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978-1-107-64496-0 – Cambridge International AS and A Level Literature in English
Elizabeth Whittome
Index
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Cambridge International AS and A Level Literature in English
Index
4000 Miles (Amy Herzog) 114–15, 118
274
Absurd Person Singular (Alan Ayckbourn) 84,
91, 96, 102, 106, 107, 110
Achebe, Chinua: Things Fall Apart 79–81
action 97–100, 105–7, 119–20, 122, 125, 233,
242
acts 93
Adichie, Chimamanda: Americanah 51, 52,
62, 67–8, 69, 71, 267–8; Half of a Yellow Sun
51, 64, 72, 81–2
Adiga, Aravind: The White Tiger 53–4, 61,
75–6, 78
After Midnight (Amit Chaudhuri) 8
After the Revolution (Amy Herzog) 87, 89, 91,
97–9, 118, 120
The Age of Innocence (Edith Wharton) 252
Aidoo, Ama Ata: Anowa 89, 108; The
Dilemma of a Ghost 86, 87, 89
Albee, Edward: Who’s Afraid of Virginia
Woolf? 86, 108
The Alchemist (Ben Jonson) 96, 108
Alexandrine 24
alienation effect 84
alliteration 37
allusion 167
alter ego 78
ambiguity 62
Americanah (Chimamanda Adichie) 51, 52,
62, 67–8, 69, 71, 267–8
Amor Mundi (Christina Rossetti) 137, 138
An Englishman’s Home (Evelyn Waugh) 55,
57, 65
analepsis 217
analysis 270–1
Anam, Tahmima: The Courthouse 192–4
anapest 23
anaphora 7
Anowa (Ama Ata Aidoo) 89, 108
Anthem for Doomed Youth (Wilfred Owen) 34
anthologies 40, 41
anticlimax 7
antithesis 7, 14
Antony and Cleopatra (William Shakespeare)
87, 89
appearance 92
An Arundel Tomb (Philip Larkin) 34, 36, 260
As You Like It (William Shakespeare) 90, 110,
116–17
assonance 37, 38
atmosphere 193, 202
Atwood, Margaret: Cat’s Eye 68, 69
Auden, W. H.: Musée des Beaux Arts 10
audience response 120, 122, 125
Augustanism 156
Austen, Jane 189; Emma 50, 64, 68, 69–70,
72, 176–80, 269–70; Northanger Abbey 52;
Sense and Sensibility 72
Ayckbourn, Alan: Absurd Person Singular
84, 91, 96, 102, 106, 107, 110; The Norman
Conquests 85, 97
back stories 52
background 51–4, 64
bathos 7
© in this web service Cambridge University Press
Beckett, Samuel: Waiting for Godot 84, 93, 246
bed trick 92
Betrayal (Harold Pinter) 97
Bible, the 147, 151, 153, 154
Blake, William: Infant Sorrow 4–5: A Poison
Tree 33: Songs of Innocence and Experience
4–5
blank verse 24, 111–12
Bleak House (Charles Dickens) 49, 52, 63–4
The Boat (Nam Le) 202–5
Bolt, Robert: A Man for All Seasons 87, 89, 91,
96, 108, 109, 123–5
Brecht, Bertolt 84
Brideshead Revisited (Evelyn Waugh) 52
The Bridge of Sighs (Thomas Hood) 23, 24
Bright Star (John Keats) 135
Brontë, Charlotte: Jane Eyre 67, 68, 72
Brontë, Emily: Wuthering Heights 47, 52, 62,
64, 70
Browning, Robert 15
Byron, Lord: The Destruction of Sennacherib
23, 24, 31
caesura 17–18
Candida (George Bernard Shaw) 103
The Canterbury Tales (Geoff rey Chaucer)
146–52
caricatures 66
Cat’s Eye (Margaret Atwood) 68, 69
character 64, 173–4, 178–80, 182, 186; and
plays 84, 96, 97, 104–10
characterisation 66–72, 104, 119, 122, 125,
205; and plays 218, 223, 233–4, 236, 239,
242
Chaucer, Geoff rey: The Canterbury Tales
146–52
Chaudhuri, Amit: After Midnight 8
Chitre, Dilip: The First Breakfast: Objects 30
chorus figures 108
