Analyzing and Interpreting Literature
StudyWalks exists to make learning clear, accessible, and free.
Short lessons. In order. Built for people who want to understand.
Begin with Unit 1: How This Exam Asks: The Seven Question Types. It sets the foundation for everything that follows.
Nothing watched yet
Unit 1: How This Exam Asks: The Seven Question Types 40 lessons, 2 lecture parts
- 0001 What This Exam Actually Tests
- 0002 Why Reading Widely Still Matters
- 0003 The Three Genre Bands
- 0004 The Three Tradition Bands
- 0005 The Four Period Bands
- 0006 Question Type One: Name the Device
- 0007 How a Wrong Answer Is Built
- 0008 Question Type Two: Word in Context
- 0009 Substituting to Test a Meaning
- 0010 Question Type Three: Track the Referent
- 0011 Why Referents Go Missing
- 0012 Question Type Four: Restate the Line
- 0013 Restatement Is a Syntax Problem
- 0014 Question Type Five: Name the Tone
- 0015 Tone Options Come in Pairs
- 0016 Question Type Six: Find the Tone Shift
- 0017 What Marks a Shift on the Page
- 0018 Question Type Seven: The Speaker's State
- 0019 The Speaker Is Not the Author
- 0020 Literal Comprehension Comes First
- 0021 The Order to Work In
- 0022 Meeting a Passage You Cannot Place
- 0023 The Arithmetic of Ninety-Eight Minutes
- 0024 When a Question Resists
- 0025 Eliminating Rather Than Choosing
- 0026 Trap One: The True but Irrelevant Option
- 0027 Trap Two: The Overstated Option
- 0028 Trap Three: The Modern Meaning
- 0029 Trap Four: Answering From the Subject
- 0030 The Answer Is on the Page
- 0031 A Procedure for a Poem
- 0032 A Procedure for Prose
- 0033 A Procedure for Drama
- 0034 The Terminology You Are Assumed to Have
- 0035 The Terms Most Often Confused
- 0036 Whether a Reading Can Be Wrong
- 0037 What the Sample Questions Are For
- 0038 The Exam Edits What It Prints
- 0039 What a Passing Score Means
- 0040 What the Rest of This Course Does
Unit 2: Reading Archaic and Inverted Syntax 50 lessons, 2 lecture parts
- 0101 Why Old Sentences Stop Modern Readers
- 0102 The Exam Tests This Directly
- 0103 Find the Main Verb First
- 0104 Line Breaks Are Not Sentence Breaks
- 0105 Inversion One: Verb Before Subject
- 0106 Inversion Two: Object Before Everything
- 0107 Inversion Three: Adjective After Noun
- 0108 Why Inversion Happens
- 0109 The Suspended Sentence
- 0110 Milton's Six-Line Delay
- 0111 Reading a Suspended Sentence
- 0112 Clauses Inside Clauses
- 0113 The Relative Pronoun That Vanishes
- 0114 Ellipsis: What Is Left Out
- 0115 Elision: Syllables Cut for Meter
- 0116 Thou, Thee, Thy, Thine
- 0117 Ye and You
- 0118 The Endings -est and -eth
- 0119 Doth, Hath, Art, Wert
- 0120 The Empty Auxiliary Do
- 0121 Negation Without Do
- 0122 Questions Without Do
- 0123 Words That Have Shifted Meaning
- 0124 Words Used as Other Parts of Speech
- 0125 What the Subjunctive Is
- 0126 Sonnet 44 Opens in the Subjunctive
- 0127 The Answering Clause
- 0128 The Line Sample Question Eight Uses
- 0129 Why the Wrong Restatements Fail
- 0130 How to Test a Restatement
- 0131 Open Conditions
- 0132 The Subjunctive in Wishes and Commands
- 0133 Pronouns Far From Their Nouns
- 0134 Pronouns Standing for Abstractions
- 0135 The Empty It
- 0136 Older Punctuation Is Rhythmic
- 0137 Capitals in the Middle of Sentences
- 0138 Old Spelling and the Long S
- 0139 How Long These Features Last
- 0140 When Difficulty Is the Point
- 0141 The Procedure, Step One
- 0142 The Procedure, Step Two
- 0143 The Procedure, Step Three
- 0144 Practising on Something Known
- 0145 When the Grammar Will Not Yield
- 0146 Check the Reading Against the Whole
- 0147 What This Unit Does Not Do
- 0148 The Grammatical Terms Used Here
- 0149 Where This Pays Off Most
- 0150 What the Next Unit Does
Unit 3: Word in Context 40 lessons, 2 lecture parts
- 0201 What a Word-in-Context Question Asks
- 0202 Why the Dictionary Is the Wrong Tool
- 0203 The Phrasing the Board Uses
- 0204 Step One: Read the Whole Sentence
- 0205 Step Two: Substitute and Read It Back
- 0206 Step Three: Let the Period Narrow It
- 0207 The Answer Must Fit the Grammar
- 0208 Sheridan's "Grace": The Board's Own Item
- 0209 Why the Other Senses of Grace Fail
- 0210 Sheridan's "Humours": Temperament
- 0211 The Board Edits This Passage
- 0212 Sometimes the Modern Sense Is Right
- 0213 "Want" Means Lack
- 0214 "Wanting" in Sonnet Twenty-Six
- 0215 "Still" Means Continually
- 0216 Why "Still" Is the Costliest Miss
- 0217 "Prevent" Means Go Before
- 0218 "Conceit" Means Conception
- 0219 "Conceit" as an Extended Metaphor
- 0220 "Wit" Means Mental Power
- 0221 Three Shifted Words in One Poem
- 0222 "Brave" Means Splendid
- 0223 "Brave" Means Defy
- 0224 Why One Poem, Two Senses, Is the Lesson
- 0225 "Rude" Means Unpolished
- 0226 "Rude" in the Modesty Formula
- 0227 "Curious" Means Discriminating
- 0228 "Several" Means Separate
- 0229 "Quick" Means Living
- 0230 "Sad" Means Grave
- 0231 "Fond" Means Foolish
- 0232 "Nice" Means Fastidious
- 0233 Trap One: The Modern Meaning
