April 25, 2016

Dear Rising AP Language Student:

Congratulations on the completion of another good school year! There are several items you need to be aware of as you transition from your current literature class to my AP Language class.

Your summer assignments are attached to this letter. There are four assigned requirements: Brave New World by Aldous Huxley, How to Read Literature Like a Professor by Thomas C. Foster, and “A Talk to Teachers” by James Baldwin. You also have several literary and rhetorical terms to define and study prior to the start of the year. I have copies of Brave New World that can be checked out from either me or Ms. West in the media center. If there is a hardship involved in purchasing the other one, please let me know, and I will work to find an acceptable solution—copies of both books can be found new/used at 2nd & Charles on Washington Rd, Barnes & Noble in the mall, or online at Amazon.com. I have included a resource guide for help with assignment requirements.

Each of the assignments has specific details, so please make sure to read and follow the directions carefully. Points will be deducted for an inability to follow instructions and evidence of last minute work. Additionally, these are individual assignments; therefore, any work that looks suspicious as if it may have been copied from another student or the internet (i.e. any evidence of plagiarism) will be investigated, referred to the IB Dean, and any subsequent disciplinary action will be taken.

All of the assignments have been tailored to the objectives of AP English Language and Composition Course Outline which are detailed below:

Advanced Placement courses offer a student the opportunity to work at an accelerated pace with other peers who have similar interests and academic goals. This class will explore different modes of discourse with an intense study on tone, diction, imagery, details, language, and style. The students will read modern essays as well as selections from an American and British literature anthology. The course focuses on the study of rhetoric and composition. Students will read various genres, including nonfiction, fiction, poetry, drama, essays, etc. Students will be able to discuss their ideas openly and without prejudice. Writing is a mandated part of this curriculum, with the focus on prose analysis and synthesizing. Also, students are given ample opportunities for revision and improvement. We validate sources and explore the concept of argument through an exploration of articles and sources necessary to synthesize a topic. We examine the canons of argument and rhetoric. With a thorough study of the characteristics of the different modes of discourse, students will learn terminology necessary to allow them to express their ideas with the language of rhetoric. Through the exposure of different writers and views, students will become global learners.

NOTE on subject matter: AP Language will explore strong themes, controversial historical events/people, and various concepts in society that are in NO WAY intended to influence you or reflect my viewpoints. We study the literary and linguistic aspects of each piece, so remember to remain mature as you analyze this work. Remember the words of Robert Frost: “Education is the ability to listen to almost anything without losing your temper or your self-confidence.”

Please do your absolute best on these assignments, as they count in the two categories that account for 90% of your overall average. Waiting until the week before school starts to look at this work is going to result in a frantic, panic filled start, which will not bode well for success in AP Language. In that same vein, any work that is, or suspected, of plagiarism or academic dishonesty will receive a zero and a discipline referral. Accept the fact that it has to be done if you want to be in this class, and do it with integrity.

I check my school email all summer, so should you have a question, please email me at hamilka@boe.richmond.k12.ga.us.

I am looking forward to a great year!

Sincerely,

Ms. Hamilton

“A Talk to Teachers” Summer Assignment (1 of 4)

***DISCLAIMER** This piece is not intended to upset or offend anyone. You are looking at historical context, language, rhetoric, and many other things. If you cannot think about it objectively, IB may not be for you. Keep an open mind while you read it and do the work—not everything is personal.

All students will read “A Talk to Teachers” by James Baldwin.

A copy may be found at http://richgibson.com/talktoteachers.htm

Writing Assignments:

1) Research the author, James Baldwin, before you read and annotate. Consider the time period in which he wrote this piece. Think about the following questions as you read and write your essay:

a. What did he want people to understand after reading this?

b. What kind of risks was he willing to take when he wrote this? Consider the various groups of people he could have offended, angered, etc.

2) Print out and annotate the article, and complete a SOAPSTone graphic organizer for the essay. Please see the directions in your packet on what a SOAPStone is and how to complete it as well as the “how to” guide for annotating.

