Robert Frost's The Road Not Taken 1916
I took the poem and inserted it into the wordle.net website and created this map. Notice the way the important words stick out. Notice the patterns.	What is the humor of this cartoon?
The Road Not TakenTwo roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth; Then took the other, as just as fair And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that, the passing there Had worn them really about the same, And both that morning equally lay In leaves no step had trodden black Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back. I shall be telling this with a sigh Somewhere ages and ages hence: two roads diverged in a wood, and I -- I took the one less traveled by, And that has made all the difference.	B. Listen to the poem as read by any of the readers below and then answer the questions further below.Read by Seth Woodworth Read by Alan Davis-Drake Read by Jemma Blythe Read by Frost reads Read by Mr T VIDEO What color were the woods where the roads diverged? Where did one of the roads bend into? Why did he take the other road? Were they equal? Why wouldn't the wanderer of roads return to travel the other road? When will he be telling his tale? What is the tone of the poem? Which road did he take? Was his choice important? What does this poem say about choice?

Anthropomorphism

---

Anthropomorphism is used with God or gods. The act of attributing human forms or qualities to an entities which are not human. Specifically, anthropomorphism is the describing of gods or goddesses in human forms and possessing human characteristics such as jealousy, hatred, or love.
Mythologies of ancient peoples were almost entirely concerned with anthropomorphic gods.The Greek gods such as Zeus and Apollo often were depicted in anthropomorphic forms. The avatars of the Hindu god Vishnu possessed human forms and qualities.
Current religious holds that is not logical to describe the Christian God, who is believed to be omnipotent and omnipresent, as human. However, it is extremely difficult for the average person to picture or discuss God or the gods without an anthropomorphic framework.
In art and literature, anthropomorphism frequently depicts deities in human or animal forms possessing the qualities of sentiment, speech and reasoning. A.G.H.
Reminds me of the old Mark Twain quotation "God created man in his image, and man, being a gentleman, returned the compliment."
Giving humans animal charateristics See Personification for more.

Hyperbole
Hyperbole is exaggeration or overstatement.
Opposite of Understatement
Example:
I'm so hungry I could eat a horse.
He's as big as a house.

Personification is giving human qualities to animals or objects.
Example:
a smiling moon, a jovial sun
In "Mirror" by Sylvia Plath, for example, the mirror--the "I" in the first line--is given the ability to speak, see and swallow, as well as human attributes such as truthfulness.

I am silver and exact. I have no preconceptions. Whatever I see I swallow immediately Just as it is, unmisted by love or dislike. I am not cruel, only truthful--

In John Keats' "To Autumn," the fall season is personified as "sitting careless on a granary floor" (line 14) and "drowsed with the fume of poppies" (line 17.)

SIMILE

---

Simile is the comparison of two unlike things using like or as. Related to metaphor

Example:
He eats like a pig. Vines like golden prisons.

Poetry is, first of all, a communication - a thought or message conveyed by the writer to the reader. It is not only an act of creation, but an act of sharing. It is therefore important to the reader that he understands how the poet uses words, how he puts fresh vigor and new meaning into words. The reader's understanding is immeasurably increased if he is familiar with the many techniques or devices of poetry. Some of these are extremely simple; a few are rather elaborate.
The simplest and also the most effective poetic device is the use of comparison. It might almost be said that poetry is founded on two main means of comparing things: simile and metaphor. We heighten our ordinary speech by the continual use of such comparisons as "fresh as a daisy," "tough as leather," "comfortable as an old shoe," "it fits like the Paper on the wall," "gay as a lark," "happy as the day is long, pretty as a picture." These are all recognizable similes; they use the words "as" or "like."
A metaphor is another kind of comparison. It is actually a condensed simile, for it omits "as" or "like." A metaphor establishes a relationship at once; it leaves more to the imagination. It is a shortcut to the meaning; it sets two unlike things side by side and makes us see the likeness between them. When Robert Burns wrote "My love is like a red, red rose" he used a simile. When Robert Herrick wrote "You are a tulip" he used a metaphor. Emily Dickinson used comparison with great originality. She mixed similes and metaphors superbly in such poems as "A Book," "Indian Summer," and "A Cemetery." One of the Poems in her group ("A Book") illustrates another device -Of poetry: association - a connection of ideas. The first two lines of "A Book" compare poetry to a ship; the next two to a horse. But Emily Dickinson thought that the words "ship" and "horse" were too commonplace. The ship became a "frigate," a beautiful full-sailed vessel of romance; and the everyday "horse," the plodding beast of the field and puller of wagons, became instead a "courser," a swift and spirited steed, an adventurous creature whose hoofs beat out a brisk rhythm, "prancing" - like a page of inspired poetry.
Thus, because of comparison and association, familiar objects become strange and glamorous. It might be said that a Poet is a man who sees resemblances in all things.

