Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson

The Grammardog Guide to
Dr. Jekyll and

Mr. Hyde
by Robert Louis Stevenson
All exercises use sentences from the novel.

Includes over 250 multiple choice questions.
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DR. JEKYLL AND MR. HYDE by Robert Louis Stevenson – Grammar and Style
TABLE OF CONTENTS
Exercise 1 -- Parts of Speech ....3

25 multiple choice questions
Exercise 2 -- Proofreading: Spelling, Capitalization, Punctuation . . . . 5

Exercise 3 -- Proofreading: Spelling, Capitalization, Punctuation . . . . 6

Exercise 4 -- Simple, Compound, Complex Sentences ....7

Exercise 5 -- Complements ....9

25 multiple choice questions on direct objects,
predicate nominatives, predicate adjectives,
indirect objects, and objects of prepositions
Exercise 6 -- Phrases . . . 11
20 multiple choice questions on prepositional,
appositive, gerund, infinitive, and participial
phrases
Exercise 7 -- Verbals: Gerunds, Infinitives, and Participles . . . 13

Exercise 8 -- Clauses . . . 15
Exercise 9 -- Style: Figurative Language . . . 17

20 multiple choice questions on metaphor,
simile, personification, hyperbole, and
onomatopoeia
1
DR. JEKYLL AND MR. HYDE by Robert Louis Stevenson -- Grammar and Style
TABLE OF CONTENTS
Exercise 10 -- Style: Poetic Devices . . . 19

20 multiple choice questions on assonance,
consonance, alliteration, repetition, and
rhyme
Exercise 11 -- Style: Sensory Imagery . . . 21

Exercise 12 -- Style: Allusions and Symbols . . . 23

20 multiple choice questions on literary,
mythological, religious, and historical
allusions and symbols
Exercise 13 -- Style: Literary Analysis – Selected Passage 1 . . . 25




Answer Key Answers to Exercises 1-16 . . . 33
Glossary -- Definitions of Terms Used in Literary Analysis . . . 35
2
EXERCISE 1 PARTS OF SPEECH
Identify the parts of speech in the following sentences. Label the underlined words:
v = verb n = noun adj = adjective adv = adverb
prep = preposition pron = pronoun int = interjection conj = conjunction
____1. “There is no other door, and nobody goes in or out of that one but, once in
a great while, the gentleman of my adventure.”
____2. “Hm,” said Mr. Utterson. “What sort of a man is he to see?”
____3. Mr. Utterson again walked some way in silence and obviously under a
weight of consideration.
____4. “You are sure he used a key?” he inquired at last.
____5. “I think you might have warned me,” returned the other with a touch
of sullenness.”
____6. Mr. Utterson sighed deeply but said never a word; and the young man
presently resumed.
____7. “Here is another lesson to say nothing,” said he.
____8. “I thought it was madness,” he said, as he replaced the obnoxious paper

in the safe, “and now I begin to fear it is disgrace.”
____9. At sight of Mr. Utterson, he sprang up from his chair and welcomed him
with both hands.
____10. “I suppose, Lanyon,” said he, “you and I must be the two oldest friends
that Henry Jekyll has?”
____11. “I wish the friends were younger,” chuckled Dr. Lanyon.
____12. Mr. Enfield’s tale went by before his mind in a scroll of lighted pictures.
____13. “You do not understand my position,” returned the doctor, with a certain
incoherency of manner.
____14. At the horror of these sights and sounds, the maid fainted.
____15. It was two o’clock when she came to herself and called for the police.
3
EXERCISE 1 PARTS OF SPEECH
____16. A purse and gold watch were found upon the victim: but no cards or
papers, except a sealed and stamped envelope, which he had been
probably carrying to the post, and which bore the name and address
of Mr. Utterson.
____17. A flash of odious joy appeared upon the woman’s face.
____18. “Ah!” said she, “he is in trouble! What has he done?”
____19. Mr. Utterson and the inspector exchanged glances.
____20. The lawyer listened gloomily; he did not like his friend’s feverish manner.
____21. “I am quite sure of him,” replied Jekyll; “I have grounds for certainty that
I cannot share with anyone.”
____22. But Lanyon’s face changed, and he held up a trembling hand.
____23. “There is an axe in the theatre,” continued Poole; “and you might take
the kitchen poker for yourself.”
____24. The lawyer took that rude but weighty instrument into his hand, and
balanced it.
____25. The footman came at the summons, very white and nervous.
4
EXERCISE 2 PROOFREADING: SPELLING, CAPITALIZATION, PUNCTUATION
Read the following passages and decide which type of error, if any, appears in each underlined section.
PASSAGE 1 PASSAGE 2
Is Dr. Jekyll at home, Poole?” asked the lawyer. A fortnight later, by excelent good fortune, the
1 1
“I will see, Mr. utterson,” said Poole, admitting doctor gave one of his pleasant Dinners to some
2 2
the vizitor, as he spoke, into a large, low-roofed, five or six old cronies, all intelligent, reputable
3
comfortable hall, paved with flags, warmed (after men and all judges of good wine; and mr.
3
the fashion of a cuontry house) by a bright, open Utterson so contrived that he remmained behind
4 4
fire, and furnished with costly cabinets of Oak. after the others had departed This was no
5 5
“Will you wait here by the fire, sir? or shall I new arangement, but a thing that had befallen
6
give you a light in the dining-room? many scores of times.
6
____1. a. Spelling ____1. a. Spelling

b. Capitalization b. Capitalization
c. Punctuation c. Punctuation
d. No error d. No error





5
EXERCISE 3 PROOFREADING: SPELLING, CAPITALIZATION, PUNCTUATION
Read the following passages and decide which type of error, if any, appears in each underlined section.
PASSAGE 1 PASSAGE 2
“Jekyll is ill, too,” observed utterson. “Have you “Tut-tut, said Mr. Utterson; and then after a
1 1
seen him?” considerable pause, “Can’t I do anything” he
2 2
But Lanyons face changed, and he held up a inquired. “we are three very old friends, Lanyon;
3 3
trembling hand. “i wish to see or hear no more we shall not live to make others.”
4 4
of Dr. Jekyll,” he said in a loud, unsteaddy voice. “Nothing can be done,” returned Lanyon; “ask
5
“I am quite done with that person; and I beg that himself.”
you will spare me any alusion to one whom I regard “He will not see me, said the lawyer.
6 5
as dead.” “I am not surprized at that,” was the reply.
6