- 0234 Trap Two: Right Sense, Wrong Sentence
- 0235 Trap Three: The Too-Specific Option
- 0236 Trap Four: The Option That Improves the Line
- 0237 When the Word Is Not Archaic At All
- 0238 Building the Ear for This
- 0239 A Word You Cannot Place
- 0240 What the Next Unit Does
Unit 4: Tone, and the Tone Lexicon 50 lessons, 2 lecture parts
- 0301 What Tone Is
- 0302 Tone Is Not Subject
- 0303 Tone Against Mood
- 0304 Tone Lives in Diction
- 0305 Tone Lives in Sentence Shape
- 0306 How the Board Asks
- 0307 The Options Come in Pairs
- 0308 Either Half Can Kill an Option
- 0309 The Conjunction Carries a Claim
- 0310 The Single-Word Option
- 0311 Lexicon: Irony, as the Anchor Defines It
- 0312 Lexicon: Verbal Irony
- 0313 Lexicon: Dramatic Irony
- 0314 Lexicon: Situational Irony
- 0315 Lexicon: Satire
- 0316 Lexicon: Horatian Satire
- 0317 Lexicon: Juvenalian Satire
- 0318 Lexicon: Litotes
- 0319 Lexicon: Hyperbole
- 0320 Lexicon: Terms the Glossary Does Not Define
- 0321 Lexicon: Somber
- 0322 Lexicon: Reticent
- 0323 Lexicon: Obsequious
- 0324 Lexicon: Admonitory
- 0325 Lexicon: Cavalier
- 0326 Lexicon: Further Terms, Approving
- 0327 Lexicon: Further Terms, Disapproving
- 0328 Lexicon: Further Terms, Detached
- 0329 Lexicon: The Pairs Most Often Confused
- 0330 Drilling the Lexicon Against Itself
- 0331 Swift's Opening: The Manner
- 0332 Swift's Opening: Why the Manner Matters
- 0333 Swift's Proposal: The Gap Opens
- 0334 Naming Swift's Tone
- 0335 Swift's "Humbly Propose"
- 0336 "Want of Work" in Swift
- 0337 Fielding's Chapter Title
- 0338 Fielding's Elevated Opening
- 0339 Fielding's Praise Applied to a Thief
- 0340 Naming Fielding's Tone
- 0341 "Sensible Writers" in Fielding
- 0342 Finding Tone Evidence Under Time
- 0343 Trap One: Answering From the Subject
- 0344 Trap Two: The Overstated Option
- 0345 Trap Three: The Half-Right Pair
- 0346 Trap Four: The Flattened Option
- 0347 The Tone-Shift Question
- 0348 What Marks a Hinge
- 0349 The Shift Inside Swift
- 0350 What the Next Unit Does
Unit 5: Speaker, Voice and Persona 40 lessons, 2 lecture parts
- 0401 The Speaker Is Not the Author
- 0402 Why the Exam Depends on the Distinction
- 0403 Voice and Persona
- 0404 Point of View, as the Anchor Defines It
- 0405 The Dramatic Monologue
- 0406 What the Form Makes Possible
- 0407 My Last Duchess: The Situation
- 0408 "Looking As If She Were Alive"
- 0409 The Weight of "Last"
- 0410 "I Said Fra Pandolf by Design"
- 0411 The Charge Against Her
- 0412 What the Evidence Amounts To
- 0413 "Stoop", Three Times
- 0414 "I Gave Commands"
- 0415 Why That Understatement Works
- 0416 "There She Stands as If Alive"
- 0417 The Neptune Bronze
- 0418 Why He Shows It to an Envoy
- 0419 The Anchor's Reading of the Duke
- 0420 The Anchor's Theme
- 0421 What the Exam Would Ask of This Poem
- 0422 The Option That Would Fail
- 0423 The Self-Convicting Speaker
- 0424 Whether a Speaker Can Be Trusted
- 0425 Swift's Persona Revisited
- 0426 How a Persona Is Signalled
- 0427 Donne's Constructed Lover
- 0428 The Silent Listener
- 0429 The Anchor Defines Irony Twice
- 0430 Which Definition This Course Follows
- 0431 What the Chapter's Reading Still Shows
- 0432 Naming the Irony in This Poem
- 0433 The Speaker-Attitude Question
- 0434 Attitude Toward a Named Thing
- 0435 The Board's Sonnet Forty-Four Item
- 0436 A Procedure for Speaker Attitude
- 0437 Trap: The Author's Known Views
- 0438 Trap: The Sympathetic Reading
- 0439 Trap: Attributing the Poem's Judgment to the Speaker
- 0440 What the Next Unit Does
Unit 6: Poetry: Sound, Line, Meter 60 lessons, 2 lecture parts
- 0501 Why Sound Is Examined
- 0502 What a Device Question Looks Like
- 0503 Meter, as the Anchor Defines It
- 0504 The Foot
- 0505 Stress
- 0506 The Iamb
- 0507 Why the Iamb Dominates English
- 0508 The Trochee
- 0509 Three-Syllable Feet
- 0510 The Dactyl
- 0511 The Anapest
- 0512 The Spondee
- 0513 Naming a Metre
- 0514 Iambic Pentameter
- 0515 Iambic Tetrameter
- 0516 Iambic Trimeter
- 0517 The Two-Beat Line, and the Anchor's Spelling
- 0518 Scanning a Line
- 0519 When a Line Will Not Scan Evenly
- 0520 Why Variation Is Meaningful
- 0521 Blank Verse
- 0522 Blank Verse Against Free Verse
- 0523 Frost's Birches as Blank Verse
- 0524 Hughes and Free Verse
- 0525 Two Forms Named, Not Quoted
- 0526 The Villanelle
- 0527 The Haiku
- 0528 The Ballad
- 0529 The Ode
- 0530 The Elegy
- 0531 The Sonnet
- 0532 Alliteration
- 0533 Assonance
- 0534 Telling the Two Apart
- 0535 Consonance
- 0536 Onomatopoeia
- 0537 Rhyme
- 0538 Rhyme Scheme
- 0539 End Rhyme and Internal Rhyme
- 0540 Slant Rhyme
- 0541 Eye Rhyme
- 0542 Enjambment
- 0543 The End-Stopped Line
- 0544 Caesura
- 0545 The Stanza
- 0546 Quatrain, Sestet, Octave, Tercet
- 0547 The Couplet
- 0548 The Refrain
- 0549 A Form You Cannot Name
- 0550 Sound as Argument
- 0551 Trap: The Neighbouring Device
- 0552 Trap: Answering From Spelling
- 0553 Trap: Naming a Metre From One Line
- 0554 Trap: The Form That Almost Fits
- 0555 Scanning by Habit
- 0556 What Sound Does Not Settle