A Christmas Carol (Christina Rossetti) 142,
143
chronological arrangement 60
Churchill, Caryl: Serious Money 103, 111,
112–13, 117; Top Girls 87, 88, 91, 92, 97, 103,
109, 110, 114, 213–15
climax 7
Coetzee, J. M.: Disgrace 49, 195–6; Life and
Times of Michael K 53
Coleridge, Samuel Taylor: Metrical Feet – a
lesson for a boy 23; The Rime of the Ancient
Mariner 33
The Collector (John Fowles) 62
colonial society 52
comedy 92, 100, 108, 116, 237
The Comedy of Errors (William Shakespeare)
89, 92, 113
comedy of manners 117
coming-of-age novels 51, 64
comparisons 162–70, 256
complex narrative 63–4
conceit 154
concrete poems 16
concrete prose 52–3
conflict 109
Congreve, William: The Way of the World 87
connections 63–4
Conrad, Joseph: The Secret Agent 62–3
consonance 37, 38
The Contest (Annie Proulx) 52
context 119, 121, 124
contrast 7, 72, 102–2, 110
The Country Wife (William Wycherley) 87,
117
coursework 257–8, 267
The Courthouse (Tahmima Anam) 192–4
critical essays 250–2
critics 259–61, 267
The Crucible (Arthur Miller) 91, 96
cummings, e e: Collected Poems 16
dactyl 23, 24, 25
Dancing at Lughnasa (Brian Friel) 96, 108
Death and the King’s Horseman (Wole
Soyinka) 87, 88, 97, 108, 112, 240–3
Death of a Salesman (Arthur Miller) 11, 86,
91, 96, 102, 103, 116, 227–30; and character
104, 105, 106–7, 110; and family 89, 90
denouement 93, 100
Desai, Anita: In Custody 202–5; Games at
Twilight 65
description 67–72, 270–2
Despised and Rejected (Christina Rossetti)
137, 139–40
The Destruction of Sennacherib (Lord Byron)
23, 24, 31
dialectical form 138
dialogue 74, 113–14, 178, 182, 205, 246
Dickens, Charles 66; Bleak House 49, 52,
63–4; Dombey and Son 74, 76–7, 205–9;
Great Expectations 55–6, 57–8, 64, 70, 74,
78, 190–1; Hard Times 54
Dickinson, Emily 10; I like to see it lap the
Miles 205–9
diction 9
The Dilemma of a Ghost (Ama Ata Aidoo) 86,
87, 89
dimeter 24
direct speech 49–50, 74
discourse markers 251
Disgrace (J. M. Coetzee) 49, 195–6
distancing effect 84
Dockery and Son (Philip Larkin) 162
Dombey and Son (Charles Dickens) 74, 76–7,
205–9
domestic drama 86
Donne, John 15; Holy Sonnet 153–4
drama 83–5; and accepted forms 85–7; and
character 104–10, 119, 122, 125; and essays
210–15, 268–9; and language 111–18, 120,
122, 125; and passage questions 216–30, 254;
and structure 93–103; and themes 88–92;
and unseens 231–48, 255, 272
Dubliners (James Joyce) 50
Duff y, Carol Ann: Grief 162–3, 164–5
duration of events 62–3
dystopian fiction 197, 214
ear-rhyme 35
Elegy Written in a Country Churchyard
(Thomas Gray) 23, 24
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ersity Press
Index
Part 1 Unit 1: Reading
Eliot, George: Middlemarch 64, 71; The Mill
on the Floss 52, 71, 180–4, 188–9
Eliot, T. S.: Murder in the Cathedral 108, 111;
The Waste Land 9
Emma (Jane Austen) 50, 64, 68, 69–70, 72,
176–80, 269–70
Empson, William: Villanelle 162–3, 164, 165
The Empty Song (Liz Lochhead) 166–7
end-stopped lines 17–18, 31
The Enemies (Elizabeth Jennings) 37
enjambment 17, 29, 30–1
epiphany 186
Epistle to Mrs Teresa Blount (Alexander Pope)
154–6
Epitaph on an Army of Mercenaries (A. E.