6
EXERCISE 4 SIMPLE, COMPOUND, AND COMPLEX SENTENCES
Label each of the following sentences S for simple, C for compound, CX for complex, or
CC for compound/complex.
____1. “It sounds nothing to hear, but it was hellish to see.”
____2. For these two were old friends, old mates both at school and college, both
thorough respectors of themselves and of each other, and what does not
always follow, men who thoroughly enjoyed each other’s company.
____3. After a little rambling talk, the lawyer led up to the subject which so
disagreeably preoccupied his mind.
____4. “But it is more than ten years since Henry Jekyll became too fanciful for me.”
____5. From that time forward, Mr. Utterson began to haunt the door in the
by-street of shops.
____6. And at last his patience was rewarded.
____7. The steps drew swiftly nearer, and swelled out suddenly louder as they
turned the end of the street.
____8. But no sooner was Mr. Utterson alone that night, than he locked the note
into his safe, where it reposed from that time forward.
____9. Hyde broke out of all bounds and clubbed him to the earth.
____10. “Did I ever tell you that I once saw him, and shared your feeling of repulsion?”
____11. But Mr. Enfield only nodded his head very seriously, and walked on once
more in silence.
____12. And then he begged Mr. Utterson to follow him, and led the way to the
back garden.
____13. “He looked up when I came in, gave a kind of cry, and whipped upstairs
into the cabinet.”
____14. The lawyer took that rude but weighty instrument into his hand, and
balanced it.
7
EXERCISE 4 SIMPLE, COMPOUND, AND COMPLEX SENTENCES
____15. Right in the midst there lay the body of a man sorely contorted and
still twitching.
____16. They drew near on tiptoe, turned it on its back and beheld the face
of Edward Hyde.
____17. The lawyer unsealed it, and several enclosures fell to the floor.
____18. I rose accordingly from table, got into a hansom, and drove straight
to Jekyll’s house.
____19. The book was an ordinary version book and contained little but a
series of dates.
____20. These covered a period of many years, but I observed that the entries
ceased nearly a year ago and quite abruptly.
____21. If his messenger could go to one place, why could he not go to another?
____22. He turned a dreadful smile to me, and as if with the decision of despair,
plucked away the sheet.
____23. I rose from my place with something of an effort and gave him what
he asked.
____24. My visitor, who had watched these metamorphoses with a keen eye,
smiled, set down the glass upon the table, and then turned and looked
upon me with an air of scrutiny.
____25. “Think before you answer, for it shall be done as you decide.”
8
EXERCISE 5 COMPLEMENTS
Identify the complements in the following sentences. Label the underlined words:
d.o. = direct object i.o. = indirect object p.n. = predicate nominative
o.p. = object of preposition p.a. = predicate adjective
____1. The street was small and what is called quiet, but it drove a thriving
trade on the weekdays.
____2. The people who had turned out were the girl’s own family; and pretty soon,
the doctor, for whom she had been sent, put in his appearance.
____3. The fellow had a key; and what’s more, he has it still.
____4. This document had long been the lawyer’s eyesore.
____5. This little spirit of temper was somewhat of a relief to Mr. Utterson.
____6. He gave his friend a few seconds to recover his composure, and then
approached the question he had come to put.
____7. The problem he was thus debating as he walked, was one of a class that
is rarely solved.
____8. This hall, in which he was now left alone, was a pet fancy of his friend the
doctor’s; and Utterson himself was wont to speak of it as the pleasantest
room in London.
____9. “I saw Mr. Hyde go in by the old dissecting-room door, Poole,” he said.
____10. For once more he saw before his mind’s eye, as clear as transparency, the
strange clauses of the will.
____11. “Why, money’s life to the man.”
____12. “Have you the envelope?” he asked.
____13. The quarrel with Lanyon was incurable.
____14. Expense is no consideration.
____15. The footman came at the summons, very white and nervous.
____16. “We give you ten minutes, to get to your stations.”
9
EXERCISE 5 COMPLEMENTS
____17. “I came away with that upon my heart, that I could have wept too.”
____18. On the desk, among the neat array of papers, a large envelope was
uppermost, and bore, in the doctor’s hand, the name of Mr. Utterson.
____19. He caught up the next paper; it was a brief note in the doctor’s hand
and dated at the top.
____20. On the ninth of January, now four days ago, I received by the evening
delivery a registered envelope, addressed in the hand of my colleague
and old school companion, Henry Jekyll.
____21. This, as I take it, was because all human beings, as we meet them, are
commingled out of good and evil: and Edward Hyde, alone in the ranks
of mankind, was pure evil.
____22. Even at that time, I had not conquered my aversions to the dryness of
a life of study.
____23. Small indeed was my appetite.
____24. The laboratory door I had closed.
____25. Will Hyde die upon the scaffold? or will he find courage to release himself
at the last moment?
10
EXERCISE 6 PHRASES
Identify the phrases in the following sentences. Label the underlined words:
par = participial ger = gerund inf = infinitive appos = appositive prep = prepositional
____1. Hence, no doubt, the bond that united him to Mr. Richard Enfield, his
distant kinsman, the well-known man about town.
____2. It was a night of little ease to his toiling mind, toiling in mere darkness and
besieged by questions.
____3. “Let us make a bargain never to refer to this again.”
____4. With that he blew out his candle, put on a greatcoat, and set forth in the
direction of Cavendish Square, that citadel of medicine, where his friend,
the great Dr. Lanyon, had his house and received his crowding patients.
____5. He was small and very plainly dressed, and the look of him, even at that
distance, went somehow strongly against the watcher’s inclination.
____6. But he made straight for the door, crossing the roadway to save time; and
as he came, he drew a key from his pocket like one approaching home.
____7. “I am an old friend of Dr. Jekyll’s – Mr. Utterson of Gaunt Street – you
must have heard of my name; and meeting you so conveniently, I thought
you might admit me.”
____8. And then suddenly, but still without looking up, “How did you know me?”
he asked.
____9. Then he began slowly to mount the street, pausing every step or two and
putting his hand to his brow like a man in mental perplexity.
____10. “I will see, Mr. Utterson,” said Poole, admitting the visitor, as he spoke,
into a large, low-roofed, comfortable hall, paved with flags, warmed (after
the fashion of a country house) by a bright, open fire, and furnished with
costly cabinets of oak.
____11. “I have been wanting to speak to you, Jekyll,” began the latter.
____12. Utterson reflected a little, looking in the fire.
____13. On his way out, the lawyer stopped and had a word or two with Poole.
11
EXERCISE 6 PHRASES
____14. The clerk, besides, was a man of counsel; he could scarce read so strange
a document without dropping a remark; and by that remark Mr. Utterson
might shape his future course.
____15. “I should like to hear your views on that,” replied Utterson.
____16. “The doctor was confined to the house,” Poole said, “and saw no one.”
____17. It seems he had slipped out to look for this drug or whatever it is; for
the cabinet door was open, and there he was at the far end of the room
digging among the crates.
____18. Poole, my butler, has his orders; you will find him waiting your arrival
with a locksmith.
____19. Here I proceeded to examine its contents.
____20. I went myself at the summons, and found a small man crouching against
the pillars of the portico.
12
EXERCISE 7 VERBALS: GERUNDS, INFINITIVES, AND PARTICIPLES
Identify the underlined verbals and verbal phrases in the sentences below as being either
gerund (ger), infinitive (inf), or participle (par). Also indicate the usage by labeling each:
subj = subject d.o. = direct object o.p. = object of preposition
adj = adjective adv = adverb p.n. = predicate nominative
Verbal Usage
____ ____1. I had taken a loathing to my gentleman at first sight.
____ ____2. The lawyer, looking forth from the entry, could soon see what
manner of man he had to deal with.
____ ____3. “It is one of those affairs that cannot be mended by talking.”
____ ____4. “Jekyll,” said Utterson, “you know me: I am a man to be trusted.”
____ ____5. A maid servant living alone in a house not far from the river, had
gone upstairs to bed about eleven.
____ ____6. “Very well, then, we wish to see his rooms,” said the lawyer . . .
____ ____7. It was a large room fitted round with glass presses, furnished, among
other things, with a cheval-glass and a business table, and looking
out upon the court by three dusty windows barred with iron.
____ ____8. “You have not been mad enough to hide this fellow?”
____ ____9. “I could not think that this earth contained a place for sufferings and
terrors so unmanning; and you can do but one thing, Utterson, to
lighten this destiny, and that is to respect my silence.”
____ ____10. Mr. Utterson’s only answer was to rise and get his hat and greatcoat;
but he observed with wonder the greatness of the relief that appeared
upon the butler’s face, and perhaps with no less, that the wine was
still untasted when he set it down to follow.
____ ____11. Poole felt in his pocket and handed out a crumpled note, which the
lawyer, bending nearer to the candle, carefully examined.
____ ____12. Upon the reading of this letter, I made sure my colleague was insane;
but till that was proved beyond the possibility of doubt, I felt bound
to do as he requested.
13
EXERCISE 7 VERBALS: GERUNDS, INFINITIVES, AND PARTICIPLES
Verbal Usage
____ ____13. Here, at last, I had a chance of clearly seeing him.
____ ____14. It might indeed be possible to cover my face; but of what use was
that, when I was unable to conceal the alteration in my stature?
____ ____15. Now, however, and in the light of that morning’s accident, I was led
to remark that whereas, in the beginning, the difficulty had been
to throw off the body of Jekyll, it had of late gradually but decidedly
transferred itself to the other side.
____ ____16. To cast in my lot with Jekyll, was to die to those appetites which I
had long secretly indulged and had of late begun to pamper.
____ ____17. To cast it in with Hyde, was to die to a thousand interests and
aspirations, and to become at a blow and forever, despised and
friendless.
____ ____18. Yes, I preferred the elderly and discontented doctor, surrounded by
friends and cherishing honest hopes; and bade a resolute farewell
to the liberty, the comparative youth, the light step, leaping impulses
and secret pleasures, that I had enjoyed in the disguise of Hyde.
____ ____19. You know yourself how earnestly, in the last months of the last year, I
laboured to relieve suffering; you know that much was done for others,
and that the days passed quietly, almost happily for myself.
____ ____20. I was stepping leisurely across the court after breakfast, drinking the
chill of the air with pleasure, when I was seized again with those
indescribable sensations that heralded the change; and I had but the
time to gain the shelter of my cabinet, before I was once again raging
and freezing with the passions of Hyde.
14
EXERCISE 8 CLAUSES
Indicate how clauses are used in the sentences below. Label the clauses:
subj = subject d.o. = direct object adj = adjective
p.n. = predicate nominative o.p. = object of preposition adv = adverb
____1. And then there is a chimney which is generally smoking; so somebody

must live there.
____2. “What I heard was abominable,” said Utterson.
____3. Although a fog rolled over the city in the small hours, the early part of
the night was cloudless, and the lane, which the maid’s window overlooked,
was brilliantly lit by the full moon.
____4. And he briefly narrated what the maid had seen and showed the broken
stick.
____5. This was the home of Henry Jekyll’s favourite; of a man who was heir to a
quarter of a million sterling.
____6. Only on one point were they agreed; and that was the haunting sense of
unexpressed deformity with which the fugitive impressed his beholders.
____7. It was, at least, a ticklish decision that he had to make; and self-reliant as
he was by habit, he began to cherish a longing for advice.
____8. There was no man from whom he kept fewer secrets than Mr. Guest; and
he was not always sure that he kept as many as he meant.
____9. “I have brought on myself a punishment and a danger that I cannot name.
____10. “That is just what I was about to venture to propose,” returned the doctor
with a smile.
____11. Mr. Utterson was sitting by his fireside one evening after dinner, when he was
surprised to receive a visit from Poole.
____12. “I foresee that we may yet involve your master in some dire catastrophe.”
____13. I found what seemed to me a simple crystalline salt of a white colour.
____14. Then these agonies began swiftly to subside, and I came to myself as if out
of a great sickness.
15
EXERCISE 8 CLAUSES
____15. As the acuteness of this remorse began to die away, it was succeeded by
a sense of joy.
____16. I resolved in my future conduct to redeem the past; and I can say with
honesty that my resolve was fruitful of some good.
____17. If I sought to enter by the house, my own servants would consign me to

the gallows.
____18. He walked fast, hunted by his fears, chattering to himself, skulking

through the less frequented thoroughfares, counting the minutes
that still divided him from midnight.
____19. My provision of the salt, which had never been renewed since the date of
the first experiment, began to run low.
____20. God knows; I am careless; this is my true hour of death, and what is to
follow concerns another than myself.
16
EXERCISE 9 STYLE: FIGURATIVE LANGUAGE
Identify the figurative language in the following sentences. Label underlined words:
p = personification s = simile m = metaphor o = onomatopoeia h = hyperbole
____1. His friends were those of his own blood or those whom he had known the
longest; his affections, like ivy, were the growth of time, they implied no
aptness in the object.
____2. It was a nut to crack for many, what these two could see in each other, or
what subject they could find in common.
____3. I sat in the sun on a bench; the animal within me licking the chops of
memory; the spiritual side a little drowsed, promising subsequent
penitence, but not yet moved to begin.
____4. And when at last, thinking the driver had begun to grow suspicious,
he discharged the cab and ventured on foot, attired in his misfitting
clothes, an object marked out for observation, into the midst of the
nocturnal passengers, these two base passions raged within him
like a tempest.
____5. Two doors from one corner, on the left hand going east, the line was broken
by the entry of a court; and just at that point, a certain sinister block of
building thrust forward its gable on the street.
____6. “I was coming home from some place at the end of the world about three
o’clock of a black winter morning, and my way lay through a part of town
where there was literally nothing to be seen but lamps.
____7. He was the usual cut and dry apothecary, of no particular age and colour,
with a strong Edinburgh accent, and about as emotional as a bagpipe.
____8. “This Master Hyde, if he were studied,” thought he, “must have secrets of
his own; black secrets, by the look of him; secrets compared to which poor
Jekyll’s worst would be like sunshine.
____9. The fog still slept on the wing above the drowned city, where the lamps
glimmered like carbuncles . . .
____10. In the bottle the acids were long ago resolved; the imperial dye had
softened with time, as the colour grows richer in stained windows; and
the glow of hot autumn afternoons on hillside vineyards, was ready to be
set free and to disperse the fogs of London.
17
EXERCISE 9 STYLE: FIGURATIVE LANGUAGE
____11. And his blood ran cold in his veins.
____12. He had his death-warrant written legibly upon his face.
____13. And thus his conscience slumbered.
____14. Certain agents I found to have the power to shake and pluck back that
fleshly vestment, even as a wind might toss the curtains of a pavilion.
____15. So far the letter had run composedly enough, but here with a sudden
splutter of the pen, the writer’s emotion had broken loose.
____16. London hummed solemnly all around; but nearer at hand, the stillness
was only broken by the sounds of a footfall moving to and fro along
the cabinet floor.
____17. A dismal screech, as of mere animal terror, rang from the cabinet.
____18. At that time my virtue slumbered; my evil, kept awake by ambition, was
alert and swift to seize the occasion; and the thing that was projected was
Edward Hyde.
____19. . . . but Hyde was indifferent to Jekyll, or but remembered him as the
mountain bandit remembers the cavern in which he conceals himself
from pursuit.
____20. Jekyll was now my city of refuge; let but Hyde peep out an instant, and the
hands of all men would be raised to take and slay him.
18
EXERCISE 10 STYLE: POETIC DEVICES
Identify the poetic devices in the following sentences by labeling the underlined words:
a. assonance b. consonance c. alliteration d. repetition e. rhyme
____1. “Street after street, and all the folks asleep – street after street, all lighted up
as if for a procession and all as empty as a church – till at last I got into
that state of mind when a man listens and listens and begins to long for the
sight of a policeman.”
____2. “We told the man we could and would make such a scandal out of this, as
should make his name stink from one end of London to the other.”
____3. “There is something wrong with his appearance; something displeasing,