3) Answer the following questions fully and completely in your essay, citing the text as evidence.

a. What relationship does James Baldwin establish with his audience in the opening two paragraphs? How does he establish his ethos?

b. Identify and discuss the effectiveness of the four appeals to pathos in paragraphs 3 – 5.

c. How would you describe Baldwin’s perspective on history? What is the effect of using historical evidence to support his argument?

d. Where in this speech does Baldwin appeal to logos? How effective is it?

e. How would you describe Baldwin’s overall tone?

**All work MUST be typed in Times New Roman, 12 point font, and your original work.**

How to Read Literature Like a Professor by Thomas C. Foster (2 of 4)

This assignment is worth 1 Essay Grade.

How to Read Literature Like a Professor by Thomas C. Foster – Journal Questions:

You will be reading and analyzing various genres of literature in AP Language and need to be able to ANALYZE it, never summarize—which requires in-depth thought that translates into skilled writing. Your answers to these questions after reading will let you practice your literary analysis skill and they will help me get to know you and your literary tastes. Whenever I ask for an example from literature, you may use short stories, novels, plays, or films. Your responses should NOT be superficial, but in-depth with specific responses.

Introduction – How’d He Do That?1. How do memory, symbol, and pattern affect the reading of literature?2. How does the recognition of patterns make it easier to read complicated literature?3. Discuss a time when your appreciation of a literary work was enhanced by understanding symbol or pattern.Chapter 1 – Every Trip Is a Quest (Except When It’s Not)1. List FIVE aspects of the QUEST and then apply them to something you have read (or viewed) in the form used on pages 3-5.2. What is Foster’s overall point about journeys or trips in literature?Chapter 2 – Nice to Eat with You: Acts of Communion1. What does “communion” mean?2. For what reason does Foster suggest that authors often include meal scenes?3. What does a failed meal suggest in literature?Chapter 3 – Nice to Eat You: Acts of Vampires1. What are the essentials of the vampire story and what do they represent?2. Apply this to a literary work you have read or viewed.Chapter 4 – If It’s Square, It’s a Sonnet1. Visually speaking, why is a sonnet roughly “square”?2. Select two sonnets and show which form they are.3. Discuss how their content reflects the form. (Submit copies of the sonnets, marked to show your analysis).Chapter 5 – Now, Where Have I Seen Her Before?1. Define “intertextuality”.2. Discuss three examples that have helped you in reading specific works.Chapter 6 – When in Doubt, It’s from Shakespeare1. Discuss a work that you are familiar with that alludes to or reflects Shakespeare.2. Show how the author uses this connection thematically.3. Re-read pages 44-46 carefully. In these pages, Foster shows how Fugard reflects Shakespeare through both plot and theme. In your discussion, focus on theme.Chapter 7 – . . . Or the Bible2015 AP English Literature and Composition Summer Reading Assignment1. Why is the Bible so often alluded to in literature?2. What are some of the ways that writers allude to the Bible?3. What’s the benefit of knowing/understanding Biblical allusions in literature?Chapter 8 – Hanseldee and Greteldum1. Think of a work of literature that reflects a fairy tale. Discuss the parallels.2. Does it create irony or deepen appreciation?Chapter 9 – It’s Greek to Me1. What does Foster mean by the term “myth”?2. What are some of the ways that writers allude to mythology?3. Write a free verse poem derived or inspired by characters or situations from Greek mythology.Chapter 10 – It’s More Than Just Rain or Snow