- 0557 What the Glossary Left Out
- 0558 The Two Defects Found
- 0559 Where This Pays Off
- 0560 What the Next Unit Does
Unit 7: Poetry: Figurative Language 60 lessons, 2 lecture parts
- 0601 Why Figures Are Examined
- 0602 The Anchor Makes Metaphor the Parent
- 0603 Why the Hierarchy Matters
- 0604 Metaphor, as the Anchor Defines It
- 0605 The Two Sides of a Comparison
- 0606 What a Figure Asks of the Reader
- 0607 Simile
- 0608 Donne's Beaten Gold
- 0609 Why Gold, and Why Beaten
- 0610 Metaphor Proper
- 0611 Personification, as the Anchor Defines It
- 0612 The Glossary's Example Does Not Check Out
- 0613 Blake's "Ah, Sunflower"
- 0614 The Sunflower That Wishes
- 0615 Conceit, as the Anchor Defines It
- 0616 Donne's Twin Compasses
- 0617 The Fixed Foot
- 0618 "It Leans, and Hearkens After It"
- 0619 "Makes Me End, Where I Begunne"
- 0620 Why the Conceit Is Examined So Often
- 0621 Metonymy
- 0622 Synecdoche
- 0623 Metonymy Against Synecdoche
- 0624 Symbolism, as the Anchor Defines It
- 0625 Blake's Sick Rose
- 0626 What the Sick Rose Is Read As
- 0627 How the Exam Asks About Symbols
- 0628 Imagery, as the Anchor Defines It
- 0629 Keats and the Other Senses
- 0630 Keats and the Murmurous Haunt
- 0631 Apostrophe
- 0632 Keats Addresses Autumn
- 0633 Autumn and the Sun Conspire
- 0634 Paradox, as the Anchor Defines It
- 0635 Oxymoron
- 0636 Allusion
- 0637 Trope
- 0638 Antithesis
- 0639 Euphemism
- 0640 Analogy
- 0641 Motif
- 0642 Pathetic Fallacy
- 0643 What the Glossary Left Out Here
- 0644 Trap: The Parent Term
- 0645 Trap: The Figure That Is Not There
- 0646 Trap: Literal Read as Figurative
- 0647 Trap: The Conventional Meaning
- 0648 A Procedure for Device Questions
- 0649 When Two Terms Both Fit
- 0650 From Naming to Effect
- 0651 These Figures Are Not Only Poetic
- 0652 What Naming a Figure Does Not Settle
- 0653 The Metaphysical Manner
- 0654 Blake's Manner
- 0655 Keats's Manner
- 0656 What to Carry Forward
- 0657 Figure and Form Together
- 0658 The Anchor's Record So Far
- 0659 Why the Anchor Is Still the Anchor
- 0660 What the Next Unit Does
Unit 8: Poetry: Closed and Open Form 50 lessons, 2 lecture parts
- 0701 Form as a Measurable Thing
- 0702 Closed Form and Open Form
- 0703 What a Closed Form Demands
- 0704 What a Closed Form Gives Back
- 0705 The Sonnet as a Fixed Form
- 0706 The Anchor's Sonnet
- 0707 The Villanelle as a Fixed Form
- 0708 What a Villanelle's Repetition Does
- 0709 The Ballad as a Fixed Form
- 0710 The Ballad Stanza
- 0711 The Ode as a Fixed Form
- 0712 Keats and the Ode
- 0713 The Elegy as a Fixed Form
- 0714 The Haiku as a Fixed Form
- 0715 Blank Verse as the Middle Case
- 0716 Why Blank Verse Suited the Stage
- 0717 The Refrain in a Closed Form
- 0718 McKay's "From Street to Street"
- 0719 Form Carrying the Argument
- 0720 Three Sestets
- 0721 Free Verse, as the Anchor Defines It
- 0722 Free Verse Is Not Unshaped
- 0723 What Organises an Open Form
- 0724 Hughes and the Line Break
- 0725 Repetition as Structure
- 0726 Parallel Grammar
- 0727 Why Open Form Arose
- 0728 How the Exam Asks About Form
- 0729 The Measuring Procedure
- 0730 What Each Count Rules Out
- 0731 Finding Where a Pattern Breaks
- 0732 Answering an Effect Question About Form
- 0733 The Anchor's Set as a Map
- 0734 What the Anchor's Set Omits
- 0735 The Heroic Couplet
- 0736 Terza Rima
- 0737 Trap: Naming a Form From Its Subject
- 0738 Trap: Free Verse as the Default
- 0739 Trap: The Almost-Sonnet
- 0740 Trap: The Form Question That Is a Meaning Question
- 0741 Writing a Rhyme Scheme Down
- 0742 The Schemes Worth Knowing Cold
- 0743 Measure Every Poem You Meet
- 0744 Form as a Period Clue
- 0745 The Limits of the Period Clue
- 0746 Why Three Poems Are Named and Not Quoted
- 0747 What Was Available Instead
- 0748 Form Against Structure
- 0749 What to Carry Forward
- 0750 What the Next Unit Does
Unit 9: Poetry: Structure and Argument 50 lessons, 2 lecture parts
- 0801 Structure Against Form
- 0802 A Poem as an Argument
- 0803 Problem, Development, Turn, Resolution
- 0804 Theme, as the Anchor Defines It
- 0805 Theme Against Subject
- 0806 The Petrarchan Sonnet
- 0807 Octave and Sestet
- 0808 The Shakespearean Sonnet
- 0809 What Each Type Makes Easy
- 0810 The Volta
- 0811 Finding the Volta
- 0812 The Couplet
- 0813 When a Couplet Overreaches
- 0814 Sonnet Twenty-Nine: The Situation
- 0815 The Accumulating Octave
- 0816 "With What I Most Enjoy Contented Least"
- 0817 The Volta at Line Nine
- 0818 The Lark
- 0819 Answering the Octave Term by Term
- 0820 "I Scorn to Change My State With Kings"
- 0821 Why This Sonnet Is the Standard Example
- 0822 Sonnet Seventy-Three: A Different Shape
- 0823 The Season
- 0824 "Or None, or Few"
- 0825 The Day
- 0826 The Fire
- 0827 The Narrowing Scale
- 0828 "In Me Thou See'st"
- 0829 "Consumed With That Which It Was Nourished By"
- 0830 The Consequence, Not a Turn
- 0831 Two Sonnets, Two Structures
- 0832 Read the Movement, Not the Label
- 0833 Structure Across Stanzas
- 0834 Donne's Valediction as Structure
