The TELL- TALE HEART - Edgar Allan Poe (published 1843) Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded --with what caution -with what foresight --with what dissimulation I went to work! I was never kinder to the old man than during the whole week before I killed him. And every night, about midnight, I turned the latch of his door and opened it --oh so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern, all closed, closed, so that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly --very, very slowly, so that I might not disturb the old man's sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha! --would a madman have been so wise as this? And then, when my head was well in the room, I undid the lantern cautiously --oh, so cautiously -cautiously (for the hinges creaked) --I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights --every night just at midnight --but I found the eye always closed; and so it was impossible to do the work; for it was not the old man who vexed me, but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he has passed the night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept. Upon the eighth night I was more than usually cautious in opening the door. A watch's minute hand moves more quickly than did mine. Never before that night had I felt the extent of my own powers --of my sagacity. I could scarcely contain my feelings of triumph. To think that there I was, opening the door, little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea; and perhaps he heard me; for he moved on the bed suddenly, as if startled. Now you may think that I drew back --but no. His room was as black as pitch with the thick darkness, (for the shutters were close fastened, through fear of robbers,) and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily.
[5]
Comment [A1]: Tone : Anxious, Nervous, Insanily Genre : Short story Audience: Teenag e to Adults (PG-13) Mood: scary, horror, suspense Persona: the narrator represents Poe Voice: the narrator Persp ectives: The first -person - the killer Point of View: Setting : the old man's house Plot: Prontagonist: Comment [j2]: Showing that he’s rejecting the idea that he is mad.
[10]
Comment [A3]: Anaphora – the first or second word in a senten ce there is a repetition Comment [j4]: Anaphora/repetition Comment [j5]: Consonance: the w sound Comment [A6]: Irony –
[15]
Comment [A7]: Expletive – using commas not in ... Comment [j8]: expletive Comment [A9]: Oxymoron Comment [j10]: symbolism
[20]
Comment [A11]: Antithesis – different or
...
Comment [A12]: Repetition Comment [A13]: Expletive – using commas not... Comment [A14]: Suspense – giving the read er’s... Comment [j15]: imagery Comment [A16]: Rhetorical Question
[25]
[30]
Comment [A17]: Repetition Comment [A18]: Onomatopia – it gives the
...
Comment [j19]: Expletive
...
Comment [A20]: Symbolism – Evil, Cruel,
...
Comment [A21]: Expletive – which is not
...
Comment [A22]: Ambiguous – doesn’t show a ... Comment [j23]: motif Comment [A24]: Denotation
I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening, and the old man sprang up in bed, crying out --"Who's there?"
Comment [A25]: Polysyndenton – using “ and” ... Comment [A26]: Expletive – it is not necessary.
I kept quite still and said nothing. For a whole hour I did not move a muscle, and in the meantime I did not hear him lie down. He was still sitting up in the bed listening; --just as I have done, night after night, hearkening to the death watches in the wall.
Comment [A27]: Asyndeton – using commas to...
[35]
Comment [A28]: Syntax – who’s hand mine? Comment [A29]: Consonance – the “t” gives a ... Comment [A30]: Consonance - the”th” words ... Comment [A31]: Anam atopea – Laughing sound Comment [A32]: Imagery and Simile Comment [A33]: Imagery – can we feel darkness? Comment [A34]: Irony Comment [A35]: Omnision Point of View Comment [A36]: Repetition Comment [A37]: Polysyndenton – using the
...
Comment [j38]: polysyndeton Comment [A39]: Synecdoche – did not move a ... Comment [j40R39]: Hyperbole
...
Comment [A41]: Expletive - not necessary to be ... Comment [A42]: Asyndenton – using commas to ...