Housman) 34
An Essay on Criticism (Alexander Pope) 24
essays: critical 250–2; and drama 119–27,
210–15, 268–9; longer 257–8, 267; and
prose 79–82, 171–5, 269–70; and structure
266, 267–8; and terminology 262–4
Esther’s Tomcat (Ted Hughes) 41–3
The Eve of St Agnes (John Keats) 61, 130–1,
156, 167
Everyone Sang (Siegfried Sassoon) 17–18, 25
exposition 93, 94–7
Exposure (Wilfred Owen) 7
extended metaphor 6, 20, 165
eye-rhyme 35, 36
family drama 88–9, 230
farce 92
Farquhar, George: The Recruiting Officer 247,
248
Faulkner, William: Go Down Moses 65; The
Sound and the Fury 47
feminine rhyme 35
feminism 214–15
fighting talk 96–7
fi lm 66, 178, 259–60
The First Breakfast: Objects (Dilip Chitre)
30, 31
first-person narrative 47, 48–9, 50, 165, 191
A Fistful of Colours (Suchen Christine Lim) 52
Fitzgerald, F. Scott: The Great Gatsby 48–9, 70
flat characters 66
Flecker, James Elroy: The Old Ships 37
focalization 49, 196
foot 22, 23–5
foreshadowing 97, 217
fourth wall 240
Fowles, John: The Collector 62 The French
Lieutenant’s Woman 51
frame device 61
free indirect speech 50
free verse 29–31, 157
frequency of events 62
Friel, Brian: Dancing at Lughnasa 96, 108
Fugard, Athol: My Children! My Africa! 87,
89, 91, 92, 97, 104, 115; The Road to Mecca
96, 100, 103
Fugitives (Alfian Sa’at) 118
Galsworthy, John: Strife 237–40
Games at Twilight (Anita Desai) 65
Gaskell, Elizabeth: North and South 48–9, 52
gender debates 90–1
The Germ (Ogden Nash) 32
The Glass Menagerie (Tennessee Williams)
96, 103, 104, 109, 110
Go Down Moses (William Faulkner) 65
The God of Small Things (Arundhati Roy) 56,
58, 261
Good Friday (Christina Rossetti) 142, 143
A Grain of Wheat (Ngũgĩ wa Thiong’o) 62,
75, 77–8
Gray, Thomas: Elegy Written in a Country
Churchyard 23, 24
Great Expectations (Charles Dickens) 55–6,
57–8, 64, 70, 74, 78, 190–1
The Great Gatsby (F. Scott Fitzgerald) 48–9, 70
Grief (Carol Ann Duff y) 162–3, 164–5
Jennings, Elizabeth: The Enemies 37
Jonson, Ben: The Alchemist 96, 108; Volpone
108
Joyce, James 52, 186; Dubliners 50; A Portrait
of an Artist as a Young Man 56–7, 59
Julius Caesar (William Shakespeare) 92
juxtaposition 7, 89, 103
Keats, John 15, 129–36, 140; La Belle Dame
Sans Merci 272–3; The Eve of St Agnes 61,
130, 131, 156, 167; Ode on Melancholy 130,
131; Ode to a Nightingale 130, 131, 252; Ode
to Autumn 132, 133; On First Looking into
Chapman’s Homer 132
kinetic sense 3
King Lear (William Shakespeare) 88, 91, 92,
109, 110, 231–4, 268–9; and character 84;
and imagery 102; and symbol 103
The Knight’s Tale (Geoff rey Chaucer) 147
Kundera, Milan: The Unbearable Lightness of
Being 61
haiku 28–9
Half of a Yellow Sun (Chimamanda Adichie)
51, 64, 72, 81–2
half-rhyme 36–7
Hamlet (William Shakespeare) 88, 89, 102,