- 0835 An Argument That Proves
- 0836 How the Exam Asks About Structure
- 0837 The Restatement Question
- 0838 The Inference Question
- 0839 Trap: Assuming Every Sonnet Turns at Nine
- 0840 Trap: The Paraphrase That Adds
- 0841 Trap: The Theme Stated as Fact
- 0842 Trap: Reading the Couplet Alone
- 0843 A Procedure for Structure Questions
- 0844 Tracking a Repeated Word
- 0845 Structure and Tone Together
- 0846 What Structure Does Not Settle
- 0847 Why the Sonnet Carries So Much
- 0848 What to Carry Forward
- 0849 The Poetry Band Complete
- 0850 What the Next Unit Does
Unit 10: Prose: Narration and Point of View 60 lessons, 2 lecture parts
- 0901 Why Narration Is the First Prose Question
- 0902 Point of View, as the Anchor Defines It
- 0903 Narrator
- 0904 The Anchor's Five Narrator Types
- 0905 First-Person Major-Character Narrator
- 0906 First-Person Minor-Character Narrator
- 0907 Why a Minor-Character Narrator Is Chosen
- 0908 Limited Omniscient Narrator
- 0909 Objective Narrator
- 0910 Omniscient Narrator
- 0911 A Test for Sorting the Five
- 0912 Third-Person Narration
- 0913 Free Indirect Discourse
- 0914 Recognising Free Indirect Discourse
- 0915 The Unreliable Narrator
- 0916 Stream of Consciousness
- 0917 Narrative Distance
- 0918 Austen's Universally Acknowledged Truth
- 0919 Whose Truth Is It
- 0920 Austen's Opening as Free Indirect Discourse
- 0921 "Rightful Property"
- 0922 Which Type Is Austen's Narrator
- 0923 Brontë's First Sentence
- 0924 A First-Person Major-Character Narrator
- 0925 "Dreadful to Me Was the Coming Home"
- 0926 The Aside About Mrs. Reed
- 0927 The Double Time-Frame
- 0928 Conrad's Unnamed Voice
- 0929 The Frame Narrator
- 0930 What a Frame Achieves
- 0931 Classifying the Frame Voice
- 0932 Conrad and What Followed
- 0933 Joyce's Eveline at the Window
- 0934 "She Was Tired"
- 0935 Joyce's Limited Omniscience
- 0936 The Dusty Cretonne
- 0937 Four Passages, Four Positions
- 0938 How the Exam Asks About Narration
- 0939 Whose Opinion Is This Sentence
- 0940 Trap: Taking the Narrator's Word
- 0941 Trap: First Person Means Unreliable
- 0942 Trap: Omniscient Means Authoritative
- 0943 Trap: Confusing Character With Narrator
- 0944 Trap: The Detail Read as Neutral
- 0945 A Procedure for a Prose Opening
- 0946 When No Pronoun Appears
- 0947 Tense as Evidence About Position
- 0948 What the Glossary Left Out Here
- 0949 What the Glossary Does Well Here
- 0950 Reading a Frame Sceptically
- 0951 What Narration Does Not Settle
- 0952 Narration as a Period Clue
- 0953 Narration in Nonfiction
- 0954 What to Carry Forward
- 0955 These Four Return
- 0956 A Paragraph Is Not a Novel
- 0957 What Prose Makes Easier
- 0958 Reading a Prose Passage Under Time
- 0959 The First Half of the Prose Band
- 0960 What the Next Unit Does
Unit 11: Prose: Character, Scene, Style 50 lessons, 2 lecture parts
- 1001 How Prose Reveals a Character
- 1002 Direct and Indirect Characterisation
- 1003 Protagonist and Antagonist
- 1004 The Foil
- 1005 Epiphany, as the Anchor Defines It
- 1006 Plot, as the Anchor Defines It
- 1007 Flashback, as the Anchor Defines It
- 1008 Conflict, Climax, Setting
- 1009 The Anchor's Character Pairs
- 1010 What the Glossary Says
- 1011 Flat and Round: Complexity
- 1012 Static and Dynamic: Change
- 1013 The Combinations the Anchor Loses
- 1014 The Moral Framing in the Anchor
- 1015 What to Answer If the Exam Asks
- 1016 Dickens Opens on a Voice
- 1017 "What I Want" and "Are Wanted"
- 1018 The Square Man
- 1019 Why Square
- 1020 "The Emphasis Was Helped By"
- 1021 Anaphora
- 1022 The Eyes in Their Caves
- 1023 A Plantation of Firs
- 1024 "Warehouse-Room for the Hard Facts"
- 1025 The Neckcloth Like a Stubborn Fact
- 1026 The Little Vessels
- 1027 Whose Metaphor Are the Vessels
- 1028 "A Man of Realities"
- 1029 "And Nothing Over"
- 1030 Rule, Scales, Multiplication Table
- 1031 Is Gradgrind Flat or Round
- 1032 What the Exam Would Ask of This Passage
- 1033 The Tone of the Description
- 1034 Style as the Evidence for Character
- 1035 Austen Characterises by Dialogue
- 1036 "Mr. Bennet Replied That He Had Not"
- 1037 Quoted Against Reported Speech
- 1038 Scene and Summary
- 1039 Setting as Argument
- 1040 Diction, Syntax, Register
- 1041 Sentence Length
- 1042 Trap: Answering From Plot
- 1043 Trap: The Sympathetic Character
- 1044 Trap: The Anchor's Flat and Static
- 1045 Trap: The Isolated Detail
- 1046 A Procedure for a Character Passage
- 1047 What Style Does Not Settle
- 1048 What to Carry Forward
- 1049 The Anchor's Record Updated
- 1050 What the Next Unit Does
Unit 12: Nonfiction: Rhetoric and the Essay 50 lessons, 2 lecture parts
- 1101 Nonfiction on This Exam
- 1102 What Changes When a Passage Argues
- 1103 The Anchor's Eight Chapters
- 1104 Repurposing a Writing Taxonomy
- 1105 What the Glossary Does Not Carry
- 1106 Rhetoric
- 1107 Thesis
- 1108 Where a Thesis Sits
- 1109 Ethos, Pathos, Logos
- 1110 Telling the Appeals Apart
- 1111 The Anchor on a Sound Argument
- 1112 Concession and Refutation