something down-right detestable.”
____4. There he opened his safe, took from the most private part of it a document
endorsed on the envelope as Dr. Jekyll’s Will, and sat down with a clouded
brow to study its contents.
____5. Mr. Hyde appeared to hesitate, and then, as if upon some sudden relection,
fronted about with an air of defiance; and the pair stared at each other
pretty fixedly for a few seconds.
____6. And the lawyer set out homeward with a very heavy heart.
____7. “O, I know he’s a good fellow – you needn’t frown – an excellent fellow, and
I always mean to see more of him; but a hide-bound pedant for all that; an
ignorant, blatant pedant.
____8. He had in his hand a heavy cane, with which he was trifling; but he answered
never a word, and seemed to listen with an ill-contained impatience.
____9. The murderer was gone long ago; but there lay his victim in the middle of the
lane, incredibly mangled.
____10. The stick with which the deed had been done, although it was of some rare
and very tough and heavy wood, had broken in the middle under the stress
of this insensate cruelty . . .
____11. “No sir,” he said: “not mad; but it is an odd hand.”
____12. Much of his past was unearthed, indeed, and all disreputable: tales came
out of the man’s cruelty, at once so callous and violent; of his vile life, of
his strange associates . . .
19
EXERCISE 10 STYLE: POETIC DEVICES
____13. Written by the hand of Lanyon, what should it mean?
____14. It chanced on Sunday, when Mr. Utterson was on his usual walk with
Mr. Enfield, that their way lay once again through the by-street; and
that when they came in front of the door, both stopped to gaze on it.
____15. It was well on in the morning; the servants were up; all my drugs were
in the cabinet – a long journey down two pairs of stairs, through the
back passage, across the open court and through the anatomical
theatre, from where I was then standing horror-struck.
____16. But it was so turned as to show them nothing but the rosy glow playing
on the roof, the fire sparkling in a hundred repetitions along the glazed
front of the presses, and their own pale and fearful countenances
stooping to look in.
____17. The lawyer put it in his pocket.
____18, If your master has fled or is dead, we may at least save his credit.
____19. Rather, as there was something abnormal and misbegotten in the very
essence of the creature that now faced me – something seizing, surprising
and revolting – this fresh disparity seemed but to fit in with and to
reinforce it . . .
____20. I had but to drink the cup, to doff at once the body of the noted professor,
and to assume, like a thick cloak, that of Edward Hyde.
20
EXERCISE 11 STYLE: SENSORY IMAGERY
Identify the type of sensory imagery in the following sentences. Label the underlined words:
a. sight b. sound c. touch d. taste e. smell
____1. This was a hearty, healthy, dapper, red-faced gentleman, with a shock of
hair prematurely white, and a boisterous and decided manner.
____2. Six o’clock struck on the bells of the church that was so conveniently near
to Mr. Utterson’s dwelling, and still he was digging at the problem.
____3. Mr. Utterson had been some minutes at his post, when he was aware of an
odd, light footstep drawing near.
____4. Mr. Utterson stepped out and touched him on the shoulder as he passed.
____5. Mr. Hyde shrank back with a hissing intake of the breath.
____6. “I don’t ask that,” pleaded Jekyll, laying his hand upon the other’s arm . . .
____7. The court was very cool and a little damp, and full of premature twilight,
although the sky, high up overhead, was still bright with sunset.
____8. Poole, who had kept all the way a pace or two ahead, now pulled up in the
middle of the pavement, and in spite of the biting weather, took off his hat
and mopped his brow with a red handkerchief.
____9. At the sight of Mr. Utterson, the housemaid broke into hysterical whimpering;
and the cook, crying out “Bless God! it’s Mr. Utterson,” ran forward as if
to take him in her arms.
____10. “My master” – here he looked round him and began to whisper – “is a tall,
fine build of a man, and this was more of a dwarf.”
____11. . . . the cords of his face still moved with a semblance of life, but life was
quite gone: and by the crushed phial in the hand and the strong smell of
kernels that hung upon the air, Utterson knew that he was looking on
the body of a self-destroyer.
____12. The phial, to which I next turned my attention, might have been about half
full of a blood-red liquor, which was highly pungent to the sense of smell
and seemed to me to contain phosphorus and some volatile ether.
____13. And so lively was his impatience that he even laid his hand upon my arm
and sought to shake me.
21
EXERCISE 11 STYLE: SENSORY IMAGERY
____14. He paused and put his hand to his throat, and I could see, in spite of his
collected manner, that he was wrestling against the approaches of the
hysteria – “I understood, a drawer . . .”
____15. At sight of the contents, he uttered one loud sob of such immense relief
that I sat petrified.
____16. The mixture, which was at first of a reddish hue, began, in proportion as
the crystals melted, to brighten in colour, to effervesce audibly, and to
throw off small fumes of vapour.
____17. He put the glass to his lips and drank at one gulp.
____18. Now the hand of Henry Jekyll (as you have often remarked) was professional
in shape and size: it was large, firm, white and comely.
____19. . . . I began to be tortured with throes and longings, as of Hyde struggling

after freedom; and at last, in an hour of moral weakness, I once again
compounded and swallowed the transforming draught.
____20. It was a fine, clear, January day, wet under foot where the frost had melted,
but cloudless overhead; and the Regent’s Park was full of winter
chirruplings and sweet with spring odours.
22
EXERCISE 12 STYLE: ALLUSIONS AND SYMBOLS
Identify the type of allusion or symbol in the following sentences. Label the underlined words:
a. history b. religion c. law and order d. crime e. folklore/superstition
____1. “I incline to Cain’s heresy,” he used to say quaintly: “I let my brother go to

the devil in his own way.”
____2. It wasn’t like a man; it was like some damned Juggernaut.
____3. I took the liberty of pointing out to my gentleman that the whole business
looked apocryphal, and that a man does not, in real life, walk into a cellar
door at four in the morning and come out with another man’s cheque for
close upon a hundred pounds.
____4. Such unscientific balderdash,” added the doctor, flushing suddenly purple,
“would have estranged Damon and Pythias.”
____5. The thoughts of his mind, besides, were of the gloomiest dye; and when he
glanced at the companion of his drive, he was conscious of some touch of
that terror of the law and the law’s officers, which may at times assail the
most honest.
____6. A moment before I had been safe of all men’s respect, wealthy, beloved –
the cloth laying for me in the dining-room at home; and now I was the
common quarry of mankind, houseless, a known murderer, thrall to the
gallows.
____7. “The last, I think; for, O my poor old Harry Jekyll, if ever I read Satan’s
signature upon a face, it is on that of your new friend.”
____8. And all the time, as we were pitching it in red hot, we were keeping the
women off him as best we could, for they were as wild as harpies.
____9. There was a policeman not far off, advancing with his bull’s eye open;
and at the sight, I thought my visitor started and made greater haste.
____10. “Black Mail House is what I call the place with the door, in consequence.”
____11. “I gave in the cheque myself, and said I had every reason to believe it
was a forgery.”
____12. He was wild when he was young; a long while ago to be sure; but in the
law of God, there is no statute of limitations.
23
EXERCISE 12 STYLE: ALLUSIONS AND SYMBOLS
____13. It turns me cold to think of this creature stealing like a thief to Harry’s
bedside; poor Harry, what a wakening!
____14. It was two o’clock when she came to herself and called for the police.
____15. The murderer was gone long ago; but there lay his victim in the middle
of the lane, incredibly mangled.
____16. “This is Inspector Newcomen of Scotland Yard.”
____17. Had I approached my discovery in a more noble spirit, had I risked the
experiment while under the empire of generous or pious aspirations, all
must have been otherwise, and from these agonies of death and birth,
I had come forth an angel instead of a fiend.
____18. The drug had no discriminating action; it was neither diabolical nor divine;
it but shook the doors of the prisonhouse of my disposition; and like the
captives of Philippi, that which stood within ran forth.
____19. This inexplicable incident, this reversal of my previous experience, seemed,

like the Babylonian finger on the wall, to be spelling out the letters of my
judgment; and I began to reflect more seriously than ever before on the
issues and possibilities of my double existence.
____20. The pangs of transformation had not done tearing him, before Henry Jekyll,
with streaming tears of gratitude and remorse, had fallen upon his knees
and lifted his clasped hands to God.
24
EXERCISE 13 STYLE: LITERARY ANALYSIS – SELECTED PASSAGE 1
Read the following passage the first time through for meaning.
It chanced on one of these rambles that their way led them down a by-street in a busy quarter of London.
The street was a small and what is called quiet, but it drove a thriving trade on the weekdays. The
inhabitants were all doing well, it seemed, and all emulously hoping to do better still, and laying out the
surplus of their grains in coquetry; so that the shop fronts stood along that thoroughfare with an air of
invitation, like rows of smiling saleswomen. Even on Sunday, when it veiled its more florid charms and
lay comparatively empty of passage, the street shone out in contrast to its dingy neighborhood, like a fire
in a forest; and with its freshly painted shutters, well-polished brasses, and general cleanliness and gaiety
of note, instantly caught and pleased the eye of the passenger.
Two doors from one corner, on the left hand going east, the line was broken by the entry of a court; and
just at that point, a certain sinister block of building thrust forward its gable on the street. It was two
storeys high; showed no window, nothing but a door on the lower storey and a blind forehead of
discoloured wall on the upper; and bore in every feature, the marks of prolonged and sordid negligence.
The door, which was equipped with neither bell nor knocker, was blistered and distained. Tramps
slouched into the recess and struck matches on the panels; children kept shop upon the steps; the
schoolboy had tried his knife on the mouldings; and for close on a generation, no one had appeared to
drive away these random visitors or to repair their ravages. (From Story of the Door)
Read the passage a second time, marking figurative language, sensory imagery, poetic
devices, and any other patterns of diction and rhetoric, then answer the questions below.
1 It chanced on one of these rambles that their way led them down a by-street in a busy quarter of London.
2 The street was a small and what is called quiet, but it drove a thriving trade on the weekdays. The
3 inhabitants were all doing well, it seemed, and all emulously hoping to do better still, and laying out the
4 surplus of their grains in coquetry; so that the shop fronts stood along that thoroughfare with an air of
5 invitation, like rows of smiling saleswomen. Even on Sunday, when it veiled its more florid charms and
6 lay comparatively empty of passage, the street shone out in contrast to its dingy neighborhood, like a fire
7 in a forest; and with its freshly painted shutters, well-polished brasses, and general cleanliness and gaiety
8 of note, instantly caught and pleased the eye of the passenger.
9 Two doors from one corner, on the left hand going east, the line was broken by the entry of a court; and
10 just at that point, a certain sinister block of building thrust forward its gable on the street. It was two
11 storeys high; showed no window, nothing but a door on the lower storey and a blind forehead of
12 discoloured wall on the upper; and bore in every feature, the marks of prolonged and sordid negligence.
13 The door, which was equipped with neither bell nor knocker, was blistered and distained. Tramps
14 slouched into the recess and struck matches on the panels; children kept shop upon the steps; the
25
15 schoolboy had tried his knife on the mouldings; and for close on a generation, no one had appeared to
16 drive away these random visitors or to repair their ravages.
____1. Line 5 contains examples of . . .