1. How can weather be symbolic in literature?2. What are some of the common “meanings” of various types of weather?3. Discuss the importance of weather in a specific literary work, not in terms of plot.Interlude – Did He Mean That?1. What are the reasons Foster provides that lead him to believe that most writers DO NOT accidentally create the symbols, allusions, and patters we find when we read critically?2. Whether we believe a writer intended to do something or not, what’s the benefit or noticing that it happened anyway?Chapter 11 – . . . More Than It’s Gonna Hurt You: Concerning Violence1. Present examples of the two kinds of violence found in literature. Show how the effects are different.Chapter 12 – Is That a Symbol?1. What’s the difference between symbolism and allegory?2. What, besides objects, can be symbolic?3. How should a reader approach symbolism in a text?Chapter 13 – It’s All Political1. Assume that Foster is right and “it is all political.” Use his criteria to show that a novel you’ve read before (or a movie you’ve seen) is political.Chapter 14 – Yes, She’s a Christ Figure, Too1. Apply the criteria on page 119-120 to a major character in a significant literary work.2. Try to choose a character that will have many matches. This is a particularly apt tool for analyzing film – for example, Star Wars, Cool Hand Luke, Excalibur, Malcolm X, Braveheart, Spartacus, Harry Potter, and Gladiator.Chapter 15 – Flights of Fancy1. Select a literary work in which flight signifies escape or freedom. Explain in detail.Chapter 16 – It’s All About Sex . . .1. What are some of the things that symbolize sex and/or gender?2. Why does sexual symbolism exist/occur in literature?Chapter 17 – . . . Except Sex1. When writers write directly about sex, what are they really writing about?2. Why don’t writers usually write actual sex scenes?3. Choose a novel or movie in which sex is suggested but not described, and discuss how the relationship is suggested and how this implication affects the theme or develops characterization.Chapter 18 – If She Comes Up, It’s Baptism1. Think of a “baptism scene” from a literary work or movie.2. How was the character different after the experience? Discuss.Chapter 19 – Geography Matters . . .1. Discuss at least four different aspects of a specific literary work that Foster would classify under “geography”.Chapter 20 – . . . So Does Season1. Find a poem (or a song) that mentions a specific season.2. Then discuss how the poet uses the season in a meaningful, traditional, or unusual way. (Submit a copy of the poem or song with your analysis)Interlude – One Story1. Write your own definition for archetype.2. Identify an archetypal story and apply it to a literary work with which you are familiar.Chapter 21 – Marked for Greatness1. Figure out Harry Potter’s scar.2. If you aren’t familiar with Harry Potter, select another character with a physical imperfection and analyze its implications for characterization.Chapter 22 – He’s Blind for a Reason, You Know1. What can physical blindness mirror?2. What is often the irony behind a blind character?

3. How are darkness and lightness related to sight?Chapter 23 – It’s Never Just Heart Disease. . .1. What are some of the symbolic possibilities associated with the heart? Why?Chapter 24 – . . . And Rarely Just Illness1. Recall two characters who died of a disease in a literary work.2. Consider how these deaths reflect the “principles governing the use of disease in literature” (215-217).3. Discuss the effectiveness of the death as related to plot, theme, or symbolism.Chapter 25 – Don’t Read with Your Eyes1. Choose a scene or episode from a novel, play, or epic written before the twentieth century.2. Contrast how it could be viewed by a reader from the twentieth-first century with how it might be viewed by a reader from that time period. Focus on assumptions that the author makes, assumptions that would not make it in this century.Chapter 26 – Is He Serious? And Other Ironies1. What does Foster mean when he says, “Irony trumps everything”?2. How can you tell if something is ironic?3. What does Foster mean when he says, “Irony doesn’t work for everyone”?Chapter 27 – A Test Case1. Read “The Garden Party by Katherine Mansfield, the short story starting on page 245.2. Complete the exercise on pages 265-266, following the directions exactly.3. Then, compare your writing with the three examples. How did you do?4. What does the essay that follows comparing Laura with Persephone add to your appreciation of Mansfield’s story?

NOTE: Appropriate responses should be around 500 words for EACH chapter.

**All work MUST be typed in Times New Roman, 12 point font, and your original work.**

DIALECTICAL JOURNAL for Brave New World (3 of 4)

Simply put, a dialectical journal is merely a double entry journal. The purpose of such a journal is to identify significant pieces of text and explain their significance. It should be used to think about, digest, summarize, question, clarify, critique, and remember what is read. It is a way to take notes on what is read using the actual text. In effect, you will be holding a discussion with yourself on key points, asking questions, and reacting to particular phrases that drew your attention. This is very similar to annotating, which you will do regularly in this class, so this is good practice. Your notations in your journals should be in-depth and thoughtful; superficial questions/notes will not be sufficient.