110, 112, 117, 210–12
Hard Times (Charles Dickens) 54
Hardy, Thomas: The Return of the Native
171–3; Tess of the d’Urbervilles 70; The
Voice 9
headings 40–1
The Lady of Shallot (Alfred Lord Tennyson)
Heartsongs (Annie Proulx) 198–202
22, 24
hemistichomythia 113
Lahiri, Jhumpa: The Namesake 57, 59, 71; The
Her First Ball (Katherine Mansfield) 184–7
Third and Final Continent 65, 76, 78–9
Herrick, Robert: Upon His Departure Hence 24
Lamia (John Keats) 156
Herzog, Amy: 4000 Miles 114–15, 118; After
language 205, 207; and drama 111–18, 120,
the Revolution 87, 89, 91, 97–9, 118, 120
122, 125, 224, 242, 243
hexameter 24
Larkin, Philip 15, 143–6, 162; An Arundel
historical plays 87, 91
Tomb 34, 36, 260
Holy Sonnet (John Donne) 153–4
Last To Go (Harold Pinter) 243–6
Home is so Sad (Philip Larkin) 143–5
Lawrence, D. H.: Mountain Lion 29, 30–1
The Homecoming (Harold Pinter) 271–2
Lessing, Doris: Martha Quest 56, 58, 64, 71
Homesick (Alfian Sa’at) 89
The Letter (Miriam Lo) 156–8
Hood, Thomas: The Bridge of Sighs 23, 24
Life and Times of Michael K (J. M. Coetzee) 53
Hopkins, Gerard Manley: Pied Beauty 11
Lights Out (Edward Thomas) 33
A House for Mr Biswas (V. S. Naipaul) 63
Lim, Suchen Christine: A Fistful of Colours 52
The House of Mirth (Edith Wharton) 68, 70
line length 18, 19
Housman, A. E.: Epitaph on an Army of
linear structure 93
Mercenaries 34
litotes 7
Hughes, Ted: Esther’s Tomcat 41–3; The
Lo, Miriam: The Letter 156–8
Jaguar 42–3; Relic 168, 169–70; Thistles 7–8
Lochhead, Liz: The Empty Song 166–7
www.cambridge.org
hyperbole 7
The Lotos-Eaters (Alfred Lord Tennyson) 39
love 89–90
I like to see it lap the Miles (Emily Dickinson)
205–9
Macbeth (William Shakespeare) 88, 91–2, 105,
iambic pentameter 24, 26, 29, 111–12
109, 111, 115, 126–7; and exposition 95, 96;
iambus 23, 24, 25
and imagery 101, 102
ideas 87
A Man for All Seasons (Robert Bolt) 87, 89, 91,
identification 110
96, 108, 109, 123–5
idioms 118
managing material 257–8
imagery 6, 7–8, 19, 101–2, 157, 207
Mansfield, Katherine: Her First Ball 184–7;
The Wind Blows 15–16
Imagists 3
Mariana (Alfred Lord Tennyson) 12–13
The Importance of Being Earnest (Oscar
Martha Quest (Doris Lessing) 56, 58, 64, 71
Wilde) 87, 116
masculine rhyme 35
In a Station of the Metro (Ezra Pound) 3, 5, 37
material handling 266, 268–73
In Custody (Anita Desai) 202–5
Measure for Measure (William Shakespeare)
incremental repetition 164
88, 92, 110, 216–19, 221–4, 260
indirect speech 49–50
memory plays 96
Infant Sorrow (William Blake) 4–5
The Merchant of Venice (William
inter-textuality 167, 248
Shakespeare) 89
internal rhyme 32, 33
metafiction 51, 212
inversions 10, 19
metaphors 6, 8, 53–4
An Irish Airman Foresees His Death (W. B.
