIVES AND SOCIAL CONCORD IS OVERCOMES. 1. ROMANTIC COMEDY: DEAL WITH HOW SERIOUSLY YOUNG PEOPLE TAKE LOVE AND HOW STUPIDLY LOVE MAKES THEM BEHAVE. EG. A MIDSUMMER NIGHT DREAMS (1995) SHAKESPARE. THE MERCHANT OF VENIC (1596). 2. TRAGIC COMEDY: - IS THE DARKER EDITION OF ROMANTIC COMEDY. IN WHICH BAD LUCK AND DEATH CHARACTER. – THE MASTER: WILLIAM SHAKESPARE. 3. SATIRIC COMEDY: IT CLAIMS TO LAUGH HUMAN OUT FULLY THROUGH CARICATURE. : VOLPONE (1606) VERY MAN IN HIS HUMOR (1598). 4. COMEDY OF MANNERS: THE FOCUS IS DIRECTLY ON MORAL AND MANNERS IN SOCIETY. THE CHARACTERS ARE PLAUSIBLE. EG. THE PLAYBOY OF WESTERN WORLD (SYNGE 1907). 5. RESTORATION COMEDY: IS A TYPE OF WITTY, BOWDY COMEDY WRITTEN AFTER THE RESTORATION OF CHARLES II IN 1660, WHICH INCLUDED INTO COMEDY OF MANNERS AND DEALS WITH THE SEXUAL RELATION OF MEN AND WOMEN SUITABLE TO TRADITION SOCIETY. EG: THE COUNTRY WIFE (WICKBERLEY, 1675) 6. SENTIMENTAL COMEDY: A SIMPLISTIC FORM OF COMEDY EXPLORING THE KINDNESS OF FAMILY LIFE. WITH A STRESS HOW GOODNESS IS REWARDED. EG: THE RIVALS (SHERIDAN, 1775).   B. TRAGEDY: THERE IS THE FALLING ISOLATED OF SIGNS OF ORDER AS WE ARE CONFRONTED BY THE MOST SURPRISING FROM OF DISORDER, DEATH IT SELF. SO GREAT IT FACES UP THE BAD, THE MOST EXTREME FORMS OF DISORDER, CRAZINESS, KILLING, WHICH ARE ALWAYS PATTERNED. IS A PLAY ENDS WITH THE DEATH OF THE MAIN CHARACTER “THE WILD DUCK” (IBSEN, 1884). C. FICTION AND NON FICTION: FICTION: IS AN IMAGERY ACCOUNT THAT DEALS WITH EVENTS AND ACTIONS, SUFFERED AND DONE BY HUMAN BEING IN THEIR LIVES. THE PERSON AND TIME ARE NOT REAL. THEY HAPPEN OR EXIST IN THE WRITER’S IMAGINATION. NONFICTION: IS THE STORY WHICH DEALS WITH THE FACTS HAPPENED IN THE PAST. THE PERSON AND TIME ARE EXACTLY TRUE.

16. CHARACTERISTICS OF MODERN DRAMA: 1. THE REPLACEMENT OF RELIGIOUS CERTAINTY AND MORAL ABSOLUTE WITH SCEPTISM DOUBT, INTELLECTUAL RELATIVISM (SCEPTIVIDM AND DOUBT). 2. ALLITERATION FROM A SOCIETY. SOCIETY IS SEEN AS CORRUPT, MATERIALISTIC, HYPOCRITICAL. 3. FASCINATION WITH HUMAN SUBJECTIVITY AND ANXIETY. 4. DOUBT AS THE VALUE OF RATIONAL THOUGHT. 5. BOLD EXPERIMENTATION/CURIOSITY. 6. DOUBT AS THE MEANINGFULNESS OF HUMAN LIFE PURPOSELESSNESS.

17. KINDS OF CHARACTERS (THE PEOPLE IN THE PLAY): 1. HERO (PROTAGONIS). 2. VILLAIN (ANTAGONIS).

18. WAYS OF PRESENTING CAHARACTERS: 1. STRESSING IDEALISM. 2. PSYCHO ANALYSIS (CHARACTER WERE REPRESENTATIVE OF HUMAN BEING)

19. ANALYZING CHARACTER AND CHARACTERIZATION IN DRAMA. 1. KNOW THE BACKGROUND. 2. OBSERVE  THE SITUATION DEVELOPMENT. 3. OBSERVE THE PLOT. 4. UNDERSTAND THE STONE (THREATENING, DEPRESSING, ETC).