Comment [A43]: Connotation
The CASK of AMONTILLADO - Edgar Allan Poe (published 1846)
The PIT and the "It is farther on," said I; "but observe the white web-work which gleams from these PENDU cavern walls." LUM Edgar He turned towards me, and looked into my eyes with two filmy orbs that distilled Allan the rheum of intoxication. Poe "Nitre?" he asked, at length. (1843) "Nitre," I replied. "How long have you had that cough?" "Ugh! ugh! ugh! --ugh! ugh! ugh! --ugh! ugh! --ugh! ugh! ugh! --ugh! ugh! ugh!" Upon My poor friend found it impossible to reply for many minutes. my recover "It is nothing," he said, at last. y, too, I "Come," I said, with decision, "we will go back; your health is precious. You are felt very rich, respected, admired, beloved; you are happy, as once I was. You are a man to be missed. For me it is no matter. We will go back; you will be ill, and I cannot be -- oh, inexpres responsible. Besides, there is Luchresi --" sibly "Enough," he said; "the cough's a mere nothing; it will not kill me. I shall not die sick and of a cough." weak, "True --true," I replied; "and, indeed, I had no intention of alarming you as if unnecessarily --but you should use all proper caution. A draught of this Medoc through will defend us from the damps. long Here I knocked off the neck of a bottle which I drew from a long row of its fellows inanitio n. Even that lay upon the mould. amid "Drink," I said, presenting him the wine. the He raised it to his lips with a leer. He paused and nodded to me familiarly, while agonies his bells jingled. of that "I drink," he said, "to the buried that repose around us." period, "And I to your long life." the He again took my arm, and we proceeded. human nature "These vaults," he said, "are extensive." craved "The Montresors," I replied, "were a great and numerous family." food. "I forget your arms." With "A huge human foot d'or, in a field azure; the foot crushes a serpent rampant painful whose fangs are imbedded in the heel." effort I "And the motto?" outstret ched my "Nemo me impune lacessit." left arm "Good!" he said. as far as The wine sparkled in his eyes and the bells jingled. My own fancy grew warm my with the Medoc. We had passed through long walls of piled skeletons, with casks bonds and puncheons intermingling, into the inmost recesses of the catacombs. I paused permitte again, and this time I made bold to seize Fortunato by an arm above the elbow. d, and "The nitre!" I said; "see, it increases. It hangs like moss upon the vaults. We are took below the river's bed. The drops of moisture trickle among the bones. Come, we possessi will go back ere it is too late. Your cough -- " on of the small remnant which had been
Comment [A44]: Imagery Comment [j45]: Metaphor Comment [A46]: Connotation, setting Comment [j47]: Theme: drunkenness Comment [j48]: Repetition Comment [A49]: Repetition, Onomatopeia : rep eats the world all the time and applying a sound of someone coughing. Comment [A50]: Hyperbolic: “ impossible” to reply which is not a common sense Comment [A51]: Appeal to Logic: it’s true somehow based from the logic Comment [A52]: Euphony Comment [A53]: Asyndeton: using commas to make more complete information Comment [A85]: Expletive Comment [j54]: Connotation: missed Comment [A55]: Assonan ce: “ I” and consonance: “ll” Comment [A56]: Transition Words Comment [A57]: Personifi cation, Anthrophormofism and Dramatic Irony Comment [j58]: hubris Comment [A59]: Sarcasm and Foreshadow & ... Comment [j60]: Trans wds Comment [A61]: Metonomy Comment [A62]: Personifi cation: Medoc cannot... Comment [j63]: Consonance: the D sounds Comment [A64]: Cacophony Comment [A65]: Personifi cation: no neck is for... Comment [A66]: Assonan ce: the word “o” Comment [A86]: Simile Comment [j67]: Intern al rhyme: the ows Comment [A68]: Imagery Comment [A69]: Irony Comment [A70]: Sarcasm Comment [A71]: Motif Comment [A72]: Amplification Comment [j87]: Delay ed senten ce Comment [A73]: Denotation: the symbol of the... Comment [A74]: Bibliomancy represents the ... Comment [j75]: Connotation: of GOLD Comment [j76]: Invert ed syntax Comment [j77]: Invert ed syntax, animal motif, ... Comment [A78]: Illusion, imagery and
...
Comment [A79]: Personifi cation Comment [j80]: Setting
...
Comment [A88]: Diction: Use of the words
...
Comment [A81]: Simile: “like” Comment [j82]: setting Comment [j83]: denotation Comment [A84]: Colliqual: the ere= before.
...
spared me by the rats. As I put a portion of it within my lips, there rushed to my mind a half formed thought of joy -- of hope. Yet what business had I with hope? It was, as I say, a half formed thought -- man has many such which are never completed. I felt that it was of joy -- of hope; but felt also that it had perished in its formation. In vain I struggled to perfect -- to regain it. Long suffering had nearly annihilated all my ordinary powers of mind. I was an imbecile -- an idiot.
