Méthodologie du commentaire composé

Question 1

Simile

Answer 1

Comparison used to attract the reader’s attention and describe something in descriptive terms. (‘as’ or ‘like’)

Question 2

Metaphor

Answer 2

Comparison used to add descriptive meaning to a phrase (without using the words ‘like’ or ‘as’): an implicit mode of comparison.

Question 3

In Absentia (or Implicit) Metaphor

Answer 3

When the term of comparison is not explicitly mentioned.

Question 4

Extended metaphor

Answer 4

When the metaphor extends over several lines or pages.

Question 5

Personification

Answer 5

When human attributes/feelings/behaviour are given to inanimate objects or animals.

Question 6

Synecdoche

Answer 6

Synecdoche occurs when a part of something is used to refer to the whole.

Question 7

Metonymy

Answer 7

Linked to the synecdoche, but instead of a part representing the whole, a related object or part of a related object is used to represent the whole.

Question 8

Allegory

Answer 8

A character who embodies an abstract notion.

Question 9

Anaphora

Answer 9

Repetition at the beginning of a line in poetry, or of a sentence in prose.

Question 10

Polyptoton

Answer 10

Repetition of the same root with various grammatical functions.

Question 11

Parallelism

Answer 11

Similarity of structure in a pair of related words.

Question 12

Chiasmus

Answer 12

From the letter chi, X in Greek : ‘criss-cross’ structure.

Question 13

Alliteration

Answer 13

Alliteration is the repetition of consonant sounds.

Question 14

Consonance

Answer 14

Similar to alliteration, but the consonants are at the ends of words: ‘short and sweet’, ‘odds and ends’; almost rhymes.

Question 15

Assonance

Answer 15

Similar to alliteration, but when vowel sounds are repeated.

Question 16

Paronomasia

Answer 16

Use of words that are so similar they are almost homophones.

Question 17

Onomatopoeia

Answer 17

This includes words that sound like their meaning, or imitations of sounds.

Question 18

Antithesis

Answer 18

This is one of Shakespeare’s favourite stylistic devices. When two opposites are introduced together for contrasting effect.

Question 19

Oxymoron

Answer 19

Specific kind of antithesis. An oxymoron joins two opposite words in a condensed form.

Question 20

Scansion

Answer 20

Number and especially the alternation of stress/unstressed syllables.

Question 21

Beat

Answer 21

Stressed syllable. Symbol is ‘/’ (placed above the syllable)

Question 22

Off-beat

Answer 22

Unstressed syllable. Symbol is ‘U’ (placed above the syllable)

Question 23

Metrical feet

Answer 23

Combination of these two types of syllables.

Question 24

iamb

Answer 24

U / (alternation of an unstressed and a stressed syllable)

Question 25

Trochee

Answer 25

/ U (stressed – unstressed)

Question 26

Spondee

Answer 26

/ / (very rare because heavy, and cannot have a whole line made up of this)

Question 27

Anapest

Answer 27

U U / Very light, emulates dancing

Question 28

Dactyl

Answer 28

/ U U

Question 29

Metre

Answer 29

The number of feet in a line. Count → monometer – dimeter – trimeter – tetrameter – pentameter – hexameter…

Question 30

Structure

Answer 30

Number of stanzas and number of lines in a stanza.

Question 31

Couplet

Answer 31

2-line stanza

Question 32

Tercet

Answer 32

3-line stanza

Question 33

Quatrain

Answer 33

4-line stanza

Question 34

Quintain or quintet

Answer 34

5-line stanza

Question 35

Sestet

Answer 35

6-line stanza

Question 36

Septet

Answer 36

7-line stanza

Question 37

Octave

Answer 37

8-line stanza

Question 38

Couplet rhymes

Answer 38

AA BB CC…

Question 39

Alternate rhymes

Answer 39

AB AB

Question 40

Introverted / Enclosing rhymes

Answer 40

ABBA

Question 41

Ballad metre

Answer 41

ABAB or ABCB

Question 42

Shakespearian sonnet

Answer 42

ABAB CDCD EFEF GG = 3 quatrains of alternate rhymes and a rhyming couplet.

Question 43

Blank verse

Answer 43

Poem that doesn’t rhyme.

Question 44

Free verse

Answer 44

Does not follow any rhyme at all.

Question 45

Prose

Answer 45

Written or spoken language in its ordinary form, without metrical structure.

Question 46

Pauses

Answer 46

2 kinds in poetry:
- inside a line: caesuras. Where in the line do they fall, and how
does this contribute to meaning?
- between two lines, you usually have a pause that is brought on by the syntax: the syntax follows the metre. But sometimes the sentence goes on without any pause. This creates enjambments, or run-on lines. These are significant → when you notice one you have to try and determine. Why it’s here and what effect it creates?

Question 47

Building your general outline (plan)

Answer 47

• Synthesise your remarks
• Must answer the problematic
• Parts should be roughly the same length
• Progressive outline
• Never, ever dissociate form and matter
• Never use a ‘linear’ outline

Question 48

Progressive outline

Answer 48

The easiest, most ‘obvious’ or descriptive analyses should be tackled in the first part; and you must try to end with the most complex and challenging aspects of the text.

Question 49

Introduction

Answer 49

After the textual analysis and after deciding on the outline. 4 steps:
- Opening sentence, contextualising the text.
- Present the text, explain briefly the structure.
- Problematic
- Announce of the general outline

Question 50

Body of the commentary

Answer 50

The main idea for each part needs to be clearly stated in an introductory sentence at the beginning of each part. 2 to 4 paragraphs to illustrate the point. Each paragraph must constitute an argument to make the main point of this part; each argument must be based on a close textual analysis.

Question 51

Conclusion

Answer 51

2 steps:
- Recapitulate
- Widen up the perspective