20. ERA OF DRAMA: 1. ELIZABETH AND JACOBEAN (RENAISSANCE) KYOT, THE SPANISH TRAGEDY (1987). SHAKESPARE, HAMLET (1600). MARLOWE, DR. FAUSTUS (1592). TAMBURLAINE (1587). EDWARD II (1593). BEN JONSON. VOLPONE (1600). 2. MEDIEVAL DRAMA (FOURTEENTH CENTURY). A. MIRACLE PLAYS: DEAL WITH CHRISTIAN HISTORY OF HUMANFROM THE CREATION AT THE LAST JUDGEMENT AND FOCUSES ON THE EVENTS FROM THE BIBLE. B. MORALITY PLAYS: FOCUS ON MORAL PROBLEMS THAT TO FACE MAN AS THE JOURNEY FROM BIRTH TO DATE AND THE ALLEGORICAL PLAYS. 3. NINETEENTH CENTURY DRAMA (MELODRAMA): - A SENSATIONAL ROMANTIC PLAY FULL OF IMPOSSIBLE EVENTS WHERE THE GOOD AND ALWAYS REWARDED AND THE CRIMINAL ALWAYS PUNISHED. – THE CENTRAL INTEREST IS THE PLOT WHICH USUALLY DEPEND ON SECRET WHICH IS NOT EXPLAINED UNTIL THE LAST ACT. EG: A DOLL’S HOUSE (IBSEN, 1879) MR. WARREN’S PROFESSION (SHAW, 1894). 4. TWENTIETH CENTURY DRAMA: FOCUSES ON THE GAP BETWEEN SOCIAL AND ETHICAL FRAMEWORK THE CHARACTERS HAVE BEEN RAISED IN THE REALITY OF THEIR DIFFICULT SITUATION WHERE THESE VALUES ARE EXPOSED AS LIMITED. EG: SHAW, ARMS AND THE MAN 1972, SYNGE THE PLAUBOY OF THE WESTERN WORLD.

21. WILLIAM SHAKESPARE: THE BRITISH DRAMATIST WHO DOMINATED THE LITERARY WORK IN ENGLAND: POEMS, DARAMS, PLAYS (COMEDY AND TRAGEDY).

22. WILLIAM SHAKESPARE IN COMEDY: ROMANTIC COMEDY: A MIDSUMMER NIGHT DREAMS, 1596. TWELFTH NIGHT, 1601. THE MERCHANT OF VENICE, 1596. MEASURE FOR MEASURE 1604. HISTORY PLAYS: RICHARD II 1595. HERRY IV 1596-8. ROMAN/TRAGIC PLAY: JULIUS CAESAR 1599. ANTHONY AND CLEOPATRA 1606. TRAGEDIES: HAMLET 1600, KING LEOR 1605. MACHETH 1606. O’THELO 1604. ROMANCES: THE WINTER’S TALE 1610, THE TEMPEST 1611.

PROSE.

1. DEFINITION OF LITERATURE: LITERATURE IS A WRITING VALUED AS WORKS OF ART, WE LEARN LTERATURE TO KNOW EXACTLY ABOUT THE DEVELOPMENT OF LITERARY WORKS, TO FAMILIARIZE WITH THE WRITERS TOO. AND TO GIVE SUCH AN HUMOR OR RESPECT TO THE VALUES OF LITERARY. BESIDE THAT, THROUGH LEARNING LITERATURE WE CAN TRY TO MAKE SUCH A LITERARY WORK.