a. metaphor and simile b. simile and personification c. simile and hyperbole
____2. The underlined words in Lines 6-7 are an example of . . .

a. simile b. metaphor c. personification d. hyperbole
____3. Line 10 contains an example of . . .

a. metaphor b. simile c. personification d. hyperbole
____4. The underlined words in Line 11 are examples of . . .

a. assonance b. consonance c. alliteration d. rhyme

____6. ALL of the following descriptions are parallel in meaning EXCEPT . . .

a. It was two storeys high (Line 10-11)
b. the marks of prolonged and sordid negligence (Line 12)
c. Tramps slouched into the recess (Lines 13-14)
d. the schoolboy had tried his knife on the mouldings (Lines 14-15)
26
It was by this time about nine in the morning, and the first fog of the season. A great chocolate-coloured
pall lowered over heaven, but the wind was continually charging and routing these embattled vapours;
so that as the cab crawled from street to street, Mr. Utterson beheld a marvelous number of degrees and
hues of twilight; for here it would be dark like the back-end of evening; and there would be a glow of a
rich, lurid brown, like the light of some strange conflagration; and here, for a moment, the fog would be
quite broken up, and a haggard shaft of daylight would glance in between the swirling wreaths. The dismal
quarter of Soho seen under these changing glimpses, with its muddy ways, and slatternly passengers,
and its lamps, which had never been extinguished or had been kindled afresh to combat this mournful
reinvasion of darkness, seemed, in the lawyer’s eyes, like a district of some city in a nightmare. The
thoughts of his mind, besides, were of the gloomiest dye; and when he glanced at the companion of his
drive, he was conscious of some touch of that terror of the law and the law’s officers, which may at times
assail the most honest.
As the cab drew up before the address indicated, the fog lifted a little and showed him a dingy street,
a gin palace, a low French eating house, a shop for the retail of penny numbers and twopenny salads,
many ragged children huddled in the doorways, and many women of many different nationalities
passing out, key in hand, to have a morning glass; and the next moment the fog settled down again
upon that part, as brown as umber, and cut him off from his blackguardly surroundings. This was
the home of Henry Jekyll’s favourite; of a man who was heir to a quarter of a million sterling. (From The
Carew Murder Case)
1 It was by this time about nine in the morning, and the first fog of the season. A great chocolate-coloured
2 pall lowered over heaven, but the wind was continually charging and routing these embattled vapours;
3 so that as the cab crawled from street to street, Mr. Utterson beheld a marvelous number of degrees and
4 hues of twilight; for here it would be dark like the back-end of evening; and there would be a glow of a
5 rich, lurid brown, like the light of some strange conflagration; and here, for a moment, the fog would be
6 quite broken up, and a haggard shaft of daylight would glance in between the swirling wreaths. The dismal
7 quarter of Soho seen under these changing glimpses, with its muddy ways, and slatternly passengers,
8 and its lamps, which had never been extinguished or had been kindled afresh to combat this mournful
9 reinvasion of darkness, seemed, in the lawyer’s eyes, like a district of some city in a nightmare. The
10 thoughts of his mind, besides, were of the gloomiest dye; and when he glanced at the companion of his
11 drive, he was conscious of some touch of that terror of the law and the law’s officers, which may at times
12 assail the most honest.
13 As the cab drew up before the address indicated, the fog lifted a little and showed him a dingy street,
27
14 a gin palace, a low French eating house, a shop for the retail of penny numbers and twopenny salads,
15 many ragged children huddled in the doorways, and many women of many different nationalities
16 passing out, key in hand, to have a morning glass; and the next moment the fog settled down again
17 upon that part, as brown as umber, and cut him off from his blackguardly surroundings. This was
18 the home of Henry Jekyll’s favourite; of a man who was heir to a quarter of a million sterling.
____1. ALL of the following words describe the tone of the passage EXCEPT . . .
a. depressing b. disgusting c. frightening d. apprehensive
____2. ALL of the following contrasts contribute to the tone EXCEPT . . .

a. It is 9:00 a.m., yet it is dark outside.
b. An heir to a fortune lives in a poor neighborhood.
c. Women of many nationalities are going to the bar.
d. Mr. Utterson, an honest man, is afraid of the policeman.

____4. All of the following descriptions are parallel in meaning EXCEPT . . .

a. the first fog of the season (Line 1)
b. a great chocolate-coloured pall lowered over heaven ( Lines 1-2)
c. a haggard shaft of daylight (Line 6)
d. these embattled vapours (Line 2)


a. a glow of rich, lurid brown (Line 4-5)
b. the light of some strange conflagration (Line 5)
c. this mournful reinvasion of darkness (Line 8-9)
d. like the district of some city in a nightmare (Line 9)
28
It was a wild, cold, seasonable night of March, with a pale moon, lying on her back as though the wind
had tilted her, and flying wrack of the most diaphanous and lawny texture. The wind made talking
difficult, and flecked the blood into the face. It seemed to have swept the streets unusually bare of
passengers, besides; for Mr. Utterson thought he had never seen that part of London so deserted. He
could have wished it otherwise; never in his life had he been conscious of so sharp a wish to see and
touch his fellow-creatures; for struggle as he might, there was borne in upon his mind a crushing
anticipation of calamity. The square, when they got there, was full of wind and dust, and the thin
trees in the garden were lashing themselves along the railing. Poole, who had kept all the way a
pace or two ahead, now pulled up in the middle of the pavement, and in spite of the biting weather,
took off his hat and mopped his brow with a red pocket-handkerchief. But for all the hurry of his
coming, these were not the dews of exertion that he wiped away, but the moisture of some strangling
anguish; for his face was white and his voice, when he spoke, harsh and broken.
“Well, sir,” he said, “here we are, and God grant there be nothing wrong.”
“Amen, Poole,” said the lawyer.
Thereupon the servant knocked in a very guarded manner; the door was opened on the chain; and
a voice asked from within, “Is that you, Poole?”
“It’s all right,” said Poole. “Open the door.”
The hall, when they entered it, was brightly lighted up; the fire was built high; and about the hearth
the whole of the servants, men and women, stood huddled together like a flock of sheep. At the sight
of Mr. Utterson, the housemaid broke into hysterical whimpering; and the cook, crying out “Bless
God! it’s Mr. Utterson,” ran forward as if to take him in her arms. (From The Last Night)
1 It was a wild, cold, seasonable night of March, with a pale moon, lying on her back as though the wind
2 had tilted her, and flying wrack of the most diaphanous and lawny texture. The wind made talking
3 difficult, and flecked the blood into the face. It seemed to have swept the streets unusually bare of
4 passengers, besides; for Mr. Utterson thought he had never seen that part of London so deserted. He
5 could have wished it otherwise; never in his life had he been conscious of so sharp a wish to see and
6 touch his fellow-creatures; for struggle as he might, there was borne in upon his mind a crushing
7 anticipation of calamity. The square, when they got there, was full of wind and dust, and the thin
8 trees in the garden were lashing themselves along the railing. Poole, who had kept all the way a
9 pace or two ahead, now pulled up in the middle of the pavement, and in spite of the biting weather,
10 took off his hat and mopped his brow with a red pocket-handkerchief. But for all the hurry of his
11 coming, these were not the dews of exertion that he wiped away, but the moisture of some strangling
12 anguish; for his face was white and his voice, when he spoke, harsh and broken.
29
13 “Well, sir,” he said, “here we are, and God grant there be nothing wrong.”
14 “Amen, Poole,” said the lawyer.
15 Thereupon the servant knocked in a very guarded manner; the door was opened on the chain; and
16 a voice asked from within, “Is that you, Poole?”
17 “It’s all right,” said Poole. “Open the door.”
18 The hall, when they entered it, was brightly lighted up; the fire was built high; and about the hearth
19 the whole of the servants, men and women, stood huddled together like a flock of sheep. At the sight
20 of Mr. Utterson, the housemaid broke into hysterical whimpering; and the cook, crying out “Bless
21 God! it’s Mr. Utterson,” ran forward as if to take him in her arms.

a. metaphor b. simile c. personification d. allusion
____2. In Line 2 “flying wrack of the most diaphanous and lawny texture”
most likely describes . . .
a. clouds b. trees c. pedestrians d. stars

a. The wind made talking difficult (Line 2-3)
b. flecked the blood into the face (Line 3)
c. the thin trees in the garden were lashing themselves (Line 7-8)
d. the moisture of some strangling anguish (Line 11-12)
____4. In Line 11 the phrase “the dews of exertion” is an example of . . .

a. metaphor b. simile c. personification d. euphemism


30
But now the ten minutes drew to an end. Poole disinterred the axe from under a stack of packing straw;
the candle was set upon the nearest table to light them to the attack; and they drew near with bated
breath to where that patient foot was still going up and down, up and down, in the quiet of the night.
“Jekyll,” cried Utterson, with a loud voice, “I demand to see you.” He paused a moment, but there
came no reply. “I give you fair warning, our suspicions are aroused, and I must and shall see you,”
he resumed; “if not by fair means, then by foul – if not of your consent, then by brute force!”
“Utterson,” said the voice, “for God’s sake, have mercy!”
“Ah, that’s not Jekyll’s voice – it’s Hyde’s!” cried Utterson. “Down with the door, Poole!”
Poole swung the axe over his shoulder; the blow shook the building, and the red baize door leaped
against the lock and hinges. A dismal screech, as of mere animal terror, rang from the cabinet. Up
went the axe again, and again the panels crashed and the frame bounded; four times the blow fell;
but the wood was tough and the fittings were of excellent workmanship; and it was not until the fifth,
that the lock burst and the wreck of the door fell inwards on the carpet.
The besiegers, appalled by their own riot and the stillness that had succeeded, stood back a little and
peered in. There lay the cabinet before their eyes in the quiet lamplight, a good fire glowing and
chattering on the hearth, the kettle singing its thin strain, a drawer or two open, papers neatly set forth
on the business table, and nearer the fire, the things laid out for tea; the quietest room, you would have
said, and, but for the glazed presses full of chemicals, the most commonplace that night in London.
(From The Last Night)
1 But now the ten minutes drew to an end. Poole disinterred the axe from under a stack of packing straw;
2 the candle was set upon the nearest table to light them to the attack; and they drew near with bated
3 breath to where that patient foot was still going up and down, up and down, in the quiet of the night.
4 “Jekyll,” cried Utterson, with a loud voice, “I demand to see you.” He paused a moment, but there
5 came no reply. “I give you fair warning, our suspicions are aroused, and I must and shall see you,”
6 he resumed; “if not by fair means, then by foul – if not of your consent, then by brute force!”
7 “Utterson,” said the voice, “for God’s sake, have mercy!”
8 “Ah, that’s not Jekyll’s voice – it’s Hyde’s!” cried Utterson. “Down with the door, Poole!”
9 Poole swung the axe over his shoulder; the blow shook the building, and the red baize door leaped
10 against the lock and hinges. A dismal screech, as of mere animal terror, rang from the cabinet. Up
11 went the axe again, and again the panels crashed and the frame bounded; four times the blow fell;
12 but the wood was tough and the fittings were of excellent workmanship; and it was not until the fitth,
13 that the lock burst and the wreck of the door fell inwards on the carpet.
31
14 The besiegers, appalled by their own riot and the stillness that had succeeded, stood back a little and
15 peered in. There lay the cabinet before their eyes in the quiet lamplight, a good fire glowing and
16 chattering on the hearth, the kettle singing its thin strain, a drawer or two open, papers neatly set forth
17 on the business table, and nearer the fire, the things laid out for tea; the quietest room, you would have
18 said, and, but for the glazed presses full of chemicals, the most commonplace that night in London.