Metaphors (Sylvia Plath) 28
Yeats) 13–14
Meteor (John Wyndham) 65
irony 7, 62, 103, 179, 234
metonymy 151
Ishiguro, Kazuo: Never Let Me Go 196–8
metre 22–5, 32
Metrical Feet – a lesson for a boy (Samuel
The Jaguar (Ted Hughes) 42–3
Taylor Coleridge) 23
Jane Eyre (Charlotte Brontë) 67, 68, 72
275
Cambridge International AS and A Level Literature in English
276
Middlemarch (George Eliot) 64, 71
A Midsummer Night’s Dream (William
Shakespeare) 89, 90, 95, 100, 109, 120–2,
237; and form 86; and imagery 101, 102
Midsummer (XVII and XXVI) (Derek
Walcott) 28
The Mill on the Floss (George Eliot) 52, 71,
180–4, 188–9
Miller, Arthur: The Crucible 91, 96; Death of
a Salesman 11, 86, 89, 90, 91, 96, 102, 103,
104, 105, 106–7, 110, 116, 227–30; A View
from the Bridge 97, 99–100, 109
Milton, John 146; Paradise Lost 257
Miners (Wilfred Owen) 38, 44–5
mirroring 91
mistaken identity 92
Mistry, Rohinton: Of White Hairs and Cricket
56, 58–9
mixed narrative 49–50
monometer 24
motif 71
motivation 108–9
Mountain Lion (D. H. Lawrence) 29, 30–1
The Moving Finger (Edith Wharton) 52
Mr Bleaney (Philip Larkin) 144–5
Mrs Dalloway (Virginia Woolf) 173–5
Mrs Warren’s Profession (George Bernard
Shaw) 87
Much Ado About Nothing (William
Shakespeare) 88, 90, 109, 111
Murder in the Cathedral (T. S. Eliot) 108, 111
Musée des Beaux Arts (W. H. Auden) 10
My Children! My Africa! (Athol Fugard) 87,
89, 91, 92, 97, 104, 115
Naipaul, V. S.: A House for Mr Biswas 63
Nam Le: The Boat 202–5
The Namesake (Jhumpa Lahiri) 57, 59, 71
narrative 46–50, 63–4, 201–2, 205
narrators 47–9, 183, 186
Nash, Ogden: The Germ 32
neologisms 9
Never Let Me Go (Kazuo Ishiguro) 196–8
ersity Press Ngũgĩ wa Thiong’o: A Grain of Wheat 62, 75,
77–8
non-chronological arrangement 61–2
The Norman Conquests (Alan Ayckbourn)
85, 97
North and South (Elizabeth Gaskell) 48–9, 52
Northanger Abbey (Jane Austen) 52
novels: and characterisation 66–72; and
narrative 46–50; and opening paragraphs
55–9; and structure 60–5; and themes 51–4
nursery rhymes 32
O’Brien, Flann: The Third Policeman 61–2
Ode on a Grecian Urn (John Keats) 135, 136
Ode on Melancholy (John Keats) 130, 131, 135
Ode to a Nightingale (John Keats) 130, 131,
133, 134, 135, 252
Ode to Autumn (John Keats) 132, 133
Oedipus Rex (Sophocles) 96, 108
Of White Hairs and Cricket (Rohinton
Mistry) 56, 58–9
The Old Ships (James Elroy Flecker) 37
omission of words 9–10, 11
omniscient narrators 47–8
On First Looking into Chapman’s Homer
(John Keats) 132
one-dimensional characters 66
Ong Teong Hean: The Tai-chi Man 3, 37
onomatopoeia 37, 38
open lines 17
originality 94
Othello (William Shakespeare) 90, 103, 108,
219–21, 224–7, 260; and words 105, 109
Our Country’s Good (Timberlake
Wertenbaker) 246–8
Owen, Wilfred: Anthem for Doomed Youth
34; Exposure 7; Miners 38, 44–5; Strange