2. DIFFERENCE BETWEEN PROSE AND POEM: 1. THE NATURE OF POEM: POEM IS THE SPONTANEOUS OVERFLOW OF POWERFUL FEELINGS RECOLLECTED IN SILENCE. IT CONSISTS OF THEME, INTENTION, TONE, AND FEELINGS. TONE IS THE WRITERS ATTITUDE TOWARDS THE READERS. FEELING IS THE WRITERS ATTITUDE TOWARDS THE SUBJECT MATTER.  2. THE NATURE OF PROSE: PROSE IS ANY WRITING IN NON VERSE FORMS. BASED ON THE HISTORICAL PERIOD PROSE IS DIVIDED INTO TWO CATEGORIES. THEY ARE OLD PROSE AND MODERN PROSE. A. SORTS OF OLD PROSE: A. SORT OF OLD PROSE: - LEGEND IS OLD STORY HANDED DOWN FROM THE PAST, ESPECIALLY ONE OF DOUBTFUL TRUTH. E.G: THE LEGEN OF KING ARTHUR. – MYTH IS STORY HANDED DOWN FORM OLDEN TIMES, ESPECIALLY CONCEPTS OR BELIEFS ABOUT THE EARLY HISTORY OF A RACE EXPLANATIONS OF NATURAL EVENTS, SUCH AS ANCIENT GREEK’S MYTH. – FABLE IS SHORT TALE WHICH IS NOT BASED ON FACT, ESPECIALLY ONE WITH ANIMALS IN IT, AND INTENDED TO GIVE MORAL TEACHING. – FAIRY TALE: IS A TALE ABOUT FAIRIES.- FOLKTALE: IS A POPULAR STORY HANDED DOWN ORALLY FROM PART GENERATION. CHARACTERISTICS OF OLD PROSE ARE: IT IS ANONYMOUS, IT HAS MORAL LESSON, IT HAS SIMPLE LANGUAGE, IT IS TOLD FROM ONE GENERATION TO OTHER GENERATION. B. MODERN PROSE: - SHORT STORY: IS NORMALLY READ AT ONE SETTING, IT HAS FEW CHARACTERS IT TYPICALLY LIMITS ITSELF TO A BRIEF SPAN OF TIME, AND RATHER SHOWING ITS CHARACTER DEVELOPING AND MATURING WILL SHOW THEM AT SOME REVEALING MOMENT OF CRISIS WHETHER INTERNAL OR EXTERNAL. IT ALSO FOCUSES UPON A PARTICULAR EPISODE OR SITUATION RATHER THAN A SERIES OF EVENTS. – NOVEL: IS THE LENGTHENED PROSE FICTION THAT APPEAR IN THE EIGHTEENTH CENTURY TO BECOME THE MAJOR LITERARY EXPRESSION OF THE MODERN WORLD IT IS MORE DIFFICULT AND LONG STORY/ IT HAS MORE CHARACTERS AND COMPLEX PLOT. IT TELLS ABOUT CHARACTERS IN ALONG PERIOD. IT HAS SEVERAL ELEMENTS, SUCH AS: PLOT: (THE MOST IMPORTANT EVENTS) CHARACTER AND CHARACTERIZATION, SETTING (PLACE AND TIME TAKEN). STYLE (THE SCHEME AND TIME TAKEN), THEME, TONE (THE ATTITUDE OF THE AUTHOR TOWARDS THE SUBJECT, CHARACTER, AND THE READERS). SUSUPENSE/FORESHADOWING. POINT OF VIEW. C. NOVELLETE: IS A SHORT NOVEL OR LONG SHORT STORY. C. NOVELLA: IS RATHER LONGER THAN A SHORT STORY, D. ESSAY: IS SHORT PART WRITING ON ONE SUBJECT.  

3. ANALYZING OF PROSE: EXTRINSIC VALUE: BIOGHRAPHY AND BACKGROUNF OF THE WRITER. INTRINSIC VALUE: A. THEME, B. CHARACTERS AND CHARACTERIZATION, C. SETTING OF PLACE AND TIME, D. PLOT: IT IS A SERIES OF EVENTS WHICH PRESENTS A BRIEF SYNOPSIS OF THE MAJOR ACTION OF THE DRAMA IN QUESTION, SO THAT THE CHARACTERS RELATIONSHIPS WILL BECOME CLARIFIED BY REFERENCE TO THE EVENTS OF THE PLAY, THE NATURE OF THE PLOT, THE WAY IN WHICH EVENTS ARE RELATED TO EACH OTHER AND THEIR DRAMATIC EFFECT. IT’S ALSO A SERIES OF EVENTS WHICH COVERS: EXPOSITION: IS THE BASIC WHICH SHOWS SOME SORT OF CHANGE TAKING PLACE IN THE CHARACTERS’ LIVE /THE SOCIAL ORDER IT IS OFTEN CALLED AS THE INTRODUCTION OF A STORY. RISING ACTION: IS A STORY PLACE WHERE SUSPENSE LOWER TO HIGHER OR PROBLEM ENCOUNTERED BY THE MAIN CHARACTER. IT IS ALSO A RUNNING POINT OR THE COMPLICATION THAT ARISES FROM THIS CHANGE AS THE CHARACTERS SEEK TO COME TO TERMS WITH THE PROBLEMS THAT HAVE DEVELOPED TO THAT A SENSE OF DISORDER AVERAGE. CLIMAX: IS THE MOST DIFFICULT PROBLEM OR SITUATION. FALLING ACTION. RESOLUTION: IS A SUDDEN EVENT WHICH CONSEQUENT SUFFERING, FLOOD, EARTHQUAKE OR THE CHARACTERS AT LEAST COME TO TERMS WITH NEW SITUATION THAT HAS DEVELOPED. E. STYLE, F. POINT OF VIEW IS THE ROLE OF THE WRITER IN THE STORY AT THE FIRST OR THE THIRD PERSON, G. FORESHADOWING AND SUSPENSE.

4. READER’S RESPONSE STRATEGY: IT COVERS THE FOLLOWING STEPS: ENGAGING: THE READERS GETS INVOLVED IN THE STORY. CONCEIVING: THE READERS TRIES TO COMPREHEND THE STORY. EXPLAINING AND INTERPRETING: THE READERS FINDS OUT THE SIGNAL AND DESCRIBES THEN. CONNECTING: THE READER CAN COMPREHEND THE SITUATION WHICH FOUND OUT IN THE STORY TO THE ONE THAT SHE OR HE HAS MET. JUDGING: THE READER CAN MAKE SOME CONCLUSIONS.