____2. Line 3 contains ALL of the following literary devices EXCEPT . . .

a. assonance b. consonance c. rhyme d. repetition
____3. Lines 9-10 contain an example of . . .

____4. The underlined words in Line 15 are an example of . . .



a. a good fire glowing (Line 15)
b. papers neatly set forth on the business table (Line 16-17)
c. the things laid out for tea (Line 17)
d. the glazed presses full of chemicals (Line 18)
32
ANSWER KEY EXERCISES 1-16
EXERCISE 1: 1. pron 2. int 3. adv 4. adj 5. n 6. conj 7. pron 8. adv

9. prep 10. v 11. adj 12. adj 13. prep 14. n 15. pron
16. prep 17. v 18. int 19. n 20. adv 21. pron 22. adj
23. adj 24. pron 25. v
EXERCISE 2: Passage 1: 1. c 2. b 3. a 4. a 5. b 6. c
Passage 2: 1. a 2. b 3. b 4. a 5. c 6. a
EXERCISE 3: Passage 1: 1. b 2. d 3. c 4. b 5. a 6. a
Passage 2: 1. c 2. c 3. b 4. d 5. c 6. a
EXERCISE 4: 1. C 2. CX 3. CX 4. CX 5. S 6. S 7. CX 8. CX 9. S
10. C 11. S 12. S 13. CX 14. S 15. S 16. S 17. C 18. S
19. S 20. CC 21. CX 22. CX 23. CX 24. CX 25. CC
EXERCISE 5: 1. p.a. 2. p.n. 3. d.o. 4. p.n. 5. o.p. 6. i.o. 7. p.n. 8. p.n.

9. o.p. 10. d.o. 11. p.n. 12. d.o. 13. p.a. 14. p.n. 15. o.p.
16. i.o. 17. o.p. 18. d.o. 19. p.n. 20. d.o. 21. p.n. 22. d.o.
23. p.a. 24. d.o. 25. o.p.
EXERCISE 6: 1. appos 2. par 3. prep 4. appos 5. prep 6. par 7. appos

8. ger 9. inf 10. par 11. inf 12. par 13. prep 14. ger 15. inf
16. prep 17. par 18. appos 19. inf 20. par
EXERCISE 7: 1. ger d.o. 2. par adj 3. ger o.p. 4. inf adj 5. par adj
6. inf d.o. 7. par adj 8. inf adv 9. inf adj 10. inf p.n.
11. par adj 12. ger o.p. 13. ger o.p. 14. inf adv 15. inf p.n.
16. inf subj 17. inf p.n. 18. par adj 19. inf adv 20. par adj
EXERCISE 8: 1. adj 2. subj 3. adv 4. d.o. 5. adj 6. o.p. 7. adj 8. o.p.

9. adj 10. p.n. 11. adv 12. d.o. 13. d.o. 14. adv 15. adv
16. d.o. 17. adv 18. adj 19. adj 20. subj
EXERCISE 9: 1. s 2. m 3. m 4. s 5. p 6. h 7. s 8. s 9. p 10. s 11. h

12. m 13. p 14. s 15. o 16. p 17. o 18. p 19. s 20. m
EXERCISE 10: 1. d 2. e 3. d 4. a 5. a 6. c 7. b 8. c 9. a 10. a 11. b

12. a 13. a 14. e 15. e 16. a 17. b 18. e 19. c 20. b
EXERCISE 11: 1. a 2. b 3. b 4. c 5. b 6. c 7. a 8. c 9. b 19. a 11. e

12. e 13. c 14. c 15. b 16. e 17. d 18. a 19. d 20. e
33
ANSWER KEY EXERCISES 1-16
EXERCISE 12: 1. b 2. b 3. b 4. a 5. c 6. d 7. b 8. e 9. c 10. d 11. d

12. b 13. d 14. c 15. d 16. c 17. b 18. b 19. b 20. b
EXERCISE 13: 1. b 2. a 3. c 4. a 5. c 6. a
EXERCISE 14: 1. b 2. c 3. a 4. c 5. c 6. d
EXERCISE 15: 1. c 2. a 3. d 4. d 5. a 6. b
EXERCISE 16: 1. a 2. c 3. c 4. a 5. c 6. d
34
LITERARY GLOSSARY Anapest. A foot of poetry with two
unaccented syllables followed by one
accented syllable. Example: disengage.
A
Anaphora. A type of repetition in
Alexandrine. A line of poetry written in which the same word or phrase is used at
iambic hexameter (six feet of iambs). the beginning of two or more sentences
or phrases.
Allegory. A story with both a literal and
symbolic meaning. Anecdote. A brief personal story about
an event or experience.
Alliteration. The repetition of initial
consonant or vowel sounds in two or Antagonist. A character, institution,
more successive or nearby words. group, or force that is in conflict with the
Example: fit and fearless; as accurate protagonist.
as the ancient author.
Antihero – A protagonist who does not
Allusion. A reference to a well-known have the traditional attributes of a hero.
person, place, event, work of art, myth,
or religion. Example: Hercules, Eden, Antimetabole. A type of repetition in
Waterloo, Prodigal Son, Superman. which the words in a successive clause
or phrase are reversed. Example: “Ask
Amphibrach. A foot of poetry with an not what your country can do for you
unaccented syllable, an accented but what you can do for your
syllable, and an unaccented syllable. country.” John F. Kennedy.
Example: another
Antiphrasis. The use of a word or
Amphimacer. A foot of poetry with an phrases to mean the opposite of the
accented syllable, an unaccented intended meaning. Example: In
syllable, and an accented syllable. Shakespeare’s Julius Caesar, Antony’s
Example: up and down. use of “. . . but Brutus is an honorable
man . . .” to convey the opposite
Anadiplosis. A type of repetition in meaning.
which the last words of a sentence are
used to begin the next sentence. Apostrophe. A figure of speech in
which the speaker directly addresses an
Analogy. A comparison of two things object, idea, or absent person. Example:
that are somewhat alike. Example: But Milton! thou should be living at this
Marlow was not typical . . . to him the hour. (London, 1802 by William
meaning of an episode was not inside Wordsworth).
like a kernel but outside, enveloping
the tale which brought it out only as a Archetypes. Primordial images and
glow brings out a haze . . . Heart of symbols that occur in literature, myth,
Darkness by Joseph Conrad. religion, and folklore. Examples:
forest, moon, stars, earth mother.
warrior, innocent child, wizard.
35
LITERARY GLOSSARY C
A Cacophony. The unharmonious

combination of words that sound harsh
Aside. In drama, lines delivered by an together.
actor to the audience as if the other
actors on stage could not hear what he is Caesura. A natural pause or break in a
saying. line of poetry. In scansion the symbol //
is used to mark a caesura.
Assonance. The repetition of vowel
sounds in two or more words that do not Canto. A section of a long poem.
rhyme. Example: The black cat
scratched the saddle. Caricature. Writing that exaggerates or
distorts personal qualities of an
Asyndeton. The omission of individual.
conjunctions in a series. Example: “ I
came, I saw, I conquered.” Julius Chiaroscuro. The contrasting of light
Caesar. and darkness.
Atmosphere. The way that setting or Cinquain. A five-line stanza.

landscape affects the tone or mood of a
work. Classicism. A literary approach that
imitates the literature and art of ancient
Greece and Rome that stresses order,
B balance, reason, and idealism.
Ballad. A songlike poem that tells a Climax. The high point in the plot,
story. Example: Barbara Allan. after which there is falling action. May
coincide with crisis.
Bathos. Sentimentality.
Colloquialism. A local expression that
Bildungsroman. A novel that deals is not accepted in formal speech or
with the coming of age or growing up of writing.
a young person from childhood or
adolescence to maturity. Example: Pip Comedy. A work of literature that has a
in Great Expectations, Huckleberry happy ending.
Finn, or Luke Skywalker in Star Wars.
Comic relief. Humorous action or lines
Blank verse. Poetry written in spoken in a serious point in a play.
unrhymed iambic pentameter. Example: Example: The Porter Scene in
Shakespeare plays. Macbeth, Act II, scene iii).
Burlesque. Low comedy, ridiculous Conceit. In poetry, an unusual,
exaggeration, nonsense. elaborate comparison. Example: John
Donne compares separated lovers to the
legs of a drawing compass.
36
LITERARY GLOSSARY Denouement. The falling action or final
revelations in the plot.
C Description. Words that paint a picture

of a person, place, or thing using details
Concrete poem. A poem that takes the and sensory imagery.
shape of its subject. Example: Easter
Wings by George Herbert). Dialect. Regional speech that identifies
a character’s social status.
Conflict. The struggle between
characters and other characters, forces of Dialogue. Conversation between two or
nature, or outside forces beyond their more characters.
control, internal conflict within a
character who struggles with moral Diction. Word choice.
choices and matters of conscience.
Doppelganger. A look-alike, double, or
Connotation. The universal twin. Example: Charles Darnay and
associations a word has apart from its Sydney Carton in A Tale of Two Cities.
definition. Example: Connotations of
the word witch are: black cat, cauldron, Double entendre. A statement that has
Halloween, broomstick, and evil spell. two meanings, one of which is
suggestive, sexual, or improper.
Consonance. The repetition of a
consonant at the end of two or more Dramatic irony. When the reader or
words. Example: Hop up the step. audience knows or understands
something that a character does not
Context. The words and phrases know.
surrounding a word.
Dramatic monologue. When a
Couplet. A pair of rhyming lines in the character speaks to a silent listener.
same meter.
Dynamic character. A character who
Crisis. The point at which the undergoes change as a result of the
protagonist experiences change, the actions of the plot and the influence of
turning point. other characters.
D Dysphemism. A coarse or rude way of

saying something. The opposite of
Dactyl. A poetic foot with one accented euphemism. Example: A euphemism
syllable followed by two unaccented for die would be pass away. A
syllables. Example: multitude. dysphemism would be croak.
Denotation. The definition or meaning

of a word.
37
LITERARY GLOSSARY Ethos. Moral nature or beliefs.
Euphemism. An indirect way of saying

