 1st paragraph hypothesis
Conclusion (short)
• hypo- under
hypodermic needle

 Romantic poet John Keats
'Beauty is truth, truth beauty, —that is all
Ye know on earth, and all ye need to know.'

 Ode- a lyric poem characterized by a serious topic and formal tone but without a prescribed formal pattern in which the speaker talks about, and often to, and especially revered person or thing. Examples include Keats’s odes and Shelley’s “ Ode to the West Wind.”
http://en.wikipedia.org/wiki/Ode_to_the_West_Wind

 narrative poetry-
Narrative poetry is a form of poetry that tells a
story, often making use of the voices of a narrator and characters as
well.

lyrical poetry-
typically express personal (often emotional) feelings and are traditionally spoken in the present tense

lyre- The lyre is a string instrument known for its use
in Greek classical antiquity and later.
lyrics- The lyrics of a song are its words.

• Percy Bysshe Shelley
His own second wife, Mary Shelley, the author of Frankenstein.

ODE TO THE WEST WIND
I.
O, WILD West Wind, thou breath of Autumn's being,
Thou, from whose unseen presence the leaves dead
Are driven, like ghosts from an enchanter fleeing,
Yellow, and black, and pale, and hectic red,
Pestilence-stricken multitudes: O, thou,
Who chariotest to their dark wintry bed

The winged seeds, where they lie cold and low,
Each like a corpse within its grave, until
Thine azure sister of the spring shall blow

Her clarion o'er the dreaming earth, and fill
(Driving sweet buds like flocks to feed in air)
With living hues and odours plain and hill:

Wild Spirit, which art moving every where;
Destroyer and preserver; hear, O, hear!

II.

Thou on whose stream, 'mid the steep sky's commotion,
Loose clouds like earth's decaying leaves are shed,
Shook from the tangled boughs of Heaven and Ocean,

Angels of rain and lightning: there are spread
On the blue surface of thine airy surge,
Like the bright hair uplifted from the head
Of some fierce Mænad, even from the dim verge
Of the horizon to the zenith's height
The locks of the approaching storm. Thou dirge

Of the dying year, to which this closing night
Will be the dome of a vast sepulchre,
Vaulted with all thy congregated might

Of vapours, from whose solid atmosphere
Black rain, and fire, and hail will burst: O, hear!

III.

Thou who didst waken from his summer dreams
The blue Mediterranean, where he lay,
Lulled by the coil of his crystalline streams,

Beside a pumice isle in Baiæ's bay,
And saw in sleep old palaces and towers
Quivering within the wave's intenser day,

All overgrown with azure moss and flowers
So sweet, the sense faints picturing them! Thou
For whose path the Atlantic's level powers
Cleave themselves into chasms, while far below
The sea-blooms and the oozy woods which wear
The sapless foliage of the ocean, know

Thy voice, and suddenly grow grey with fear,
And tremble and despoil themselves: O, hear!

IV.

If I were a dead leaf thou mightest bear;
If I were a swift cloud to fly with thee;
A wave to pant beneath thy power, and share

The impulse of thy strength, only less free
Than thou, O, uncontroulable! If even
I were as in my boyhood, and could be

The comrade of thy wanderings over heaven,
As then, when to outstrip thy skiey speed
Scarce seemed a vision; I would ne'er have striven

As thus with thee in prayer in my sore need.
Oh! lift me as a wave, a leaf, a cloud!
I fall upon the thorns of life! I bleed!
A heavy weight of hours has chained and bowed
One too like thee: tameless, and swift, and proud.

V.

Make me thy lyre, even as the forest is:
What if my leaves are falling like its own!
The tumult of thy mighty harmonies

Will take from both a deep, autumnal tone,
Sweet though in sadness. Be thou, spirit fierce,
My spirit! Be thou me, impetuous one!

Drive my dead thoughts over the universe
Like withered leaves to quicken a new birth!
And, by the incantation of this verse,

Scatter, as from an unextinguished hearth
Ashes and sparks, my words among mankind!
Be through my lips to unawakened earth

The trumpet of a prophecy! O, wind,
If Winter comes, can Spring be far behind?