Comment [A89]: Repetition Comment [A90]: Rhetorical Question Comment [A91]: Expletive: showing not important meaning, but using commas Comment [A92]: Repetition
[5] The vibration of the pendulum was at right angles to my length. I saw that the crescent was designed to cross the region of the heart. It would fray the serge of my robe -- it would return and repeat its operations -- again -- and again. Notwithstanding terrifically wide sweep (some thirty feet or more) and the hissing vigor of its descent, sufficient to sunder these very walls of iron, still the fraying of my robe would be all that, for several minutes, it would accomplish. And at this thought I paused. I dared not go farther than this reflection. I dwelt upon it with a pertinacity of attention -- as if, in so dwelling, I could arrest here the descent of the steel. I forced myself to ponder upon the sound of the crescent as it should pass across the garment -- upon the peculiar thrilling sensation which the friction of cloth produces on the nerves. I pondered upon all this frivolity until my teeth were on edge. Down -- steadily down it crept. I took a frenzied pleasure in contrasting its downward with its lateral velocity. To the right -- to the left -- far and wide -- with the shriek of a damned spirit; to my heart with the stealthy pace of the tiger! I alternately laughed and howled as the one or the other idea grew predominant. Down -- certainly, relentlessly down! It vibrated within three inches of my bosom! I struggled violently, furiously, to free my left arm. This was free only from the elbow to the hand. I could reach the latter, from the platter beside me, to my mouth, with great effort, but no farther. Could I have broken the fastenings above the elbow, I would have seized and attempted to arrest the pendulum. I might as well have attempted to arrest an avalanche! Down -- still unceasingly -- still inevitably down! I gasped and struggled at each vibration. I shrunk convulsively at its every sweep. My eyes followed its outward or upward whirls with the eagerness of the most unmeaning despair; they closed themselves spasmodically at the descent, although death would have been a relief, oh! how unspeakable!
Comment [A93]: Antithesis Comment [A94]: anthropomorphism Comment [j95]: amplification Comment [j96]: denotation
[10]
Comment [A97]: Imagery: felt feel, touch, sense. Comment [A98]: Repetition Comment [j99]: Trans wds Comment [A100]: Onomatopoeia Comment [A101]: anthro Comment [A102]: Consonance: “ d”, “s”, “t”, “s”
[15]
Comment [j103]: Consonance: s Comment [j104]: hyperbaton Comment [A105]: Asyndeton Comment [A106]: Expletive
[20]
Comment [j107]: connotation Comment [A108]: Diction: crescent pendulum (found the different words) Comment [j109]: contradi ction Comment [A110]: Imagery: senses Comment [A111]: Ambiguous: what sensation?
[25]
Comment [j112]: hyperbole Comment [A113]: Synecdoche: teeth represents the body Comment [A114]: Anaphora with the other Downs Comment [A115]: Suspense
[30]
Comment [j116]: oxymoron Comment [j117]: an aphora Comment [j118]: personi fication Comment [A119]: Analogy Comment [A120]: Antithesis Comment [j121]: amplification
[35]
Comment [j122]: consonance: F sounds Comment [j123]: internal rhym Comment [A124]: Hyperbole Comment [A125]: Analogy Comment [A126]: Consonance: the “W” Comment [A127]: Contradiction Comment [A128]: Diction Comment [A129]: Irony: Just let the charact er die rather than torchering Formal Language
PYGMALION – George Bernard Shaw (published 1912) FLOWER GIRL. Let him say what he likes. I don't want to have no truck with him. BYSTANDER. You take us for dirt under your feet, don't you? Catch you taking liberties with a gentleman! SARCASTIC BYSTANDER. Yes: tell HIM where he come from if you want to go fortune-telling. NOTE TAKER. Cheltenham, Harrow, Cambridge, and India. GENTLEMAN. Quite right. [Great laughter. Reaction in the note taker's favor. Exclamations of He knows all about it. Told him proper. Hear him tell the toff where he come from? etc.]