D something that may be offensive.
Example: Passed away instead of died,
Dystopia. The opposite of utopia. senior citizens instead of old people.
Literally bad place. Examples of
literature about dystopia include Anthem Existentialism. 20th century philosophy
by Ayn Rand, 1984 by George Orwell, concerned with the plight of the
and Brave New World by Aldous individual who must assume
Huxley. responsibility for acts of free will.
Characteristics are alienation, anxiety,
E loneliness, absurdity. Example: The
Stranger by Albert Camus.
Elegy. A formal poem about death.
Extended metaphor. A metaphor that
Elision. The omission of part of a word. is elaborated on and developed in several
Example: o’er for over, and e’re for phrases or sentences.
ever.
Extended personification. A
Ellipsis. Three periods (. . .) that signify personification that is elaborated on and
the omission of one or more words. developed in several phrases or
sentences.
Epic. A long narrative poem about the
adventures of gods or a hero. Example: Extended simile. A simile that is
Beowulf, The Odyssey by Homer. elaborated on and developed in several
phrases or sentences.
Epilogue. A concluding statement.
F
Epiphany. A sudden insight or change
of heart that happens in an instant. Fantasy. A 20th century literary
movement characterized by plots,
Epitaph. An inscription on a tomb or characters, and settings not based in
gravestone. reality. Example: The Lord of the
Rings trilogy by J.R.R. Tolkien).
Epithet. A word or phrase describing a
quality of a person, place, or thing that is Falling action. All action that takes
repeated throughout a work. Example: place after the climax.
wine-dark sea in Homer’s The Iliad.
Farce. Comedy that involves horseplay,
Essay. A short nonfiction work about a mistaken identity, exaggeration, and
specific subject. Essays may be witty dialogue. Example: The Comedy
narrative, persuasive, descriptive, of Errors by William Shakespeare, The
expository, or argumentative. Example: Importance of Being Earnest by Oscar
Nature by Ralph Waldo Emerson. Wilde.
38
LITERARY GLOSSARY Hero/Heroine. The main character, the
protagonist whose actions inspire and
are admired.
F
Heroic couplet. In poetry, a rhymed
Fiction. Literature about imaginary pair of iambic pentameter lines.
characters and events.
Homophone. A word that sounds like
Figurative language. The use of another word but has a different spelling.
figures of speech to express ideas. Example: see/sea, two/too, here/hear,
fair/fare, threw/through.
Figures of Speech. Include metaphor,
simile, hyperbole, personification, and Hyperbole. A figure of speech that uses
oxymoron. exaggeration. Example: Our chances
are one in a million. I like this car ten
First person narration. The story is times more than our other one. I will
told from the point of view of one love you till the seas run dry.
character. Example: David Copperfield
by Charles Dickens, Huckleberry Finn I
by Mark Twain.
Iamb. A foot of poetry with one
Flashback. A plot device that allows unaccented syllable followed by one
the author to jump back in time prior to accented syllable. Example: alone.
the opening scene.
Flat character. A one-dimensional Idiom. A saying or expression that

character who is not developed in the cannot be translated literally. Example:
plot. See static character. jump down someone’s throat, smell a
rat, jump the gun, bite the dust.
Foil. A character who, through contrast,
reveals the characteristics of another Inference. Information or action that is
character. Dr. Watson is a foil to hinted at or suggested, but not stated
Sherlock Holmes. outright.
Foreshadowing. A clue that prepares Interior monologue. A device

the reader for what will happen later on associated with stream of consciousness
in the story. where a character is thinking to himself
and the reader feels like he is inside the
Free verse. Poetry that is not written in character’s mind.
consistent patterns of rhyme or meter.
Irony. The opposite of what is
expected. A reality different from
H appearance.
Heptastich. A seven-line stanza.
39
LITERARY GLOSSARY Metaphor. A figure of speech in which
one thing is said to be another thing.
Example: Her eye of ice continued to
K dwell freezingly on mine. ( Jane Eyre
by Charlotte Bronte).
Kenning. A kind of metaphor used in
Anglo-Saxon poetry to replace a Metaphysical poetry. A 17th century
concrete noun. Example: In Beowulf literary movement that includes English
the ship is called the ringed prow, the poets John Donne, George Herbert, and
foamy-necked, and the sea-farer. Andrew Marvell. Their poems featured
intellectual playfulness, paradoxes, and
elaborate conceits.
L
Meter. The rhythm in a line of poetry.
Legend. A tale or story that may or may The number and types of stresses or
not be based in fact, but which reflects beats on syllables are counted as feet.
cultural identity. Example: Legends Examples: monometer (one foot),
about King Arthur, Robin Hood, and dimeter (two feet), trimeter (three feet),
other folk heroes. tetrameter (four feet), pentameter (five
feet), hexameter (six feet), and
Litotes. Understatement that makes a heptameter (seven feet).
positive statement by using a negative
opposite. Example: He’s not a bad Metonymy. The use of an object
singer. closely associated with a word for the
word itself. Example: Using crown to
Lyric poem. A poem that expresses the mean king, or oval office to mean
emotions and observations of a single president.
speaker, including the elegy, ode, and
sonnet. Mock epic. A poem about a silly or
trivial matter written in a serious tone.
M Example: The Rape of the Lock by
Alexander Pope.
Magical realism. In 20th century art and
literature, when supernatural or magical Monologue. A speech given by one
events are accepted as being real by both person.
character and audience. Example: One
Hundred Years of Solitude by Gabriel Mood. Synonymous with atmosphere
Garcia Marquez. and tone.
Malapropism. The use of a word Motif. A recurring pattern of symbols,

somewhat like the one intended, but colors, events, allusions, or imagery.
ridiculously wrong. Example:
Huckleberry Finn’s use of diseased to Myth. A fictional tale about gods or
mean deceased. heroes. Allusions to Greek, Roman,
Norse, and Celtic myths are common in
English literature.
40
LITERARY GLOSSARY
Onomatopoeia. A figure of speech that
uses words to imitate sound. Example:
N clink, buzz, hum, splash, hiss, boom.
Narrative poem. A poem that tells a Ottava rima. A stanza containing eight
story. Example: ballads (Barbara iambic pentameter lines with the rhyme
Allen) and epics (Beowulf, The Rime of scheme abababcc. Example: Sailing to
the Ancient Mariner). Byzantium by William Butler Yeats.
Narrator. The person telling the story. Oxymoron. A figure of speech that
combines words that are opposites.
Naturalism. A late 19th century literary Example: sweet sorrow, dark victory,
movement that viewed individuals as jumbo shrimp.
fated victims of natural laws. Example:
To Build a Fire by Jack London. P
Neoclassicism. A literary movement Parable. A story that teaches a lesson.
during the Restoration and 18th century
(1660-1798) characterized by Greek and Paradox. A statement that on the
Roman literary forms, reason, harmony, surface seems a contradiction, but that
restraint, and decorum. actually contains some truth. Example:
For when I am weak, then I am
Nonfiction. Prose writing about real strong. Saint Paul.
people, places, things, or events.
Paraphrase. The restatement of a
Novel. A long work of fiction that has phrase, sentence, or group of sentences
plot, characters, themes, symbols, and using different words that mean the same
settings. as the original.
Novella. A lengthy tale or short story. Parallelism. Arranging words and
phrases consistently to express similar
O ideas. Example: I like to hike, fishing,
and swimming. (Incorrect) I like hiking,
Octave. An eight-line stanza. fishing, and swimming. (Correct).
Parataxis. Sentences, phrases, clauses,

Ode. A long, formal poem with three or words arranged in coordinate rather
alternating stanza patterns: strophe, than subordinate construction. Example:
antistrophe, and epode. Every little while he locked me in and
went down to the store, three miles, to
Omniscient narrator. When the the ferry, and traded fish and game
narrator’s knowledge extends to the for whisky, and fetched it home and
internal thoughts and states of mind of got drunk and had a good time, and
all characters. Example: The Pearl by licked me. (Huckleberry Finn by Mark
John Steinbeck. Twain).
41
LITERARY GLOSSARY Picaresque. A story told in episodes
where the protagonist has adventures
and may be a rascal. Example:
P Huckleberry Finn by Mark Twain.
Parody. Witty writing that imitates and Plot. The sequence of events in a story.
often ridicules another author’s style.
Example: Ancient Mariner Dot Com Poetic devices. Words with harmonious
is a parody of The Rime of the Ancient sounds including assonance,
Mariner. consonance, alliteration, repetition,
and rhyme.
Pastoral. A poem set among shepherds
or rural life. Point of view. The perspective from
which a story is told.
Pathos. Pity, sympathy, or sorrow felt
by the reader in response to an author’s Polysyndeton. The overuse of
words. conjunctions in a sentence.
Pentameter. Five feet of verse in a Postmodern. Contemporary fiction

poem. characterized by an antihero and
experimental style.
Peroration. The last lines of an oration
in which the major points are Prose. Written language that is not
summarized. poetry, drama, or song. Prose can be
fiction or nonfiction.
Persona. The voice in a work of
literature. The persona may be the Protagonist. The main character.
narrator or the author who uses the
narrator to express ideas. Pun. A play on words. Example: He
wanted to become a chef, but he didn’t
Personification. A figure of speech that have the thyme.
attributes human qualities to an
inanimate object. Example: The wind Pyrrhic. A foot of poetry with two
sighed. The moon hid behind the successive unaccented syllables.
clouds. Example: unsinkable.
Petrarchan sonnet. A sonnet divided Q

into two parts: 8 line octave that rhymes
abba abba, 6 line sestet that rhymes cde
cde. The octave presents a situation or Quatrain. A four-line stanza.
problem, and the sestet solves the
problem. Also called an Italian sonnet. R
Realism. Writing that is characterized
by details of everyday life.
42
LITERARY GLOSSARY Romanticism. 18th-19th century literary
movement that portrayed the beauty of
untamed nature, emotion, the nobility of
R the common man, rights of the
individual, spiritualism, folklore and
Refrain. Regularly repeated line or myth, magic, imagination, and fancy.
group of lines in a poem or song.
Round character. A complex character
Regionalism. Writing about a specific who undergoes change during the course
geographic area using speech, folklore, of the story. Example: Sydney Carton
beliefs, and customs. in A Tale of Two Cities.
Repartee. A comeback, a quick Run-on line. In poetry a line that does

response. not stop, but continues to the next line.
Repetition. A poetic device that uses S

the repeating of words, sounds, phrases,
or sentences. Sarcasm. A bitter remark intending to
hurt and express disapproval.
Rhetoric. The art of persuasion. Words
used to persuade. Satire. Writing that blends humor and
wit with criticism of institutions or
Rhyme. Words with identical sounds, mankind in general. Noted satirists
but different spellings. Example: include Chaucer, Dante, Voltaire,
cat/hat, glare/air, tight/write. Moliere, Swift, and Twain.
Rhyme scheme. The pattern of rhyming Scansion. The process of determining