• Divide Your Paper into Two Columns • Head the Left-Hand Column as “Note-Taking” • Head the Right-Hand Column as “Note-Making” • As You Read Brave New World, Take Notes in the Left-Hand Column of

Passages of Interest to You. Use Page Numbers. • As Soon As You Take A Note, Move To The Right-Hand Column And Write

Freely What Your Mind Says About That Quote. Listen To Your Own Thoughts.

• Take A Note; Write A Note. Continue As You Read. • After Three Or Four Entries, Stop And Reflect On What You Have Discovered.

The types of entries may include genuine questions regarding, or reactions to, plot, characterization, relationships, or setting. You may also include personal reflections on the text or connections that you have been able to make between what is happening in the work and your own experiences. Furthermore, you may want to comment on the literary qualities of the work, including those of descriptive language, metaphors, diction, plot development, characterization or predictability. Finally, you may wish to interpret what the author is trying to say in a particular passage.

You must have 30 entries in this journal. This assignment is worth 1 Test grade and you will also take an objective test on the novel in the first week of school.

Sample: “Quote” (page #) Commentary “Give me liberty or give me death”(42).

Patrick Henry really was an extremist. I can’t believe he really wanted to die if the Colonies didn’t declare a revolution. There was no negotiating with him. He was a warmonger!

“Put the line from the text in quotes” (#).

Your comment should be your reaction, question, challenge to the thought, or advance the thought of the author. It should not repeat or just restate what the author said.

**All work MUST be typed in Times New Roman, 12 point font, and your original work.**

AP Language Rhetorical Terms (4 of 4)

Argument and literary analysis are important parts of the Advanced Placement Language and Composition course. These are some common terms that all students should know—you will see them all throughout the year. Look up and record definitions for each of the following terms in a notebook or on index cards. Please handwrite the term and definition for the following words (DO NOT TYPE). Define both the capitalized and lowercase words.

Please include your sources for the definitions.

You may find help with rhetorical terms on the following websites:

1) http://humanities.byu.edu/rhetoric/silva.htm

2) http://www.uky.edu/AS/Classics/rhetoric.html

3) http://www.llp.armstrong.edu/thompson/1102/Terms_and_Rhetorical_Devices_Spring_2010.pdf

Terms:

1. AUTHORITY

2. AUDIENCE

3. ASSERTION

4. LOGICAL FALLACIES

a. Generalization

b. Begging the question

c. Either or reasoning

d. Non--sequitur

e. Red herring

f. Post hoc (ergo prompter hoc)

g. False dilemma

h. Ad hominem

5. THE ARISTOLTILIAN APPEALS

a. Ethos

b. Pathos

c. Logos

6. PURPOSE

a. Describe

b. Explain

c. Inform

d. Persuade

e. Entertain

7. TONE

8. DICTION

a. Denotation

b. Connotation

c. Colloquial

d. Formal

e. Informal

f. Concrete

g. Abstract

h. Didactic

i. Nostalgic

j. Contemptuous

k. Sardonic

9. DETAIL

a. Mood

b. Imagery

c. Setting

d. Figurative Language

e. Allusion

f. Simile

g. Metaphor

h. Personification

i. Hyperbole

j. Understatement

k. Paradox

l. Dramatic Irony

m. Verbal Irony

n. Analogy

o. Anecdote

p. Allegory

10. ORGANIZATION

a. Deductive

b. Inductive

c. Exemplification

d. Cause/Effect

e. Description

f. Process Analysis

g. Narration

h. Comparison/Contrast

i. Exposition

j. Persuasion

k. Repetition

l. Syllogism

11. POINT OF VIEW

a. First Person

b. Second Person

c. Third Person

d. Subjective

e. Objective

f. Participant

g. Observer

12. SYNTAX

a. Sentence length

b. Anaphora

c. Antithesis

d. Asyndeton

e. Polysyndeton

f. Parallel sentence

g. Periodic Sentence

AP Language and Composition Resource Guide – Hamilton

An Annotation Guide – AP Language and CompositionNote-Taking vs. AnnotationMost serious readers take notes of some kind when they are carefully considering a text, but many readers are too casual about their note-taking. Later they realize they have taken notes that are incomplete or too random, and then they laboriously start over, re-notating an earlier reading. Others take notes only when cramming for a test, which is often merely "better than nothing." Students can easily improve the depth of their reading and extend their understanding over long periods of time by developing a systematic form of annotating. Such a system is not necessarily difficult and can be completely personal and exceptionally useful.