. May I ask, sir, do you do this for your living at a music hall? NOTE TAKER. I've thought of that. Perhaps I shall some day. The rain has stopped; and the persons on the outside of the crowd begin to drop off. FLOWER GIRL. He's no gentleman, he ain't, to interfere with a poor girl. DAUGHTER. What on earth is Freddy doing? I shall get pneumonia if I stay in this draught any longer. NOTE TAKER. [to himself, hastily making a note of her pronunciation of "monia"] Earlscourt. DAUGHTER [violently] Will you please keep your impertinent remarks to yourself? NOTE TAKER. Did I say that out loud? I didn't mean to. I beg your pardon. Your mother's Epsom, unmistakeably. MOTHER [advancing between her daughter and the note taker] How very curious! I was brought up in Largelady Park, near Epsom. NOTE TAKER [uproariously amused] Ha! ha! What a devil of a name! Excuse me. [To the daughter] You want a cab, do you? DAUGHTER. Don't dare speak to me. MOTHER. Oh, please, please Clara. [Her daughter repudiates her with an angry shrug and retires haughtily.] We should be so grateful to you, sir, if you found us a cab. [The note taker produces a whistle]. Oh, thank you. [She joins her daughter]. The note taker blows a piercing blast. SARCASTIC BYSTANDER. There! I knowed he was a plain-clothes copper. BYSTANDER. That ain't a police whistle: that's a sporting whistle. FLOWER GIRL [still preoccupied with her wounded feelings] He's no right to take away my character. My character is the same to me as any lady's. NOTE TAKER. I don't know whether you've noticed it; but the rain stopped about two minutes ago. BYSTANDER. So it has. Why didn't you say so before? and us losing our time listening to your silliness. [He walks off towards the Strand]. SARCASTIC BYSTANDER. I can tell where you come from. You come from Anwell. Go back there. NOTE TAKER [helpfully] Hanwell.
Comment [A130]: Colloquial (a slang): problems or business Comment [A131]: Connotation: Low Class
[5] Comment [j132]: connotation Comment [j133]: sarcasm
[10]
Comment [A134]: Expletive: using commas
[15]
Comment [A135]: Connotation Comment [j136]: colloquial Comment [j137R136]:
[20]
Comment [A138]: Dennotation (word choice): rain Connotation: drinking alcohol Comment [A139]: Hyperbole Comment [A140]: Invective: because it is violently Comment [A141]: Rhetorical Question & Sarcasm
[25]
Comment [j142]: an aphora Comment [A143]: Sarcasm Comment [A144]: Hyperb acon Comment [j145]: rep etition
[30]
Comment [A146]: Understat ement: waiting for a taxi Comment [j147]: hyperbole Comment [A148]: Disguise as a normal person: Cultural Context.
[35]
Comment [A149]: Cultural Context Comment [A150]: Anadiplosis: last word in a senten ce and the first word in the sentence respectively
[40] Comment [A151]: Sarcasm
[5]
[10]
PYGMALION – George Bernard Shaw (published 1912) LIZA. I sold flowers. I didn't sell myself. Now you've made a lady of me I'm not fit to sell anything else. I wish you'd left me where you found me.
Comment [A152]: Setting: In the middle of the night @ Higgins’ House take all the equipment from the house.
[5]
HIGGINS [slinging the core of the apple decisively into the grate] Tosh, Eliza. Don't you insult human relations by dragging all this cant about buying and selling into it. You needn't marry the fellow if you don't like him.
Comment [j154]: an aphora Comment [j155]: colloquial lang Comment [A156]: Antithesis: comparison contrast meaning
LIZA. What else am I to do? HIGGINS. Oh, lots of things. What about your old idea of a florist's shop? Pickering could set you up in one: he's lots of money. [Chuckling] He'll have to pay for all those togs you have been wearing today; and that, with the hire of the H, will make a big hole in two hundred pounds. Why, six months ago you would have thought it the millennium to have a flower shop of your own. Come! you'll be all right. I must clear off to bed: I'm devilish sleepy. By the way, I came down for something: I forget what it was.
[10]
Comment [A157]: Litotes: begins with negative expression or words (needn’t) Comment [j158]: Connotation, charact eri zation Comment [A159]: Colloquial: “togs” Comment [j160]: Trans wds
[15]
Comment [A161]: Connotation: “ cost a lot of”/ a bunch of deposit Comment [j162]: ex clamation Comment [A163]: Hyperbole: the millennium
LIZA. Your slippers.
Comment [j164]: Colloquial lang
HIGGINS. Oh yes, of course. You shied them at me.
Comment [A165]: Diction: extremely or moderat ely
LIZA. Before you go, sir-HIGGINS [dropping the slippers in his surprise at her calling him sir] Eh?