Meeting 36
oxymoron 7, 220
reality 92
The Recruiting Officer (George Farquhar) 247,
248
register 179
Relic (Ted Hughes) 168, 169
reminders 250–1
repetition 7, 11, 12–13, 29, 31
resolution 100
Restoration drama 85, 87, 90, 92, 108, 117, 248
The Return of the Native (Thomas Hardy) 171–3
rhyme 32–7, 112, 158
rhythm 73–4
Richard III (William Shakespeare) 95, 97, 101,
102, 105, 109, 110, 115
The Rime of the Ancient Mariner (Samuel
Taylor Coleridge) 33
The Rivals (Richard Brinsley Sheridan) 117,
235–7
The Road to Mecca (Athol Fugard) 96, 100, 103
Romeo and Juliet (William Shakespeare)
61, 96, 97, 102–3, 111–12, 114, 260; and
imagery 89, 101, 104
The Room (Harold Pinter) 252
Rossetti, Christina 15, 137–43; Amor Mundi
137; A Christmas Carol 143; Despised and
Rejected 137; Good Friday 143; Up-hill 141
rounded characters 66
Roy, Arundhati: The God of Small Things 56,
58, 261
paradox 7, 134
parallelism 7, 12–14, 29, 30, 31, 72
parallels 102–3, 110
paraphrasing 270, 271–2
pararhyme 36–7
The Pardoner (Geoff rey Chaucer) 147, 150–2
passage questions 176–87, 216–30, 253–4
pathetic fallacy 77–8
pauses 29, 31
pentameter 24, 26
persona 47, 159–61
personification 6, 7, 19
persuasion 109
Petrarchan sonnets 18, 19, 153
phatic communication 246
Pied Beauty (Gerard Manley Hopkins) 11
Pinter, Harold 261; Betrayal 97; The
Homecoming 271–2; Last To Go 243–6;
The Room 252
Sa’at, Alfian: Fugitives 118; Homesick 89
plagiarism 259
sarcasm 7
Plath, Sylvia 15; Metaphors 28; Private Ground
Sassoon, Siegfried: Everyone Sang 17–18, 25
159–62; Two Sisters of Persephone 9–10
satire 156
plays see drama
scansion 21–31, 26
plot 60, 84, 93, 94, 119, 121, 124
scenes 93
poetry: and definition 1–3; and essays 40–5,
The Seafarer (Ezra Pound) 37
129, 133–4; and language 6–14; and layout
The Secret Agent (Joseph Conrad) 62–3
15–18; and passage questions 141–52, 253;
Sense and Sensibility (Jane Austen) 72
and pattern 24–7; and prose 73, 205–9; and
sentence structure 194
themes 4–5, 15; and unseens 153–70, 255
Serious Money (Caryl Churchill) 103, 111,
A Poison Tree (William Blake) 33
112–13, 117
political plays 87
setting 51–4, 64, 70–1, 84–5, 201, 204, 207
www.cambridge.org
Pope, Alexander: An Essay on Criticism 24;
Shakespeare, William 24, 83, 85, 93–4, 257;
Epistle to Mrs Teresa Blount 154–6; The
Antony and Cleopatra 87, 89; As You Like It
Rape of the Lock 146, 156
90, 110, 116–17; The Comedy of Errors 89,
A Portrait of an Artist as a Young Man (James
92, 113; Hamlet 88, 89, 102, 110, 112, 117,
Joyce) 56–7, 59
210–12; Julius Caesar 92; King Lear 84, 88,
post-colonial society 52, 243, 248
89, 91, 92, 102, 103, 109, 110, 231–4, 268–9;
Pound, Ezra: The Seafarer 37; In a Station of
Macbeth 88, 91–2, 95, 96, 101, 102, 105, 109,
the Metro 3, 5, 37
111, 115, 126–7; Measure for Measure 88,