First, what is the difference between annotating and "taking notes"? For some people, the difference is nonexistent or negligible, but in this instance I am referring to a way of making notes directly onto a text such as a book, a handout, or another type of publication. The advantage of having one annotated text instead of a set of note papers plus a text should be clear enough: all the information is together and inseparable, with notes very close to the text for easier understanding, and with fewer pieces to keep organized. Think of annotations as “showing your work” while you read just as you sometimes show your work in a math problem. You are showing what you are thinking while you read and analyze— and thinking is a word-based activity, not just a nebulous puff of energy. If you can’t articulate your thoughts, then you have to question if you know what you’re thinking. Thinking is how you connect to the text. This, of course, requires ACTIVE participation with the text, engaging your mind while you read, not skimming the page. Listening to your iPod or the TV can split your focus so that you don’t have as much of a connection with the text. Marking important sections can also be helpful in locating them quickly in discussions.

What the reader gets from annotating is a deeper initial reading and an understanding of the text that lasts. You can deliberately engage the author in conversation and questions, maybe stopping to argue, pay a compliment, or clarify an important issue—much like having a teacher or storyteller with you in the room. If and when you come back to the book, that initial interchange is recorded for you, making an excellent and entirely personal study tool.

Criteria for Successful AnnotationUsing your annotated copy of the book six weeks after your first reading, you can recall the key information in the book with reasonable thoroughness in a 15- to 30-minute review of your notes and the text. Why Annotate?• Annotate any text that you must know well, in detail, and from which you might need to produce evidence that supports your knowledge or reading, such as a book on which you will be tested.• Don't assume that you must annotate when you read for pleasure; if you're relaxing with a book, well, relax. Still, some people—let's call them "not-abnormal"—actually annotate for pleasure.

Don't annotate other people's property, which is almost always selfish, often destructive, rude, and possibly illegal. For a book that doesn't belong to you, use adhesive notes for your comments, removing them before you return the text.

Don't annotate your own book if it has intrinsic value as an art object or a rarity. Consider doing what teachers do: buy an inexpensive copy of the text for class.

Tools: Highlighter, Pencil, and Your Own Text1. Yellow Highlighter - A yellow highlighter allows you to mark exactly what you are interested in. Equally important, the yellow line emphasizes without interfering. Some people underline, but underlining is laborious and often distracting. Highlighters in blue and pink and fluorescent colors are even more distracting. The idea is

to see the important text more clearly, not give your eyes a psychedelic exercise. While you read, highlight whatever seems to be key information. At first, you will probably highlight too little or too much; with experience, you will choose more effectively which material to highlight.2. Pencil - A pencil is better than a pen because you can make changes. Even geniuses make mistakes, temporary comments, and incomplete notes.While you read, use marginalia—marginal notes—to mark key material. Marginalia can include check marks, question marks, stars, arrows, brackets, and written words and phrases. Use the following system:

Use the following format:Inside Front Cover: Major character list with small space for character summary and for page references for key scenes or moments of character development, etc.Inside Back Cover: Build a list of themes, allusions, images, motifs, key scenes, plot line, epiphanies, etc. as you read. Add page references and/or notes as well as you read. Make a list of vocabulary words on a back page or the inside back cover, if there’s still room. Possible ideas for lists include the author's special jargon and new, unknown, or otherwise interesting words. Beginning of Each Chapter: Provide a quick summary of what happens in the chapter. Title each chapter or section as soon as you finish it, especially if the text does not provide headings for chapters or sections.Top margins: provide plot notes—a quick few words or phrases that summarize what happens here. Go back after a chapter, scene, or assignment and then mark it carefully. (Useful for quick location of passages in discussion and for writing assignments).Bottom and Side Page Margins: Interpretive notes (see list below), questions, and/or remarks that refer to meaning of the page. Markings or notes to tie in with notes on the inside back cover.