 Theme- (1) broadly and commonly, a topic explored in a literary work (e.g., “the value of all life”); (2) more narrowly and properly, the insight about a topic communicated in a work (e.g., “ All living things are equally precious”). Most literary works have multiple themes, though some people reserve the term theme for the central or main insight and refer to others as subthemes. Usually, a theme is implicitly communicated by the work as a whole rather than explicitly stated in it, though fables are an exception. See also moral.
• P334
“Roman Fever” highlights the theme of rivalry, love, and jealousy.
“Boys and Girls” highlights the theme of gender stereotypes,
relationships and growing.
“The Lady with the Dog” highlights the theme of love, reputation,
fate will and fate will.


 Anton Chekhov - The Cherry Orchard
The Secret Garden
The whole world is a garden.
Bourgeoisie- Bourgeoisie is a word from the French language, used in the fields of political economy, political philosophy, sociology, and history, which originally denoted the wealthy stratum of the middle class that originated during the latter part of the Middle Ages.


 Allan Poe
Poe was one of the earliest American practitioners of the short story, and is generally considered the inventor of the detective fiction genre.

A short story should be unified and brief enough to be read at one setting.
Summary –retell what is about in the story.
 Spring break-
Spring break (also known as March break, spring vacation, Mid-Term Break, study week ,reading week, reading period, or Easter holidays in the United States and some parts of Canada) is a recess in early spring at universities and schools in various countries in the northern hemisphere.


 Moral- a rule of conduct or a maxim for living (that is, a statement about how one should live or behave) communicated in a literary work. Though fables often have morals such as “ Don’t count your chickens before they hatch,” more modern literary works instead tend to have themes.
 P330, P280
Sample essay:
Hypothesis
Centered title
Subject: Approaches to Literature
Prof. T. Sara Sun, Ph. D
Works cited : (P333)
Mays, Kelly J, ed. The Norton Introduction to Literature. Shorter 11th ed. New York: W.W Norton, 2013.

 P377
Yukio Mishima
http://en.wikipedia.org/wiki/Yukio_Mishima
ritual suicide

Yukio Mishima is a Japanese author, poet, playwright, actor, and
film director. Mishima is considered one of the most important
Japanese authors of the 20th century; he was nominated three times
for the Nobel Prize in Literature and was poised to win the prize in
1968 although lost the award to his fellow countryman Yasunari
Kawabata.

The Temple of the Golden Pavilion
http://en.wikipedia.org/wiki/The_Temple_of_the_Golden_Pavilion
 If you dream high, you might scold higher.

 dramatic monologue:
Dramatic monologue refers to a type of poetry. These poems are dramatic in the sense that they have a theatrical quality; that is, the poem is meant to be read to an audience. To say that the poem is a monologue means that these are the words of one solitary speaker with no dialogue coming from any other characters. Think of one person standing alone on a stage speaking to an audience. Certainly, you are part of that audience, but the poem usually implies that the speaker is mainly talking to a specific person(s).
http://www.cliffsnotes.com/cliffsnotes/literature/what-is-a-dramatic-monologue

dramatic irony: Dramatic irony is when the words and actions of the characters of a work of literature have a different meaning for the reader than they do for the characters. This is the result of the reader having a greater knowledge than the characters themselves. It’s a contradiction between what a character says and what the audience knows. Dramatic irony occurs when the reader or spectator knows more about the true state of affairs then the characters themselves.

http://wiki.answers.com/Q/What_is_dramatic_irony?#slide=8



 William Faulkner’s Nobel Prize Speech
Until he relearns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal simply because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking. I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet’s, the writer’s, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet’s voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.

http://www.mcsr.olemiss.edu/~egjbp/faulkner/lib_nobel.html


Theme: The Grasshopper and the Bell Cricket by Yasunari Kawabata highlights the themes of innocence, hope, and love.
http://luongjennifer.blogspot.tw/2010/03/theme-grasshopper-and-bell-cricket-by.html