words. The last word in each line is the meter of a poem. Stressed syllables
assigned a letter of the alphabet are marked with a slanted line over the
beginning with a. Example: If the last sound. Unstressed syllables are marked
words in each of four lines are me (a), with a horseshoe over the sound. When
grave (b), see (a), and save (b), the the pattern emerges, one can then
rhyme scheme is abab. determine the meter and number of feet
in a line of poetry.
Rising action. The path of the plot
leading to the climax. Sensory imagery. Language that
evokes images and triggers memories in
Romance. A story about distant, the reader of the five senses: sight,
imagined events as opposed to realistic sound, touch, taste, and smell.
experience. Originally referred to
medieval tales about knights and nobles. Sestet. A six-line stanza.
Modern usage refers to sentimental love
stories. Setting. The time and place where a
story takes place.
43
LITERARY GLOSSARY Static character. A character who
changes little in the course of the story.
Example: Jerry Cruncher in A Tale of
S Two Cities, Tom Sawyer in Huckleberry
Finn.
Shakespearean sonnet. A sonnet with
three four-line quatrains and a two-line Stream of Consciousness. A narrative
couplet that ends the poem and presents technique that imitates the stream of
a concluding statement. The rhyme thought in a character’s mind. Example:
scheme is abab cdcd efef gg. Also The Sound and the Fury by William
called an English sonnet. Faulkner.
Short story. A brief work of fiction Style. The individual way an author
with a simple plot, and few characters writes.
and settings.
Subplot. A minor or secondary plot that
Simile. A figure of speech that complicates a story. Example: Mr.
compares two things that are not alike, Micawber and his family in David
using the words like, as, or than. Copperfield by Charles Dickens.
Example: eyes gleaming like live coals,
as delicate as a snowflake, colder than Surrealism. 20th century art, literature,
ice. and film that juxtaposes unnatural
combinations of images for a fantastic or
Soliloquy. A long speech made by a dreamlike effect.
character who is alone, who reveals
private thoughts and feelings to the Suspense. Anticipation of the outcome.
reader or audience.
Symbol. Something that stands for
Sonnet. A fourteen-line lyric poem something else. Example: the albatross
about a single theme. (guilt) in The Rime of the Ancient
Mariner; the handkerchief (infidelity)
Speaker. The imaginary voice that tells in Othello, the red letter A (adultery) in
a poem. The Scarlet Letter.
Spenserian stanza. A stanza with nine Synecdoche. A figure of speech in

iambic lines rhymed ababbcbcc. All which the part symbolizes the whole.
lines are pentameters except the last line Example: All hands on deck, I’ve got
written in hexameter or alexandrine. some new wheels.
Spondee. A foot of poetry with two Syntax. Word order, the way in which
equally strong stresses. Example: words are strung together.
bathtub, workday, swing shift.
Stanza. Lines of poetry considered as a

group.
44
LITERARY GLOSSARY U
Understatement. Saying less than is
T actually called for. Example: referring
to an Olympic sprinter as being pretty
Tercet. A three-line stanza. fast.
Terza rima. A three-line stanza first Unreliable narrator. A narrator who is

used by Dante Alighieri in his The not credible when it comes to telling the
Divine Comedy. The first and last lines story. Example: Chief Bromden in
of each tercet rhyme. The middle line of One Flew Over the Cuckoo’s Nest or
the first tercet rhymes with the first and Victor Frankenstein in Frankenstein.
last lines of the next tercet, aba bcb cdc
ded. Utopia. A perfect or ideal world.
Theme. A central idea. W

Third person narration. When a story Wordplay. Verbal wit.
is told by a voice from outside the story.
Example: Ethan Frome by Edith
Wharton.
Tone. The attitude toward a subject or

audience implied by a work of literature.
Trochee. A foot of poetry consisting of

one accented syllable followed by one
unaccented syllable. Example: monkey
Trancendentalism. A 19th century

American philosophical and literary
movement that promoted the belief that
intuition and conscience transcend
experience and are therefore better
guides to truth than logic and the senses.
Characteristics are respect for the
individual spirit, the presence of the
divine in nature, the belief that divine
presence is everywhere (the Over-Soul, a
concept influenced by Hinduism).
Trope. In rhetoric, a figure of speech

involving a change in meaning, the use
of a word in a sense other than the
literal.
45
GRAMMAR GLOSSARY
Antecedent. A word or group of words
that a pronoun refers to or replaces.
A Example: He had a conscience, and it
was a romantic conscience. (Lord Jim
Abbreviation. A shortened form of a by Joseph Conrad).
word, usually followed by a period.
Example: Mr., Dr., U.S.A. Mrs. Apostrophe. A punctuation mark (‘)
Bennet’s best comfort was that Mr. used in contractions to replace a letter,
Bingley must be down again in summer. or added to the last letter of a noun
(Pride and Prejudice by Jane Austen). followed by an s to indicate possession.
Example: Don’t turn me out of doors
Active voice. A verb is active if the to wander in the streets again. (Oliver
subject of the sentence is performing Twist by Charles Dickens).
the action. Example: Rikki-Tikki shook
some of the dust out of his fur and Appositive. A noun, pronoun, or
sneezed. (Rikki-Tikki-Tavi by Rudyard phrase that identifies or extends
Kipling). information about another noun or
pronoun in a sentence. Example:
Adjective. A word that describes. At the man’s heels trotted a dog,
An adjective modifies a noun or a big native husky, the proper wolf
pronoun. Example: Human madness dog. (To Build a Fire by Jack London).
is oftentimes a cunning and most
feline thing. (Moby Dick by Herman C
Melville).
Capitalization. The following words
Adjective clause. A clause that are capitalized: brand names, business
modifies a noun or pronoun. Example: firms, calendar items, course names with
The mother who lay in the grave, was numbers, first word of a direct quotation,
the mother of my infancy. (David first word of a line of poetry, first word
Copperfield by Charles Dickens). of a sentence, geographical names,
government bodies, historical events,
Adverb. A word that describes a verb, institutions, interjections, languages,
explaining where, when, how, or to what proper nouns, proper adjectives, races,
extent. An adverb modifies a verb, religions, school subjects, seasons, special
adjective, or another adverb. Example: events, titles of persons, publications,
The time I spent upon the island is still works of art, movies, novels, plays, poems,
so horrible a thought to me, that I must short stories, screenplays, essays, and
pass it lightly over. (Kidnapped by speeches, words referring to Deity, words
Robert Louis Stevenson). showing family relationship. Example:
The Pontelliers possessed a very charming
Adverb clause. A clause that modifies home on Esplanade Street in New Orleans.
a verb, adjective, or another adverb. (The Awakening by Kate Chopin).
Example: As she kissed me, her lips
felt like ice. (Wuthering Heights by
Emily Bronte).
46
Comma. A punctuation mark (,)
GRAMMAR GLOSSARY used after the salutation and closing
of a letter, between parts of a
C compound sentence, in a series,
after an introductory clause or
Clause. A group of words that has a prepositional phrase, to set off
subject and a predicate. Clauses begin appositives and nonessential phrases
with the words: as, that, what, where, and clauses, with coordinate adjectives,
which, who, whose, until, since, although, with dates and addresses, parenthetical
though, if, than. Example: At seven in expressions, quotation marks, and two
the morning we reached Hannibal, or more adjectives. Example: They
Missouri, where my boyhood was talked much of smoke, fire, and blood,
spent. (Life on the Mississippi by but he could not tell how much might
Mark Twain). be lies. (The Red Badge of Courage
by Stephen Crane).
Closing. In a letter, the words preceding
the signature at the end of a letter. Common noun. A word that names a
Example: Love, Best regards, Yours person, place, or thing. Example: A
truly, Sincerely. Example: Your night on the sea in an open boat is a
unworthy and unhappy friend, Henry long night. (The Open Boat by
Jekyll (Dr. Jekyll and Mr. Hyde by Stephen Crane).
Robert Louis Stevenson).
Complement. A word that completes
Collective noun. A singular noun that the meaning of an active verb. (direct
names a group of persons or things. object, indirect object, predicate
Example: crowd, public, family, swarm, adjective, and predicate nominative.
club, army, fleet, class, audience. As for
the crew, all they knew was that I was Complex sentence. One independent
appointed to take the ship home. (The clause and one or more subordinate
Secret Sharer by Joseph Conrad). clauses. Example: About midnight,
while we still sat up, the storm came
Colon: A punctuation mark (:) used rattling over the Heights in full fury.
after any expression meaning “note (Wuthering Heights by Emily Bronte).
this.” Also used after the salutation in
a business letter, before a list, between Compound adjective. An adjective
hour and minute, biblical chapters and formed by two words separated by a
verses, and volumes and pages. A colon hyphen and treated as one word.
never follows a verb or preposition. Example: He is a sweet-tempered,
Example: I had three chairs in my amiable, charming man. (Pride and
house: one for solitude, two for Prejudice by Jane Austen).
friendship, three for society. (Walden
by Henry David Thoreau).
47
GRAMMAR GLOSSARY Compound subject: Two or more
subjects that share the same verb.
Example: Bartleby and I were alone.
C (Bartleby the Scrivener by Herman
Melville).
Compound complement. Two or more
words used as direct objects of the same Compound verb. Two or more verbs
verb, objects of the same preposition, that share the same subject. Example:
predicate nominatives or predicate He rose, dressed, and went on deck.
adjectives of the same verb, or indirect (Benito Cereno by Herman Melville).
objects of the same understood
preposition. Example: I have a rosy Conjunction. A word that connects
sky and a green flowery Eden in my words or groups of words. Examples:
brain. (Jane Eyre by Charlotte Bronte). and, or, nor, but, yet, for, so. Every
little while he locked me in and went
Compound-complex sentence. Two or down to the store, three miles, to the
more independent clauses and one or ferry, and traded fish and game for
more subordinate clauses. Example: whisky, and fetched it home and got
It is an honest town once more, drunk and had a good time, and licked
and the man will have to rise early me. (Huckleberry Finn by Mark Twain).
that catches it napping again. (The
Man That Corrupted Hadleyburg by Contraction. A word formed by
Mark Twain). combining two words, using an
apostrophe to replace any missing
Compound noun. A noun composed of letters. Example: Denmark’s a
more than one word. Example: The kiss prison. (Hamlet by William Shakespeare).
was a turning-point in Jude’s career.
(Jude the Obscure by Thomas Hardy). D
Compound preposition. A preposition Dash. A punctuation mark used to
composed of more than one word. set off abrupt change in thought, an
Example: because of, on account of, in appositive, a parenthetical expression
spite of, according to, instead of, out of. or an appositivethat contains commas.
Example: The sun came up upon the Example: My brother fired – once –
left, out of the sea came he! (The Rime twice – and the booming of the gong
of the Ancient Mariner by Samuel ceased. (The Lagoon by Joseph Conrad).
Taylor Coleridge).
Declarative sentence. A sentence that
Compound sentence. A sentence makes a statement. Example: I was
consisting of two or more independent born a slave on a plantation in Franklin
clauses. Example: I was now about County, Virginia. (Up From Slavery by
twelve years old, and the thought of Booker T. Washington).
being a slave for life began to bear
heavily upon my heart. (Narrative of
the Life of Frederick Douglass).
48
GRAMMAR GLOSSARY Essential phrase or clause. Necessary
to the meaning of a sentence and
therefore not set off with commas.
D Also called restrictive. Example:
Ethan was ashamed of the storm
Demonstrative pronoun. A pronoun of jealousy in his breast. (Ethan
used to point out a specific person, place, Frome by Edith Wharton).
thing, or idea. Example: this, that, these,
those. This was the noblest Roman of Exclamation point. A punctuation
them all. (Julius Caesar by mark (!) used after an interjection and
William Shakespeare). at the end of an exclamatory sentence.
Example: Scrooge, having no better
Dependent clause. Another name for answer ready on the spur of the moment,
subordinate clause. said “Bah!” again; and followed it up
with “Humbug!” (A Christmas Carol
Direct object. A noun or pronoun that by Charles Dickens).
receives the action of the verb.
Example: I sound my barbaric yawp Exclamatory sentence. Expresses
over the roofs of the world. (Song of strong emotion and ends with an
Myself by Walt Whitman). exclamation point. Example: O Romeo,
Romeo, brave Mercutio is dead!
(Romeo and Juliet by William
Direct quotation. The exact words Shakespeare).
spoken. Quotation marks are used
before and after a direct quotation. Expletive. A word inserted in the subject
Example: “I have the advantage of position of a sentence that does not add to the
knowing your habits, my dear sense of the thought. Example: There is only
Watson,” said he. (The Crooked one thing in the world worse than being talked
Man by Arthur Conan Doyle). about, and that is not being talked about.
(The Picture of Dorian Gray by Oscar Wilde).
E
G
Elliptical clause. A subordinate clause
in which a word or words are omitted, Gerund. A verbal ending in ing used as
but understood. Example: I thought a noun. Example: Saying is one thing,
[that] the heart must burst. (The and paying is another. (The Mayor of
Tell-Tale Heart by Edgar Allan Poe). Casterbridge by Thomas Hardy).
Ellipsis. A punctuation mark (. . .) Gerund phrase. A gerund with all of
indicating the omission of words or its modifiers. Example: The coming
a pause. Example: “Oh! Ahab,” cried of daylight dispelled his fears, but
Starbuck . . . “See! Moby Dick seeks increased his loneliness. (White Fang
thee not.” (Moby Dick by Herman by Jack London).
Melville).
49
GRAMMAR GLOSSARY Independent clause. A clause that
expresses a complete thought and can
stand alone as a sentence. Example:
H The artist must possess the courageous
soul that dares and defies. (The
Helping verbs. A verb that precedes the Awakening by Kate Chopin).
main verb. Example: am, is, are, has
have, had, shall, will, can, may, should, Indirect object. A noun or pronoun
would, could might, must, do, did, does. that precedes a direct object and answers
And the Raven, never flitting, still is the questions to or for whom? or to or for
sitting, still is sitting on the pallid bust of what? Example: The horse made me a
Pallas just above my chamber door. sign to go in first. (Gulliver’s Travels by
(The Raven by Edgar Allan Poe). Jonathan Swift)
Hyphen. Punctuation mark (-) used to Infinitive. A verbal that begins with
divide words at the end of a line, to that is used as a noun, adjective, or
between certain numbers (sixty-two), to adverb. Example: to walk, to read,
separate compound nouns and to imagine. I sold the watch to get the
adjectives, between some prefixes and money to buy your combs. (The Gift
suffixes and their root words. Example: of the Magi by O. Henry).
Why didn’t you tell me there was danger
in men-folk? (Tess of the D’Urbervilles Infinitive phrase. An infinitive with its
by Thomas Hardy). object and modifiers. Example: To see
him leap and run and pursue me over
hedge and ditch was the worst of
I nightmares. (Treasure Island by Robert
Louis Stevenson).
Imperative sentence. A sentence that
gives a command or makes a request. Interjection. A word that is used to
Example: Fetch me the handkerchief! express strong feeling that is not related
(Othello by William Shakespeare). grammatically to the rest of the sentence.
Example: Oh! No mortal could support
Indefinite pronoun. A word that refers the horror of that countenance.
to an unnamed person or thing. (Frankenstein by Mary Shelley).
Example: All, any, anybody, anything,
both each, either everybody, everyone Interrogative sentence. A sentence
everything, few, many, most, neither, that asks a questions and ends with a
nobody, none no one, nothing, others, question mark. Example: Is there no
several, some someone, something. By pity sitting in the clouds that sees into
the pricking of my thumbs, something the bottom of my grief? (Romeo and
wicked this way comes. (Macbeth by Juliet by William Shakespeare).
William Shakespeare).
Intransitive verb. A verb that does not
require an object. Example: By degrees
Rip’s awe and apprehension subsided.
(Rip Van Winkle by Washington Irving).
50
GRAMMAR GLOSSARY N
I Nominative pronoun. A pronoun