Interpretive Notes and Symbols to be used are:• Underline or highlight key words, phrases, or sentences that are important to understanding the work.• Write questions or comments in the margins—your thoughts or “conversation” with the text.• Bracket important ideas or passages.• Use Vertical lines at the margin: to emphasize a statement already underlined or bracketed• Connect ideas with lines or arrows.• Use numbers in the margin: to indicate the sequence of points the author makes in developing a single argument.• Use a star, asterisk, or other doo-dad at the margin (use a consistent symbol): to be used sparingly, to emphasize the ten or twenty most important statements in the book.• Use ??? for sections or ideas you don’t understand.• Circle words you don’t know. Define them in the margins.• A check mark means “I understand”.• Use !!! when you come across something new, interesting, or surprising.• And other literary devices (see below).

Some of the things you may want to mark as you notice them are:• Use an S for Symbols: A symbol is a literal thing that also stands for something else, like a flag, or a cross, or fire. Symbols help to discover new layers of meaning.• Use an I for Imagery: Imagery includes words that appeal to one or more of the five senses. Close attention to imagery is important in understanding an author’s message and attitude toward a subject.• Use an F for Figurative Language: Figurative language includes things like similes, metaphors, and personification. Figurative language often reveals deeper layers of meaning.• Use a T for Tone: Tone is the overall mood of a piece of literature. Tone can carry as much meaning to the story as the plot does.• Use a Th – Theme: In literature, a theme is a broad idea in a story, or a message or lesson conveyed by a work. This message is usually about life, society or human nature. Themes explore timeless and universal ideas. Most themes are implied rather than explicitly stated.• Plot elements (setting, mood, conflict, etc.)

• Diction (effective or unusual word choice) As you mark, you begin to notice patterns the author has or where he or she deviates from a pattern and much of the work of a critical or analytical reader is noticing these patterns and variations. Notice that annotations are meant to be more than a “scavenger hunt” for literary techniques and rhetorical devices. Along with marking these you should comment on the effectiveness or significance of the device. It’s great if you can detect alliteration in a passage, but that in and of itself is useless unless you can tell that this alliteration demonstrates the mental breakdown of the character, for example. It’s amazing if you recognize the hubris of a character, but how does this instance differ from those occurring previously in the novel?

3. Your TextInside the front cover of your book, keep an orderly, legible list of "key information" with page references. Key information in a novel might include themes; passages that relate to the book's title; characters' names; salient quotes; important scenes, passages, and chapters; and maybe key definitions or vocabulary. Remember that key information will vary according to genre and the reader's purpose, so make your own good plan.

Adapted from “An Annotation Guide: How and Why to Annotate a Book” by Nick Otten

SOAPSTone Analysis Form Speaker Who is the Speaker?

The voice that tells the story. Non-Fiction – the author/speaker and any background information that might bear upon his/her text.Fiction – the narrator, not the author, and any implied traits or characteristics that might influence the text.

Students should go beyond merely identifying the Speaker by name (occasionally, none will be given). They should be able to apply outside knowledge to Speaker, or infer traits from the text itself.

Occasion What is the Occasion?The time and the place of the piece; the context that encouraged the writing to happen.Non-Fiction – the event that triggered the responseFiction – the primary, specific event being discussed (summary)

Students should contextualize historical events or the “environment of ideas” that led to a text being produced. Students should also be able to summarize the events in a few words or phrases.

Audience Who is the Audience?The group of readers/listeners to whom a piece is directed.Non-Fiction and Fiction – the specific person, small group, or larger group a piece is aimed at

There may be multiple audiences, and the audience(s) may need to be discovered through student inference of the level of discourse in the text, the diction, the connation of chosen words, and the traits of the Speaker .

Purpose What is the Purpose?The reason behind the text?Non-Fiction – what the Speaker wants the Audience to think or do as a result of reading/listening to the pieceFiction – the larger “point” being examined in the piece; the “theme” presented

Students should apply social, cultural, historical, etc. perspectives to a text to discover what the author/Speaker is attempting to reveal about those perspectives. They should be able to examine the logic of the argument and/or the themes and interpretations being presented.