power and authority 91–2
92, 110, 216–19, 221–4, 260; The Merchant
Pre-Raphaelite Brotherhood 139, 140
of Venice 89; A Midsummer Night’s Dream
Private Ground (Sylvia Plath) 159–62
86, 89, 90, 95, 100, 101, 102, 109, 120–2, 237;
problem plays 224
Much Ado About Nothing 88, 90, 109, 111;
prolepsis 217, 234
Othello 90, 103, 105, 108, 109, 115, 219–21,
prose 15–16; and analysis 73–9; and essays
224–7, 260; Richard III 95, 97, 101, 102, 105,
79–82, 171–5, 269–70; and passage
109, 110, 115; Romeo and Juliet 61, 89, 96,
questions 176–87, 253–4; and poetry
97, 101, 102–3, 104, 111–12, 114, 260; Sonnet
205–9; and Shakespeare 113; and unseens
73 8, 18; Sonnet 116 20; The Taming of the
188–209, 255; see also novels
Shrew 88, 90; The Tempest 88, 89, 96, 110,
Proulx, Annie: The Contest 52; Heartsongs
113; Twelfth Night 89, 90, 102, 110, 117; The
Winter’s Tale 108
198–202; The Wyoming 65
Shaw, George Bernard: Candida 103; Mrs
Warren’s Profession 87
quatrains 12
The Shell (James Stephens) 167, 168–9, 170
question relevance 265
Sheridan, Richard Brinsley: The Rivals 117,
quotation 120, 122, 125, 251–2, 273
235–7
short stories 46, 51, 55–9, 64–5; and passage
Ramakrishnan, E. V.: Stray Cats 43
questions 184–7; and unseens 192–4,
The Rape of the Lock (Alexander Pope) 146,
198–205
156
ersity Press
Index
Part 1 Unit 1: Reading
similes 5, 6, 7, 8
situation 182, 185, 193
social analysis 87
soliloquy 74, 115–16
songs 117–18
Songs of Innocence and Experience (William
Blake) 4–5
Sonnet 73 (William Shakespeare) 8, 18
Sonnet 116 (William Shakespeare) 20
sonnets 18–20
Sophocles: Oedipus Rex 96, 108
The Sound and the Fury (William Faulkner) 47
sound effects 37–9
sources 259–60
Soyinka, Wole: Death and the King’s Horse 87,
88, 97, 108, 112, 240–3
speech 6, 49–50, 114–15, 193
spondee 23
stage business 106
stage directions 105–7
staging 83, 84, 85
stanzas 4, 12, 18
Stephens, James: The Shell 167, 168–9, 170
Stevenson, Robert Louis: The Strange Case of
Dr Jekyll and Mr Hyde 61
stichomythia 113
stock figures 237
Stories of Ourselves (anthology) 52, 64, 65
storytelling 268–70
The Strange Case of Dr Jekyll and Mr Hyde
(Robert Louis Stevenson) 61
Strange Meeting (Wilfred Owen) 36
Stray Cats (E. V. Ramakrishnan) 43
stream of consciousness 52–3
Strife (John Galsworthy) 237–40
surrealism 47
syllabic verse 27–9
syllables 21, 22–3
symbols 46, 64, 70, 103, 193
symmetric structure 100–3
sympathy 110
synaesthesia 134
synecdoche 151
syntax 9–11
The Tai-chi Man (Ong Teong Hean) 3, 37
The Taming of the Shrew (William
Shakespeare) 88, 90
The Tempest (William Shakespeare) 88, 89,
96, 110, 113
Tennyson, Alfred Lord: The Lady of Shallot
22, 24; The Lotos-Eaters 39; Mariana 12–13;
Ulysses 270–1
terminology 262–4
Tess of the D’Urbervilles (Thomas Hardy) 70,
172
tetrameter 24