- 1113 The Argument Mode
- 1114 Cause and Effect
- 1115 Compare and Contrast
- 1116 Examples
- 1117 Extended Definition
- 1118 The Narrative Essay
- 1119 The Process Essay
- 1120 Naming a Mode While Reading
- 1121 Anaphora as a Rhetorical Device
- 1122 Antithesis in Argument
- 1123 The Rhetorical Question
- 1124 The Syllogism
- 1125 Equiano and the Testimony Mode
- 1126 Below the Decks
- 1127 "Such a Salutation"
- 1128 Understatement as Testimony
- 1129 "I Even Wished for My Former Slavery"
- 1130 "The Last Friend, Death"
- 1131 "This Indeed Was Often the Case With Myself"
- 1132 Why the Restraint Persuades
- 1133 Which Appeal Is Equiano Using
- 1134 Swift Beside Equiano
- 1135 What Separates Satire From Testimony
- 1136 The Cost of Confusing Them
- 1137 Technique and Testimony
- 1138 How the Exam Asks About Nonfiction
- 1139 Referent Tracking in Argument
- 1140 Trap: Agreeing With the Argument
- 1141 Trap: Taking the Persona for the Author
- 1142 Trap: The Mode Named From the Subject
- 1143 Trap: Mistaking Vividness for Emotion
- 1144 A Procedure for a Nonfiction Passage
- 1145 What the Glossary Left Out Here
- 1146 What the Anchor Did Supply
- 1147 The Prose Band Complete
- 1148 What to Carry Forward
- 1149 Where This Returns
- 1150 What the Next Unit Does
Unit 13: Drama: Structure and Dramatic Irony 60 lessons, 2 lecture parts
- 1201 The Band Candidates Neglect
- 1202 What a Play Text Gives You
- 1203 No Narrator Means No Guidance
- 1204 Act and Scene
- 1205 Stage Directions
- 1206 Who Is Present
- 1207 Tragedy, as the Anchor Defines It
- 1208 Comedy, as the Anchor Defines It
- 1209 Catharsis
- 1210 Hamartia
- 1211 A Blindness From Strength
- 1212 The Tragic Hero
- 1213 Hubris
- 1214 The Chorus
- 1215 Dramatic Irony, as the Anchor Defines It
- 1216 The Audience Must Be Told First
- 1217 Oedipus, the Standard Case
- 1218 "I Lay My Ban on the Assassin"
- 1219 "Wretch, May He Pine in Utter Wretchedness"
- 1220 "The Curse I Laid on Others Fall on Me"
- 1221 Why the Irony Is Made So Plain
- 1222 What the Exam Would Ask of Oedipus
- 1223 Hamlet's One Chance
- 1224 "Now Might I Do It Pat"
- 1225 The Reasoning That Stops Him
- 1226 "My Words Fly Up, My Thoughts Remain Below"
- 1227 The Irony of the Prayer Scene
- 1228 Why Claudius Speaks Last
- 1229 Oedipus Against Hamlet
- 1230 Irony the Audience Assembles
- 1231 Answering From an Extract
- 1232 Dramatic Irony Against Verbal Irony
- 1233 And Against Situational Irony
- 1234 Five Acts
- 1235 Exposition, Climax, Resolution
- 1236 Why the Prayer Scene Is the Turn
- 1237 Foreshadowing
- 1238 The Limits of Foreshadowing Claims
- 1239 Conflict in Drama
- 1240 Reading a Speech for Its Argument
- 1241 Blank Verse on Stage
- 1242 When a Play Drops Into Prose
- 1243 The Pronouns and Verb Endings
- 1244 Numbers and Brackets in the Text
- 1245 What Else the Anchor Carries
- 1246 The Dates of Those Four
- 1247 Trap: Reading a Speech as the Author's View
- 1248 Trap: Assuming the Audience Knows
- 1249 Trap: The Tragic Flaw as a Vice
- 1250 Trap: Answering From the Plot Summary
- 1251 A Procedure for a Dramatic Extract
- 1252 What the Glossary Left Out Here
- 1253 What the Anchor Supplied Instead
- 1254 What to Carry Forward
- 1255 Why This Band Rewards Preparation
- 1256 Reading Plays for Practice
- 1257 Using the Anchor's Study Guides
- 1258 Drama Is Also Verse
- 1259 What the Next Drama Unit Does
- 1260 What the Next Unit Does
Unit 14: Drama: Soliloquy, Aside, Stagecraft 50 lessons, 2 lecture parts
- 1301 Speaking Past the Other Characters
- 1302 Soliloquy
- 1303 Why a Soliloquy Counts as Evidence
- 1304 Monologue Against Soliloquy
- 1305 "To Be, or Not to Be"
- 1306 The Stage Direction Before It
- 1307 A Soliloquy With an Audience
- 1308 Dramatic Irony in the Speech
- 1309 The Argument of the Speech
- 1310 "Slings and Arrows of Outrageous Fortune"
- 1311 "Take Arms Against a Sea of Troubles"
- 1312 "To Die, to Sleep"
- 1313 "A Consummation Devoutly to Be Wished"
- 1314 Faustus's Last Hour
- 1315 "Stand Still, You Ever-Moving Spheres"
- 1316 "A Year, a Month, a Week, a Natural Day"
- 1317 "O Lente, Lente Currite, Noctis Equi"
- 1318 "The Stars Move Still, Time Runs"
- 1319 "See, Where Christ's Blood Streams in the Firmament"
- 1320 The Clock as Structure
- 1321 Hamlet Against Faustus
- 1322 The Aside
- 1323 How an Aside Is Marked
- 1324 Sheridan's Servant
- 1325 "Halters and Bastinadoes"
- 1326 "Has His Distresses, I Warrant, Like a Lord"
- 1327 The Aside as a Running Commentary
- 1328 Why Asides Tend Comic
- 1329 The Serious Aside
- 1330 Stagecraft
- 1331 Concealment as a Device
- 1332 Properties
- 1333 Hamlet's Sword
- 1334 The Play Within a Play
- 1335 Why It Is Examined
- 1336 Disguise and Mistaken Identity
- 1337 Who a Speech Is Aimed At
- 1338 Prologue and Epilogue
- 1339 What the Exam Asks Here
- 1340 Trap: Treating a Soliloquy as Unreliable
- 1341 Trap: Ignoring the Stage Directions
- 1342 Trap: Aside Read as Dialogue
- 1343 Trap: The Famous Passage
- 1344 A Procedure for a Speech