Autobiographical novel
 A novel based on the author's life experience. More common that a thoroughly autobiographical novel is the incluision of autobiographical elements among other elements. Many novelists include in their books people and events from their own lives, often slightly or even dramatically altered. Nothing beats writing from experience, because remembrance is easier than creation from scratch and all the details fit together. Examples of autobiographical novels are:

• James Joyce, Portrait of the Artist as a Young Man
• Thomas Wolfe, Look Homeward, Angel

Apologue
A moral fable, usually featuring personified animals or inanimate objects which act like people to allow the author to comment on the human condition. Often, the apologue highlights the irrationality of mankind. The beast fable, and the fables of Aesop are examples. Some critics have called Samuel Johnson's Rasselas an apologue rather than a novel because it is more concerned with moral philosophy than with character or plot. Examples:

• George Orwell, Animal Farm
• Rudyard Kipling, The Jungle Book

Allegory
 A figurative work in which a surface narrative carries a secondary, symbolic or metaphorical meaning. In The Faerie Queene, for example, Red Cross Knight is a heroic knight in the literal narrative, but also a figure representing Everyman in the Christian journey.  Many works contain allegories or are allegorical in part, but not many are entirely allegorical. Some examples of allegorical works include

• Edmund Spenser, The Faerie Queene
• John Bunyan, The Pilgrim's Progress
• Dante, The Divine Comedy
• William Golding, Lord of the Flies (allegorical novel)
• Herman Melville, Moby Dick (allegorical novel)
• George Orwell, Animal Farm (allegorical novel)

What is a free morpheme?

Definition
	A free morpheme is a grammatical unit that can occur by itself. However, other morphemes such as affixes can be attached to it.
	Also known as: unbound morpheme

Example (English)
	The morpheme dog

What is a bound morpheme?

Definition
	A bound morpheme is a grammatical unit that never occurs by itself, but is always attached to some other morpheme.

Example (English)
	The plural morpheme -s in dogs

What is a morpheme?

Definition
	A morpheme is the smallest meaningful unit in the grammar of a language.

what is mean by Morphology?

Morphology

BASIC ELEMENTS OF A SHORT STORY

                Literature has varieties and short story is one of the types of literature. In broader sense of the term, it is a story which is short. It is a form or a genre having its own. According to H. E. Bates, short story can be anything that the author describes it to be.

Short story is a fictional work with a thematic focus which depicts the character's conflicts. Normally, the shortest stories may be no more than a page or two in length. But there are longest ones also such as D. H. Lawrence's St Mawr which runs to over several pages. In this article you will learn some of the basic elements of this form.

The elements normally comprise of setting with time and place, conflict, subject, themes, and characters. Let's see how these elements work in a story.

1. Settings with Time and Place

You will see that most stories are set in present day. But the settings of the place normally vary from exotic to mundane and urban to rural.

2. Conflict

The readers follow the main character or protagonist who's in a conflict with another character. The conflict can also be internal with some hostile spiritual or psychological force.

3. Subject

The subject of a story is often mistaken for its theme. The common subjects for modern short fiction normally include class, ethnic status, race, gender, and social issues just like poverty, violence, divorce, and drugs.

4. Theme

The diverse subjects facilitate the writer to comment upon the larger theme which is the center of the fictional work. The individual in conflict with society's institutions, spiritual struggles, and morality may be included in the theme.

Alienation, human isolation, the conflict of generations, anxiety, love and hate relationship; male-female relationships; self-delusion and self-discovery; beginning from innocence to experience; illusion and reality; the relationship between life and art are some of the main themes of 20th-century short stories and the longer forms of fiction.

5. Characters

In a short story, you may find a range of characters. There are stereotypes which are familiar such as the lonely housewife, the aggressive businessman. There may also be archetypal characters just as the rebel, the alter ego, the scapegoat, and some who are engaged in some kind of search.

You will love a short story or a fiction which is structured well with all these elements. A good story is one which succeeds in producing one single effect vivid effect by seizing the attention at the outer and gathering sustaining it till the climax is reached.

What is the meaning and origin of ‘to upstage someone'?