Comment [A153]: Litotes: begins with negative word (didn’t)
[20]
Comment [A166]: Sarcasm: calling a sir. He con fused
LIZA. Do my clothes belong to me or to Colonel Pickering?
Comment [j167]: Zeugma
HIGGINS [coming back into the room as if her question were the very climax of unreason] What the devil use would they be to Pickering?
Comment [j168]: Colloquial lang
LIZA. He might want them for the next girl you pick up to experiment on. HIGGINS [shocked and hurt] Is THAT the way you feel towards us?
[25]
LIZA. I don't want to hear anything more about that. All I want to know is whether anything belongs to me. My own clothes were burnt. HIGGINS. But what does it matter? Why need you start bothering about that in the middle of the night? LIZA. I want to know what I may take away with me. I don't want to be accused of stealing.
Comment [A169]: Ambiguous: double connotation can be prostitute or biological experiment Comment [j170]: Invective/sarcasm
Comment [j171]: setting
[30]
Comment [j172]: internal rhyme Comment [j173]: consonance: w sounds
HIGGINS [now deeply wounded] Stealing! You shouldn't have said that, Eliza. That shows a want of feeling.
Comment [j174]: an aphora
LIZA. I'm sorry. I'm only a common ignorant girl; and in my station I have to be careful. There can't be any feelings between the like of you and the like of me. Please will you tell me what belongs to me and what doesn't?
Comment [A176]: Satire & Sarcasm: She nows she is being that.
Comment [A175]: Expletive
[35]
HIGGINS [very sulky] You may take the whole damned houseful if you like. Except the jewels. They're hired. Will that satisfy you? LIZA [drinking in his emotion like nectar, and nagging him to provoke a further supply] Stop, please. [She takes off her jewels]. Will you take these to your room and keep them safe? I don't want to run the risk of their being missing. HIGGINS. Hand them over. [She puts them into his hands]. If these belonged to me instead of to the jeweler, I'd ram them down your ungrateful throat.
Comment [A177]: Ambigious: confusion what is the real feeling Comment [A178]: Synecdoche Comment [A179]: Invective Comment [A180]: Hyperbole
[40]
Comment [A181]: She replies but doesn’t answer it : rhetorical question Comment [A182]: Simile: using the word “like” Comment [j183]: Hyperb aton, personifi cation Comment [A184]: Expletive Comment [A185]: Anthrophormophism: ungrateful for describing feeling. Throat would be a “SYNECDOCHE”
PYGMALION – George Bernard Shaw (published 1912) LIZA [to Pickering, taking no apparent notice of Higgins] Will you drop me altogether now that the experiment is over, Colonel Pickering?
Comment [j186]: Connotation
PICKERING. Oh don't. You mustn't think of it as an experiment.
Comment [A187]: Litotes Comment [A188]: Bildungromans
LIZA. Oh, I'm only a squashed cabbage leaf. PICKERING [impulsively] No.
[5]
Comment [j189]: epithet
LIZA. -but I owe so much to you that I should be very unhappy if you forgot me PICKERING. It's very kind of you to say so, Miss Doolittle. LIZA. It's not because you paid for my dresses. I know you are generous to everybody with money. But it was from you that I learnt really nice manners; and that is what makes one a lady, isn't it? You see it was so very difficult for me with the example of Professor Higgins always before me. I was brought up to be just like him, unable to control myself, and using bad language on the slightest provocation. And I should never have known that ladies and gentlemen didn't behave like that if you hadn't been there. HIGGINS. Well!!
Comment [j190]: ch aracterization
[10]
Comment [A191]: Connotation
[15]
Comment [j192]: ex clamation
PICKERING. Oh, that's only his way, you know. He doesn't mean it. LIZA. Oh, I didn't mean it either, when I was a flower girl. It was only my way. But you see I did it; and that's what makes the difference after all. Comment [A193]: Foil
PICKERING. No doubt. Still, he taught you to speak and I couldn't have done that.
LIZA [trivially] Of course: that is his profession.
[20]
HIGGINS. Damnation!