text selection 257
textual support 272–3
Theatre of the Absurd 246, 261
thematic prologue 97
themes 119, 121–2, 124, 224, 237, 240, 242–3,
246
They Flee From Me (Sir Thomas Wyatt) 26–7
Things Fall Apart (Chinua Achebe) 79–81
The Third and Final Continent (Jhumpa
Lahiri) 65, 76, 78–9
third-person narrative 47–8, 50, 189, 193
The Third Policeman (Flann O’Brien) 61–2
This Other World (Richard Wright) 16
Thistles (Ted Hughes) 7–8
Thomas, Edward: Lights Out 33
three-dimensional characters 66
To the Lighthouse (Virginia Woolf) 53, 74–5,
77, 96
tone 151, 158, 193, 205, 208
Top Girls (Caryl Churchill) 87, 88, 97, 109,
114, 213–15; and contrast 103, 110; and
society 91, 92
topic sentences 250
tragedy 91, 92, 100, 108
transferred epithet 134
tricolon 125, 180
trimeter 24
trochee 22, 25
troubleshooting 265–73
The Turning (Tim Winton) 65, 198–202
Twelfth Night (William Shakespeare) 89, 90,
102, 110, 117–18
Two Sisters of Persephone (Sylvia Plath) 9–10
A View from the Bridge (Arthur Miller) 97,
99–100, 109
villanelle 164, 165
Villanelle (William Empson) 162–4, 165
The Voice (Thomas Hardy) 9
Volpone (Ben Jonson) 108
voltas 18–19
verisimilitude 189
verse 18
verse drama 111–12
Yeats, W. B.: An Irish Airman Foresees His
Death 13–14
youth 89
Waiting for Godot (Samuel Beckett) 84, 93,
246
Walcott, Derek: Midsummer (XVII and
XXVI) 28
The Waste Land (T. S. Eliot) 9
Water (Philip Larkin) 146
Waugh, Evelyn: An Englishman’s Home 55, 57,
65; Brideshead Revisited 52
The Way of the World (William Congreve) 87
Wertenbaker, Timberlake: Our Country’s
Good 246–8
Wharton, Edith: The Age of Innocence 252;
The House of Mirth 68, 70; The Moving
Finger 52
The White Tiger (Aravind Adiga) 53–4, 61,
75–6, 78
The Whitsun Weddings (Philip Larkin) 162
Who’s Afraid of Virginia Woolf? (Edward
Albee) 86, 108
The Wife of Bath (Geoff rey Chaucer) 147,
148–50
Wilde, Oscar: The Importance of Being
Earnest 87, 116
Williams, Tennessee: The Glass Menagerie 96,
103, 104, 109, 110
The Wind Blows (Katherine Mansfield) 15–16
The Winter’s Tale (Shakespeare) 108
Winton, Tim: The Turning 65, 198–202
wit 116–17
Woolf, Virginia 52; To the Lighthouse 53,
Ulysses (Alfred Lord Tennyson) 270–1
74–5, 77, 96; Mrs Dalloway 173–5
The Unbearable Lightness of Being (Milan
words 104–5, 116
Kundera) 61
Wordsworth, William: Upon Westminster
universal theme 88
Bridge 18–19
unreliable narrators 48, 152
Wright, Richard: This Other World 16
www.cambridge.org
unseens 188–209, 231–48, 255–6, 272
Wuthering Heights (Emily Brontë) 47, 52, 62,
Up-hill (Christina Rossetti) 138–9, 141–2
64, 70
Upon His Departure Hence (Robert Herrick)
Wyatt, Sir Thomas: They Flee From Me 26–7
24
Wycherley, William: The Country Wife 87, 117
Upon Westminster Bridge (William
Wyndham, John: Meteor 65
Wordsworth) 18–19
The Wyoming (Annie Proulx) 65
277