When you ‘upstage someone', you succeed in becoming the new centre of attraction; you divert attention from someone towards yourself. Something that you have done or said grabs everyone's attention; the person who was earlier in the spotlight fades into the background. One can upstage someone either intentionally or accidentally.

*At the conference, the professor was upstaged by the young scholar.

*The veteran actress had been upstaged by a ten-year old.

The expression comes from the world of theatre. In the old days, a stage wasn't level; it was designed in such a way that the back portion was slightly raised. This part of the stage which was slightly elevated was called ‘upstage'. The front, or the area that was closer to the audience, was called ‘downstage'. One way an actor ensured that he remained the focus of attention of the audience was to move upstage. This compelled the actors who were downstage to turn around to carry on the conversation with the individual. When they did this, the man who was upstage ended up facing the audience, while those who were downstage had their back to the audience. Since people in general are more interested in the face rather than the back, the actor who was upstage became the centre of attention of the audience.

A DISSERTATION UPON ROAST PIG

Essay for all

BASIC ELEMENTS OF A SHORT STORY

Three basic elements expanded to seven essentials

The three basic elements of a short story is situation, plot and character. At the most basic level a short story gives an account of something, preferable something interesting, exciting or horrible, that happens. This is the situation. This situation plays itself out in time and is told with a beginning middle and end. This is the plot. And what happens in the situation happens to somebody. This is thecharacter.

The elements of a short story can be seen as the building blocks from which the story 'house' is constructed. Though the three basic elements are enough to make a story, a more interesting house can be build when a couple of more or less essential pieces are added. Here then is an expanded list of seven story elements:

1. Setting
2. Situation
3. Character
4. Characterization
5. Point of view
6. Plot
7. Theme or Premise

1. Story Setting

The setting is the time and place where the story takes place. Does it take place in contemporary time, now, in your home town? Or is it the setting a hundred years ago in a foreign country? Maybe the story happens sometime in the future on an alien world, or even on a fantasy world seperate from our conception of time? The setting will determine how the world in which the characters act and will have a big impact on who the characters are. How the setting is described influences the mood of the story.

The setting for H.G. Wells' story The Country of the Blind is set in an imaginary place:

"Three hundred miles and more from Chimborazo, one hundred from the snows of Cotopaxi, in the wildest wastes of Ecuador's Andes, there lies that mysterious mountain valley, cut off from the world of men, the Country of the Blind."

2. Story Situation

The story situation is how and where the characters are when we find them at the beginning of the story. The situation should be provocative, holding opportunities for conflict. The story situation holds the seeds of the conflict which is developed through rising conflict in the plot. It sets the stage for a problem in the story that needs to be resolved.

The situation in Guy de Maupassant's The Necklace is this: "A young bride, poor but with a taste for luxury, borrows a diamond necklace from a friend."

3. Character

A character is a person who acts in a short story. This person can be a human, an animal, a god or a talking piece of furniture. A character will perform a certain role in the story such as being the protagonist or antagonist. Characters, depending on how deeply they are developed, are described as rounded or flat.

4. Characteritzation

Characterization is how the characters are described by the story and how their attitudes and emotions and especially character flaws impact on the story. Characterization is what the person is like, how we get to know them to be.

Sir Arthur Conan Doyle starts some stories with extensive character studies. Although his style is outmoded his characterization is effective. See for example the description of Aloysius Lana in The Black Doctor.

5. Plot

The plot is the sequence of events through which the writer reveals what is happening, to whom, and why. The short story usually has only one plot. There are five essential parts of plot.

• Introduction - The beginning of the story where we find the characters in a situation and setting.
• Rising Conflict - The situation develops into a problem and one or more characters experience conflict.
• Climax - The conflict reaches a point of no return and the character must take an action or make a decision.
• Falling Action - The consequences of the characters action or decision plays out.
• Resolution or Denouement - The story is drawn to a close or a conclusion.

6. Theme or Premise

The theme or premis is the deeper message of the story. It can be seen as the moral of the story though it should not be diminished to a mere platitude. If the story can be seen as an argument then the theme or premise is the conclusion. Frequently the premise is only aluded to and not directly stated in the story.

7. Point of View

The point of view, or POV, is the as the position from which the story is told. Though there are finer distinctions the most common point of views used are first person and third person. The point of view determines how much we can see of the events in the story. Our understanding of events are coloured by the character whose point of view we share. An interesting exercise is to rewrite a story from another character's point of view.

READING -2

READING-1