Comment [A194]: Invective
LIZA. It was just like learning to dance in the fashionable way: there was nothing more than that in it. But do you know what began my real education? PICKERING. What? LIZA. Your calling me Miss Doolittle that day when I first came to Wimpole Street. That was the beginning of self- respect for me. And there were a hundred little things you never noticed, because they came naturally to you. Things about standing up and taking off your hat and opening doors--
[25] Comment [j195]: setting Comment [j196]: nostalgia Comment [j197]: hyperbole
PICKERING. Oh, that was nothing. LIZA. Yes: things that showed you thought and felt about me as if I were something better than a scullery- maid; though of course I know you would have been just the same to a scullery-maid if she had been let in the drawing-room.
[30]
Comment [A198]: Polysyndenton Cultural Context Comment [A199]: Characterization Comment [j200]: an alogy
PICKERING. You mustn't mind that. LIZA. I know. I am not blaming him. It is his way, isn't it? But it made such a difference to me that you didn't do it. You see, really and truly, apart from the things anyone can pick up (the dressing and the proper way of speaking, and so on), the difference between a lady and a flower girl is not how she behaves, but how she's treated. I shall always be a flower girl to Professor Higgins, because he always treats me as a flower girl, and always will; but I know I can be a lady to you, because you always treat me as a lady, and always will.
Comment [j201]: rhetorical q
[35]
Comment [A202]: Expletive and Amplification - separation with commas Comment [A203]: Assonan ce Comment [A204]: Antithesis
[40]
Comment [A205]: Parallel Syntax – words are given with also a similar sentence Comment [j206]: Repetition: always will
[15]
[20] PYGMALION – George Bernard Shaw (published 1912) HIGGINS. As if I ever stop thinking about the girl and her confounded vowels and consonants. I'm worn out, thinking about her, and watching her lips and her teeth and her tongue, not to mention her soul, which is the quaintest of the lot.
[5] Comment [A207]: Polysyndenton – with the word “ and” Asyndenton - commas
MRS. HIGGINS. You certainly are a pretty pair of babies, playing with your live doll.
Comment [j208]: metaphor
HIGGINS. Playing! The hardest job I ever tackled: make no mistake about that, mother. But you have no idea how frightfully interesting it is to take a human being and change her into a quite different human being by creating a new speech for her. It's filling up the deepest gulf that separates class from class and soul from soul.
[10]
PICKERING [drawing his chair closer to Mrs. Higgins and bending over to her eagerly] Yes: it's enormously interesting. I assure you, Mrs. Higgins, we take Eliza very seriously. Every week-- every day almost--there is some new change. [Closer again] We keep records of every stage--dozens of gramophone disks and photographs--
[15]
HIGGINS [assailing her at the other ear] Yes, by George: it's the most absorbing experiment I ever tackled. She regularly fills our lives up; doesn't she, Pick?
Comment [A209]: Oxymoron – need a noun Comment [j210]: ex clamation Comment [A211]: Personifi cation Comment [A212]: Contradiction Comment [A213]: Parallelism
Comment [A214]: Hyperbole Comment [j215]: Synecdoche to the whole transforming thing Comment [A216]: Delay ed senten ce Comment [A217]: Colloquial
[20]
PICKERING. We're always talking Eliza. HIGGINS. Teaching Eliza. PICKERING. Dressing Eliza. MRS. HIGGINS. What!
[25]
Comment [A218]: Expletive
HIGGINS. Inventing new Elizas. Higgins and Pickering, speaking together: HIGGINS. You know, she has the most extraordinary quickness of ear: PICKERING. I assure you, my dear Mrs. Higgins, that girl HIGGINS. just like a parrot. I've tried her with every PICKERING. is a genius. She can play the piano quite beautifully HIGGINS. possible sort of sound that a human being can make-- PICKERING. We have taken her to classical concerts and to music HIGGINS. Continental dialects, African dialects, Hottentot PICKERING. halls; and it's all the same to her: she plays everything HIGGINS. clicks, things it took me years to get hold of; and PICKERING. she hears right off when she comes home, whether it's HIGGINS. she picks them up like a shot, right away, as if she had PICKERING. Beethoven and Brahms or Lehar and Lionel Morickton; HIGGINS. been at it all her life. PICKERING. though six months ago, she'd never as much as touched a piano.