- 1345 What the Glossary Left Out Here
- 1346 What the Anchor Gave Instead
- 1347 What to Carry Forward
- 1348 Three Playwrights, Three Centuries
- 1349 The Drama Band Complete
- 1350 What the Next Unit Does
Unit 15: Shakespeare as an Exam Problem 50 lessons, 2 lecture parts
- 1401 Why One Writer Gets a Unit
- 1402 What the Calibration Set Shows
- 1403 The Three Things You Are Likely to Be Given
- 1404 Meeting a Sonnet
- 1405 What the Sonnets Concern
- 1406 The Person Addressed
- 1407 Sonnet Twenty-Nine as an Exam Passage
- 1408 Sonnet Seventy-Three as an Exam Passage
- 1409 Sonnet Forty-Four
- 1410 Why a Sonnet Supports Four Questions
- 1411 Meeting a Speech From a Play
- 1412 Blank Verse and Its Breaks
- 1413 When His Characters Speak Prose
- 1414 Meeting an Exchange
- 1415 "I Am Not What I Am"
- 1416 Three Layers in Six Words
- 1417 "Conceal Me What I Am"
- 1418 "If Music Be the Food of Love"
- 1419 The Famous Line in Its Sentence
- 1420 What Makes Him Hard
- 1421 His Syntax
- 1422 His Vocabulary
- 1423 His Figures
- 1424 His Theatre
- 1425 One Writer, Two Forms
- 1426 What You Will Not Be Asked
- 1427 What That Permits You to Skip
- 1428 How to Practise
- 1429 Editions Differ
- 1430 A Direction the Editor Added
- 1431 Why Apparatus Must Be Marked
- 1432 Numbers, Brackets and Footnote Marks
- 1433 The Anchor's Shakespeare Guides
- 1434 Trap: The Remembered Meaning
- 1435 Trap: Assuming a Volta
- 1436 Trap: The Modern Sense
- 1437 Trap: Reading a Character as the Author
- 1438 Trap: The Renaissance Band as Biography
- 1439 Working Him Under Time Pressure
- 1440 When a Passage Will Not Open
- 1441 Which Bands He Answers
- 1442 The Renaissance Beyond Him
- 1443 What to Carry Forward
- 1444 The Craft Units Complete
- 1445 What This Course Has Not Asked You to Memorise
- 1446 What Orientation Units Are For
- 1447 Why Orientation Comes Last
- 1448 How Much Period Knowledge Is Enough
- 1449 The Shape of What Remains
- 1450 What the Next Unit Does
Unit 16: Classical and Pre-Renaissance Orientation 40 lessons, 2 lecture parts
- 1501 The Smallest Band
- 1502 What Orientation Is For
- 1503 The Translation Problem
- 1504 Epic, as the Anchor Defines It
- 1505 The Epic Hero
- 1506 The Invocation
- 1507 "Achilles' Wrath"
- 1508 Beginning in the Middle
- 1509 The Epithet
- 1510 Pope's Couplets
- 1511 Whose Form Is It
- 1512 What the Exam Will Print
- 1513 Sophocles and Greek Tragedy
- 1514 What a Greek Play Looks Like
- 1515 The Messenger's Speech
- 1516 Beowulf and Old English
- 1517 Alliterative Verse
- 1518 Hall's Line
- 1519 The Kenning
- 1520 The Braces in the Beowulf Text
- 1521 Chaucer and Middle English
- 1522 "When That Aprilis, With His Showers Swoot"
- 1523 "Then Longe Folk to Go on Pilgrimages"
- 1524 The Starred Words
- 1525 What the Exam Does With Middle English
- 1526 The Frame of the Tales
- 1527 Teller and Tale
- 1528 Allegory, as the Anchor Defines It
- 1529 Fable and Archetype
- 1530 The Limits of Archetype
- 1531 What a Passage From This Band Looks Like
- 1532 What the Exam Would Ask
- 1533 Trap: Crediting the Translator to the Author
- 1534 Trap: Reading the Glosses as Text
- 1535 Trap: Assuming Difficulty
- 1536 Trap: The Epic Label
- 1537 What the Glossary Left Out Here
- 1538 What the Anchor Gave Here
- 1539 Where the Translation Question Returns
- 1540 What the Next Unit Does
Unit 17: Renaissance and Seventeenth Century Orientation 60 lessons, 2 lecture parts
- 1601 The Second-Heaviest Band
- 1602 You Have Been Here Since Unit Two
- 1603 What the Period Was
- 1604 Classical Reference as Ordinary
- 1605 Religion as Common Ground
- 1606 The Sonnet Sequence
- 1607 The Petrarchan Convention
- 1608 Working Against the Convention
- 1609 Expect an Argument, Not a Sigh
- 1610 The Metaphysical Manner
- 1611 Donne's Yoked Vehicles
- 1612 Donne Begins Mid-Argument
- 1613 Verse Drama
- 1614 The English Epic
- 1615 "Of Man's First Disobedience"
- 1616 "Sing, Heavenly Muse"
- 1617 An Invocation, on the Greek Pattern
- 1618 "Things Unattempted Yet in Prose or Rhyme"
- 1619 Milton's Sentence
- 1620 Latinate Word Order
- 1621 The Renaissance Theatre
- 1622 Setting Established by Speech
- 1623 Boys in Women's Parts
- 1624 Marlowe and the Overreacher
- 1625 Damnation as a Literal Stake
- 1626 Shakespeare Across the Band
- 1627 What the Language Looks Like
- 1628 The Shifted Senses Concentrate Here
- 1629 Spelling and Capitalisation
- 1630 What to Expect From a Passage
- 1631 What the Exam Asks of This Band
- 1632 The Board's Own Renaissance Item
- 1633 A Procedure for a Renaissance Passage
- 1634 Trap: Reading Devotion Into Diction
- 1635 Trap: The Conceit Read as Decoration
- 1636 Trap: The Modern Sense Again
- 1637 Trap: Expecting Every Sonnet to Turn
- 1638 Trap: Milton Read at Speed
- 1639 What You Do Not Need
- 1640 What Is Worth Holding
- 1641 Why the Sonnet Recurs
- 1642 The Dramatic Extract
- 1643 Renaissance Prose
- 1644 The Seventeenth Century's Later Half
- 1645 Where This Band Stops
- 1646 From Blank Verse to the Couplet