Subject What is the Subject?The general topic, content, and ideas contained in the text.Non-Fiction and Fiction – the larger context of the text (related to Occasion and Purpose)

Students should go beyond the immediate occasion to discover the larger context or issue that eventually led to the triggering Occasion. This should be stated in a few words or a phrase.

Tone What is the Tone?The attitude of the author/Speaker.Non-Fiction – the meaning imparted by the author that goes beyond the literal; how the author feels about the subjectFiction – same as above, though it might require a distinction between author and narrator

Students should analyze diction, syntax, connation, and imagery to determine the attitude being presented.

SOAPSTone can be used to begin discussions of literature, as reading checks, and/or in journals. Students can use SOAPSTones to compare and contrast similar texts or types of texts.SOAPSTones are especially well-suited to helping students determine topics for literary criticism.

SOAPSTone Examples

Political Cartoon (Non-Fiction, Non-Text)

Speaker: Anti-isolationist political cartoonist [believe it or not, the artist is Dr. Seuss]Occasion: the attacks on England by Nazi GermanyAudience: 1) other anti-isolationists

2) isolationistsPurpose: 1) support those who feel America should enter war

2)shame isolationists for their foolish viewsSubject: World War IITone: mocking, humorous, satirical

SOAPSTone ExamplesGettysburg Address (Non-Fiction)Four score and seven years ago our fathers brought forth on this continent, a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal.

Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure. We are met on a great battle-field of that war. We have come to dedicate a portion of that field, as a final resting place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this.

But, in a larger sense, we can not dedicate -- we can not consecrate -- we can not hallow -- this ground. The brave men, living and dead, who struggled here, have consecrated it, far above our poor power to add or detract. The world will little note, nor long remember what we say here, but it can never forget what they did here. It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us -- that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion -- that we here highly resolve that these dead shall not have died in vain -- that this nation, under God, shall have a new birth of freedom -- and that government of the people, by the people, for the people, shall not perish from the earth.

Speaker: President Abraham Lincoln – President during Civil WarOccasion: Dedication of Cemetery near site of Battle of Gettysburg (November 19, 1863)Audience: 1)ostensibly, people attending ceremony 2)supporters of the Union 3)those wavering in support of Union 4)critics of the war 5)ConfederatesPurpose: 1)frame the Civil War as a conflict regarding the essential ideals of the US 2)state the importance of winning the War 3)support believers in the justness of the Union cause and bolster those wavering in support 4)address critics of the War 5)show Confederates the resolve of the UnionSubject: 1) Civil War 2) America in generalTone: lofty, elevated, reverential, forceful, definitive, powerful

Reveals the use of outside research (Occasion)

SOAPSTone Examples“To Be or Not to Be” Soliloquy from Hamlet 3.1.55-89 (Fiction)

Speaker: Hamlet, disturbed Prince of Denmark – paranoid, depressed, seeking revengeOccasion: 1) the appearance of his “friends” Rosencrantz and Guildenstern, who Hamlet no longer

trusts2) Hamlet’s angst at watching the First Player3) the formations of Hamlet’s plans

Audience: 1) if Hamlet feels he is alone: himself2) if Hamlet feels he is being watched: Claudius, Polonius, and possibly Ophelia

Purpose: 1) if Hamlet feels he is alone: to work out his thoughts and further castigate himself2) if Hamlet feels he is alone: to ponder suicide and/or murder3) if Hamlet feels he is being watched: further his “antic disposition”

Subject: 1) life, the universe, and everything2) God, religion, justice, and punishment3) suicide and murder4) the consequences of death and/or murder

Tone: high, elevated, depressed, moody, troubled, confused, “antic”

Notice that Shakespeare is not the SpeakerNote the complexity that is revealed through the use of SOAPSTone

Adapted from http://www.mcpshs.net/ourpages/auto/2014/5/28/30055908/SOAPSTone%20Examples.docx