[30]
Comment [A219]: Overlapping Dialogue Comment [A220]: Simile
Comment [j221]: asyndeton
[35]
Comment [A222]: Onam atopea Comment [A223]: Antrophormofism Comment [A224]: Simile Comment [A225]: Metonomy Illusion – relat ed to the classical artist Comment [A226]: Polysyndenton – with the word “ And”
OTHELLO – William Shakespeare (published 1565) Comment [j227]: Consonance: the d sounds
CASSIO. It hath the devil drunkenness pleased to give place to the devil wrath; one unperfectness shows me another, to make me frankly despise myself. IAGO. Come, you are too severe a moraler: as the time, the place, and the condition of this country stands, I could heartily wish this had not befallen; but, since it is as it is, mend it for your own good.
[5]
Comment [j228]: hyperbaton
Comment [A229]: Consonnance: the “S” Comment [A230]: Asyndenton
CASSIO. I will ask him for my place again; he shall tell me I am a drunkard! Had I as many mouths as Hydra, such an answer would stop them all. To be now a sensible man, by and by a fool, and presently a beast! O strange! Every inordinate cup is unblessed and the ingredient is a devil.
Comment [j231]: sarcasm
[10]
Comment [A232]: Simile Illusion alluding to Hydra Comment [j233]: antithesis Comment [A234]: Apostrophoie Comment [A235]: Personifi cation and Metaphor
IAGO. Come, come, good wine is a good familiar creature, if it be well used: exclaim no more against it. And, good lieutenant, I think you think I love you.
[15]
Comment [j236]: personi fication Comment [j237]: delay ed senten ce
CASSIO. I have well approved it, sir. I drunk! IAGO. You or any man living may be drunk! at a time, man. I'll tell you what you shall do. Our general's wife is now the general: may say so in this respect, for that he hath devoted and given up himself to the contemplation, mark, and denotement of her parts and graces: confess yourself freely to her; importune her help to put you in your place again: she is of so free, so kind, so apt, so blessed a disposition, she holds it a vice in her goodness not to do more than she is requested: this broken joint between you and her husband entreat her to splinter; and, my fortunes against any lay worth naming, this crack of your love shall grow stronger than it was before.
[20]
Comment [j238]: PLOT Comment [A239]: Historical Connotation Comment [j240]: Trans wds
[25] Comment [A241]: Anaphora Comment [A242]: Eufony Comment [j243]: ch aracterization Comment [j244]: an alogy
[30] Comment [j245]: euphemism Comment [A246]: Irony
CASSIO. You advise me well. IAGO. I protest, in the sincerity of love and honest kindness. CASSIO. I think it freely; and betimes in the morning I will beseech the virtuous Desdemona to undertake for me: I am desperate of my fortunes if they cheque me here.
[35]
Comment [j247]: ch aracterization
IAGO. You are in the right. Good night, lieutenant; I must to the watch.
Comment [j248]: internal rhyme
CASSIO: Good night, honest Iago.
Comment [A249]: Trafi c Flaw -
[25]
OTHELLO – William Shakespeare (published 1565) IAGO. I do beseech you-Though I perchance am vicious in my guess, As, I confess, it is my nature's plague To spy into abuses, and oft my jealousy Shapes faults that are not--that your wisdom yet, From one that so imperfectly conceits, Would take no notice, nor build yourself a trouble Out of his scattering and unsure observance. It were not for your quiet nor your good, Nor for my manhood, honesty, or wisdom, To let you know my thoughts.
Comment [PM250]: Arch aic Di ction Comment [j251]: hyperbaton
[5]
Comment [PM252]: Connotation: Human Nature / Sylogism Comment [j253]: ch aracterization Comment [PM254]: Characterization Comment [j255]: anthro
[10]
Comment [PM256]: Litote Comment [PM257]: Alliteration: Assonance Comment [PM258]: Delay ed senten ce & amplification Comment [PM259]: Asyndeton
OTHELLO. What dost thou mean?
Comment [j260]: Delay ed senten ce
IAGO. Good name in man and woman, dear my lord, Is the immediate jewel of their souls: Who steals my purse steals trash; 'tis something, nothing; 'Twas mine, 'tis his, and has been slave to thousands: But he that filches from me my good name Robs me of that which not enriches him And makes me poor indeed.
[15]
Comment [PM261]: Arch aic Di ction Comment [j262]: thesis Comment [j263]: theme: reputation Comment [j264]: epithet Comment [PM265]: Metaphors Comment [PM266]: Alliteration: Consonance
[20]
Comment [j267]: expletive Comment [PM268]: Contradiction
OTHELLO. By heaven, I'll know thy thoughts.