- 1647 Form as a Period Marker, Held Lightly
- 1648 What the Glossary Left Out Here
- 1649 The Anchor's Strength in This Band
- 1650 The Age Is Not One Thing
- 1651 On Meeting an Unplaceable Old Passage
- 1652 When the Markers Are Absent
- 1653 Four Writers, One Age
- 1654 What to Carry Forward
- 1655 What Carries Into the Next Band
- 1656 Where the Orientation Units Are Going
- 1657 Why the Weightings Shape Preparation
- 1658 What Stays Live From This Band
- 1659 Orientation Is Not Knowledge
- 1660 What the Next Unit Does
Unit 18: The Eighteenth and Nineteenth Centuries 70 lessons, 2 lecture parts
- 1701 The Heaviest Band, Tied
- 1702 Two Centuries, Two Tastes
- 1703 The Age of the Couplet
- 1704 Why the Couplet Suited the Age
- 1705 "A Little Learning Is a Dangerous Thing"
- 1706 "Shallow Draughts Intoxicate the Brain"
- 1707 "True Wit Is Nature to Advantage Dress'd"
- 1708 Expression Over Discovery
- 1709 The Century's Prose Manner
- 1710 Satire as the Century's Weapon
- 1711 Why Satire Suited It
- 1712 Swift Inside the Century
- 1713 The Comedy of Manners
- 1714 The Romantic Break
- 1715 The Advertisement of Seventeen Ninety-Eight
- 1716 "To Be Considered as Experiments"
- 1717 "Gaudiness and Inane Phraseology"
- 1718 "Pre-Established Codes of Decision"
- 1719 Pope Against the Advertisement
- 1720 Feeling, Nature, the Individual
- 1721 Blake's Plainness
- 1722 Keats and the Senses
- 1723 Romantic Forms
- 1724 Why the Ballad Returned
- 1725 The Rime in Lyrical Ballads
- 1726 The Century's Second Half
- 1727 Tennyson's Public Voice
- 1728 "To Strive, to Seek, to Find, and Not to Yield"
- 1729 Concession Before Assertion
- 1730 The Century of the Novel
- 1731 Austen Between the Halves
- 1732 Manner Beats Date
- 1733 Dickens and the Victorian Novel
- 1734 Written in Instalments
- 1735 Brontë and the First Person
- 1736 What Both Halves Share
- 1737 What a Passage From This Band Looks Like
- 1738 Word Senses in This Band
- 1739 Syntax in This Band
- 1740 What the Exam Asks of This Band
- 1741 The Board's Own Items From Here
- 1742 The Apostrophe to Vanity
- 1743 Paraphrase, Referent, Tone Shift
- 1744 A Procedure for This Band
- 1745 Trap: Reading Satire as Sincerity
- 1746 Trap: Reading Romanticism as Formlessness
- 1747 Trap: The Author's Politics
- 1748 Trap: Dating by Subject
- 1749 Trap: The Famous Line
- 1750 What This Band Hands Forward
- 1751 Where the Next Band Departs
- 1752 Reading the Band for Practice
- 1753 What the Anchor Carries Here
- 1754 Pope Comes From the Witness
- 1755 What the Glossary Left Out Here
- 1756 Two Documents, One Band
- 1757 Prefer the Period's Own Words
- 1758 What This Unit Does Not Settle
- 1759 Expect Prose From Here
- 1760 And Nonfiction Too
- 1761 And the Poetry
- 1762 And the Drama
- 1763 All Three Genres, One Band
- 1764 What to Carry Forward
- 1765 Where the Band Ends
- 1766 Band Boundaries Are Not Walls
- 1767 What the Overlap Means
- 1768 What Remains in the Course
- 1769 The Constraint Ahead
- 1770 What the Next Unit Does
Unit 19: The Twentieth and Twenty-First Centuries 70 lessons, 2 lecture parts
- 1801 The Other Heaviest Band
- 1802 The Break With Form
- 1803 When Measurement Stops Helping
- 1804 What Organises an Open Poem
- 1805 Yeats Across the Boundary
- 1806 "I Will Arise and Go Now"
- 1807 The Poem's Measurements
- 1808 The Short Fourth Line
- 1809 "The Deep Heart's Core"
- 1810 "Had I the Heavens' Embroidered Cloths"
- 1811 "But I, Being Poor, Have Only My Dreams"
- 1812 The Repeated Words
- 1813 Plainness as a Modern Manner
- 1814 Free Verse Becomes Normal
- 1815 Hughes and the Line Break
- 1816 Closed Forms Did Not Die
- 1817 Form Dates Nothing Here
- 1818 Modernist Prose
- 1819 Joyce and the Close Third Person
- 1820 "Once Upon a Time and a Very Good Time It Was"
- 1821 Style Matching Consciousness
- 1822 A Style That Grows Up
- 1823 Epiphany
- 1824 The Harlem Renaissance
- 1825 McKay's "From Street to Street"
- 1826 A Traditional Form, Deliberately
- 1827 The First World War
- 1828 Against the Consoling Manner
- 1829 Reading a War Poem
- 1830 Drama in This Band
- 1831 Wilde and Shaw
- 1832 What Those Chapters Contain
- 1833 What the Study Guides Do Carry
- 1834 The Inverted Proverb
- 1835 Paradox and Epigram
- 1836 The Problem Play
- 1837 Irish Writing in This Band
- 1838 American Writing in This Band
- 1839 Where the Quotable Material Stops
- 1840 Why the Limit Is Kept
- 1841 Named and Not Quoted
- 1842 What to Expect From a Passage
- 1843 The Lost Common Ground
- 1844 Word Senses in This Band
- 1845 Syntax in This Band
- 1846 What the Exam Asks of This Band
- 1847 A Procedure for a Modern Passage
- 1848 Trap: Free Verse Read as Artless
- 1849 Trap: Simple Language Read as Simple Meaning
- 1850 Trap: Assuming the Modern Is Familiar
- 1851 Trap: Biography for Irish Writers
- 1852 Trap: The Movement Label
- 1853 Continuity With the Previous Band
- 1854 Where They Genuinely Differ
- 1855 The Band's Later End
- 1856 Whether the Gap Costs Anything
- 1857 What the Anchor Gave This Band