Comment [PM269]: Apostrophe, Colloquial
IAGO. You cannot, if my heart were in your hand; Nor shall not, whilst 'tis in my custody.
Comment [PM270]: Foreshadow
OTHELLO. Ha!
Comment [j271]: ex clamation
IAGO. O, beware, my lord, of jealousy; It is the green-eyed monster which doth mock The meat it feeds on; that cuckold lives in bliss Who, certain of his fate, loves not his wronger; But, O, what damned minutes tells he o'er Who dotes, yet doubts, suspects, yet strongly loves!
[25]
Comment [PM273]: Analogy, connotation, allusion to 7 deadly sins Comment [PM274]: Cacophony Comment [PM275]: Allusion Comment [PM276]: Contradiction
[30]
OTHELLO. O misery! IAGO. Poor and content is rich and rich enough, But riches fineless is as poor as winter To him that ever fears he shall be poor. Good heaven, the souls of all my tribe defend From jealousy!
Comment [j272]: epithet
Comment [PM277]: Asyndeton Comment [j278]: Consonance:T sounds Comment [PM279]: Thesis Comment [PM280]: Apostrophe Comment [j281]: juxtaposition
[35]
Comment [PM282]: Simile
OTHELLO – William Shakespeare (published 1565) IAGO. And did you see the handkerchief?
Comment [PM284]: Motif, Cultural context: courting, Symbolic: Othello’s love
OTHELLO. Was that mine? IAGO. Yours by this hand: and to see how he prizes the Foolish woman our wife! She gave it to him, and he Hath given it to his whore.
[5]
OTHELLO. I would have him nine years a-killing.
Comment [PM285]: Invective, Synecdoch e, Social context Comment [j286]: hyperbole
IAGO. Nay, you must forget that. OTHELLO. Ay, let her rot, and perish, and be damned to-night; for she shall not live: no, my heart is turned to stone; I strike it, and it hurts my hand. O, the world hath not a sweeter creature: she might lie by an emperor's side and command him tasks.
Comment [PM287]: Foreshadow!
[10]
Comment [PM289]: Bibliomancy Comment [PM290]: Hyperbole and imagery
IAGO. Nay, that's not your way. OTHELLO. Hang her! I do but say what she is: so delicate with her needle: an admirable musician: O! she will sing the savageness out of a bear: of so high and plenteous wit and invention:--
Comment [j288]: litote
Comment [j291]: Intern al rhyme
[15]
Comment [j292]: invective Comment [j293]: hyperbole Comment [j294]: ch aracterizatio
IAGO. She's the worse for all this. OTHELLO. O, a thousand thousand times: and then, of so gentle a condition!
[20]
Comment [j296]: Trans wd Comment [j297]: Consonance: T sound
IAGO. Ay, too gentle.
Comment [PM298]: Connotation
OTHELLO. Nay, that's certain: but yet the pity of it, Iago! O Iago, the pity of it, Iago! IAGO. If you are so fond over her iniquity, give her patent to offend; for, if it touch not you, it comes near nobody.
Comment [PM295]: Anadiplosis
Comment [j299]: rep etition
[25] Comment [j300]: hyperbaton Comment [j301]: juxtaposition
OTHELLO. I will chop her into messes: cuckold me!
Comment [PM302]: Cacophony
IAGO. O, 'tis foul in her. OTHELLO . With mine officer!
[30]
IAGO. That's fouler. OTHELLO. Get me some poison, Iago; this night: I'll not expostulate with her, lest her body and beauty unprovide my mind again: this night, Iago.
Comment [j303]: Repetition: this night iago
IAGO. Do it not with poison, strangle her in her bed, even the bed she hath contaminated.
[35]
OTHELLO. Good, good: the justice of it pleases: very good.
[30]
Comment [PM304]: Euphemism
Comment [j306]: anthropomorphism
IAGO. And for Cassio, let me be his undertaker: you shall hear more by midnight.
Comment [PM307]: Connotation: Killer
OTHELLO. Excellent good.
What elements of style are used to convey Othello’s feelings toward Desdemona? What does this text tell us about the relationship between Othello and Iago?
Comment [PM305]: Repetition
Comment [PM308]: Periphrasis
[35]