- 1858 Checking What a Source Contains
- 1859 What the Check Corrected
- 1860 What to Carry Forward
- 1861 The Period Bands Complete
- 1862 What the Tradition Bands Are
- 1863 Why Tradition Comes Last
- 1864 The Constraint on the Next Unit
- 1865 Whether That Approach Holds
- 1866 What the Approach Cannot Do
- 1867 What This Band Will Supply
- 1868 Practising This Band
- 1869 What the Orientation Units Did
- 1870 What the Next Unit Does
Unit 20: British, Postcolonial, and Works in Translation 50 lessons, 2 lecture parts
- 1901 Bands That Cut Across
- 1902 Why the Percentages Exceed a Hundred
- 1903 Works in Translation
- 1904 The Translator's Choices Are the Translator's
- 1905 Pope's Homer, Revisited
- 1906 Dante's Opening in Longfellow's English
- 1907 Terza Rima Without the Rhyme
- 1908 What That Choice Costs and Buys
- 1909 "All Hope Abandon, Ye Who Enter In"
- 1910 Tagore Translating Himself
- 1911 Verse Rendered as Prose
- 1912 What Survives the Change of Form
- 1913 Three Translators, Three Decisions
- 1914 Ibsen in English
- 1915 "I Must Stand Quite Alone"
- 1916 A Play That Argues
- 1917 Chekhov in Translation
- 1918 Reading a Translated Play
- 1919 What the Exam Asks of Translation
- 1920 British and Postcolonial
- 1921 What the Band Holds
- 1922 The Licensing Problem
- 1923 Decision D8
- 1924 Why the Constraint Is Disclosed
- 1925 Equiano, Revisited
- 1926 Mary Prince
- 1927 "I Have Been a Slave Myself"
- 1928 Testimony, Read as Testimony
- 1929 McKay and the Caribbean Strand
- 1930 Tagore and the Indian Strand
- 1931 Ireland in This Band
- 1932 The Strand That Can Be Quoted
- 1933 Conrad as an Empire Text
- 1934 The Responses to Conrad
- 1935 What Conrad's Own Frame Invites
- 1936 Jane Eyre and Its Answer
- 1937 Writing Back
- 1938 What the Exam Asks of This Band
- 1939 Why the Constraint Costs Less Than It Seems
- 1940 The American Band
- 1941 What the American Band Holds
- 1942 McKay in Two Bands
- 1943 Band Labels Are Not Questions
- 1944 A Procedure for a Translated Passage
- 1945 Trap: Crediting the Translator's Form
- 1946 Trap: Reading Testimony as Literary Effect
- 1947 Trap: The Movement or Theory Label
- 1948 What This Unit Supplied
- 1949 What Remains of the Course
- 1950 What the Next Unit Does
Unit 21: Capstone: Running the Procedure Cold 40 lessons, 2 lecture parts
- 2001 What This Unit Does
- 2002 What the Sample Set Is and Is Not
- 2003 The Procedure, Assembled
- 2004 Passage One: Sir Peter's Complaint
- 2005 Question One: Device Identification
- 2006 One Question, Five Terms, One Defined
- 2007 Why Seventy Terms Were Supplied
- 2008 Working Question One
- 2009 Why "Stock Attitudes" Is the Trap
- 2010 Question Two: Literal Comprehension
- 2011 The Question Type That Underlies All Others
- 2012 Question Three: Word in Context
- 2013 The Adjective Settles It
- 2014 Three Questions, Three Units
- 2015 Passage Two: The Apostrophe to Vanity
- 2016 Question Four: Paraphrase
- 2017 Comparing an Option Word by Word
- 2018 Question Five: Referent Tracking
- 2019 Recognising a Form Answers a Question
- 2020 Question Six: Tone Shift
- 2021 Locating the Hinge
- 2022 Playful and Humorous in the Lexicon
- 2023 A Prose Passage, Three Question Types
- 2024 Passage Three: Sonnet Forty-Four
- 2025 What the Sonnet Says
- 2026 Question Seven: Inference
- 2027 Supported, and No Further
- 2028 Question Eight: Restatement
- 2029 A Grammar Question in Literary Clothing
- 2030 The Conditional and the Subjunctive
- 2031 Question Nine: Further Inference
- 2032 How Far an Inference May Travel
- 2033 Question Ten: Speaker's State
- 2034 Testing a Paired Option
- 2035 Four Questions, Four Units
- 2036 Did the Method Answer Them
- 2037 Where the Method Was Tightest
- 2038 What Ten Questions Cannot Settle
- 2039 What This Course Recorded Against Itself
- 2040 What You Have
Who this subject is for
- Students preparing for the CLEP Analyzing and Interpreting Literature exam
- English and humanities students
- Education majors
- Adult learners finishing a degree
- Homeschool students
- Anyone who wants to read poetry, drama and fiction more closely
Why Analyzing and Interpreting Literature matters
Close reading is a skill every humanities course assumes you already have. It prepares you for:
- Literature courses of any period
- Composition and argument
- Literary criticism
- Teaching reading and writing
Time to complete
- of lessons (1,090, measured)
- 7 h
- of lectures (42)
- 18.1 h
- learning hours on the certificate, with quizzes and the final
- 33 h
Times are measured from the recordings and the exam time limits. Go at your own pace; nothing expires.

AI Foundations Pathway
Five micro-certificates (AI Literacy, Data Literacy, Critical Thinking, Cybersecurity Essentials and STEM Foundations) plus the Full Certificate in Computer Science. Hold all six and claim the pathway certificate, the badge and a verification number.
Explore the AI Foundations Pathway →This is free, and stays free. If it helped, here is what keeps it running.