used as a subject or predicate
Inverted order. A sentence that does nominative. Example: I am a man
not follow the typical order of more sinned against than sinning.
subject-verb-object. Example: Work (King Lear by William Shakespeare).
in the coal mine I always dreaded. (Up
From Slavery by Booker T. Washington). Nonessential phrase or clause. Not
necessary to the meaning of a sentence
Irregular verb. A verb that does not and therefore set off with commas.
form the past tense or past participle Also called nonrestrictive. Example:
by adding ed or d to the present tense. There stood, facing the open window,
Example: But at night came his a comfortable, roomy armchair. (The
revelry: at night he closed his shutters, Story of an Hour by Kate Chopin).
and made fast his doors, and drew out
his gold. (Silas Marner by Geroge Eliot). Noun. A word that names a person,
place, thing, or idea. Example: This
time he was aware that it was the club,
L but his madness knew no caution.
(The Call of the Wild by Jack London).
Linking verb. A verb that links the
subject with a predicate nominative Noun clause. A subordinate clause used
or a predicate adjective. Example: as a subject, direct object, object of a
is, became, remain, look, appear, seem. preposition, appositive, or predicate
Example: Miss Daisy Miller looked nominative. Example: What saves us
extremely innocent. (Daisy Miller by is efficiency – the devotion to efficiency.
Henry James). (Heart of Darkness by Joseph Conrad).
Loose sentence. An independent clause O

followed by a dependent clause.
Example: I didn’t go shopping Object of preposition. The noun or
because it was raining. pronoun with its modifiers that follows
a preposition. Example: Along the Paris
streets, the death-carts rumble hollow and
M harsh. (A Tale of Two Cities by
Charles Dickens).
Modifiers. Words that describe or
provide more meaning to a word. Objective case. Pronouns used as direct
Modifiers include adjectives, adverbs, objects, indirect objects, or as objects of
articles, prepositional phrases, verbals, a preposition. Example: For he today
and clauses. that sheds his blood with me shall be my
brother. (Henry V by William
Shakespeare).
51
GRAMMAR GLOSSARY Passive voice. Indicates that the subject
receives the action of the verb in a
sentence. Example: The red sun was
O pasted in the sky like a wafer. (The Red
Badge of Courage by Stephen Crane).
Objective complement. A noun or adjective
that renames or describes a direct object. Period. A punctuation mark (.) used
Example: O God, I could be bounded at the end of a declarative sentence or
in a nutshell and count myself a king of an abbreviation. Example: Such are
infinite space, were it not that I have bad the true facts of the death of Dr.
dreams. (Hamlet by William Shakespeare). Grimesby Roylott, of Stoke Moran.
(The Adventure of the Speckled Band
P by Arthur Conan Doyle).
Parallelism. Arranging words and Periodic sentence. A dependent clause

phrases consistently to express similar followed by an independent clause.
ideas. Example: I like to hike, fishing, Example: Because it was raining, I
and swimming. (Incorrect) I like hiking, didn’t go shopping.
fishing, and swimming. (Correct).
Personal pronoun. Refers to a
Parenthetical expression. Words that particular person, place, thing, or idea.
are not grammatically related to the rest Example: I, me, we, us, you, he, him,
of a sentence, set off by parentheses (( )). she, her, it, they, them.
Example: He had passed his life in
estimating people (it was part of the Phrase. A group of related words
medical trade), and in nineteen cases that do not have a subject or a verb.
out of twenty he was right. (Washington Example: Climbing to a high chamber,
Square by Henry James). in a well of houses, he threw himself
down in his clothes on a neglected
Participial phrase. A participle with its bed, and its pillow was wet with
modifiers and complements. Example: wasted tears. (A Tale of Two Cities
In the morning, looking into each by Charles Dickens).
other’s faces, they read their fate. (The
Outcasts of Poker Flat by Bret Harte). Possessive pronoun. A pronoun form
used to show ownership. Example: my,
Participle. A verbal ending in ing, mine, our, ours, your, yours, his, hers, its,
ed, d, or an irregular form that is used their, theirs. My Intended, my ivory ,my
as an adjective. Example: I am not station, my river, my – everything belonged
in the giving vein today. (Richard III to him. (Heart of Darkness by Joseph Conrad).
by William Shakespeare).
Predicate. A group of word or words
Parts of Speech. The parts of speech that tells something about the subject.
are verb, noun, adjective, adverb, Example: Joe laid his hand upon my
preposition, pronoun, interjection, and shoulder with the touch of a woman.
conjunction. (Great Expectations by Charles
Dickens).
52
GRAMMAR GLOSSARY Pronoun. A word that takes the
place of one or more nouns. Example:
Do all men kill the things they do
P not love? (The Merchant of Venice
by William Shakespeare).
Predicate adjective. An adjective that
modifies the subject in a sentence with a Proper adjective. A capitalized
linking verb. Example: No one is so adjective formed from a proper
thoroughly superstitious as the godless noun. Example: I changed to the
man. (Uncle Tom’s Cabin by Harriet Illinois edge of the island to see
Beecher Stowe). what luck I could have, and I
warn’t disappointed. (Huckleberry
Predicate nominative. A noun or Finn by Mark Twain).
pronoun that identifies, renames, or
explains the subject in a sentence with a Proper noun. A capitalized noun that
linking verb. Example: The scarlet names a particular person, place, thing,
letter was her passport into regions or idea. Example: This is Inspector
where other women dared not tread. Newcomen of Scotland Yard.
(The Scarlet Letter by Nathaniel (Dr. Jekyll and Mr. Hyde by Robert
Hawthorne). Louis Stevenson).
Prefix. A word part added to the
beginning of a word to change its Punctuation. Punctuation marks
basic meaning. Example: Do your include apostrophe, colon, comma,
work and you shall reinforce yourself. dash, ellipsis, exclamation point,
(Self-
Reliance by Ralph Waldo Emerson). hyphen, period, question mark,
quotation marks, and semicolon.
Preposition. A word that shows the
relationship between a noun or Q
pronoun and another word in a
sentence. Example: I had worked Question mark. A punctuation
hard for nearly two years, for the mark (?) used to indicate a question
sole purpose of infusing life into an or to end an interrogative sentence.
inanimate body. (Frankenstein by Example: Who in the rainbow can
Mary Shelley). show the line where the violet tint
ends and the orange tint begins?
Prepositional phrase. A group of (Billy Budd by Herman Melville).
words that begins with a preposition,
ends with a noun or pronoun, and is Quotation mark. Punctuation mark (‘)
used as an adjective or an adverb. used to enclose a quotation or title within
Example: The mass of men lead a quotation. Example: “There’s a charming
lives of quiet desperation. piece of music by Handel called ‘The
(Walden by Henry David Thoreau). Harmonious Blacksmith.’” (Great
Expectations by Charles Dickens).
53
GRAMMAR GLOSSARY Restrictive phrase or clause. Another
name for essential phrase or clause.
Q S
Quotation marks. Punctuation mark (“)
used at the beginning and end of a Salutation. The opening greeting that
direct quotation, to enclose titles of comes before the body of a letter. Use a
art works, chapters, articles, short comma after the salutation in a friendly
stories, poems, songs, and other parts letter and a colon after the salutation in a
of books or magazines. Example: business letter. My Dear Victor,
Here in Milan, in an ancient (Frankenstein by Mary Shelley).
tumbledown ruin of a church, is the
mournful wreck of the most celebrated Semicolon. A punctuation mark (;)
painting in the world – “The Last used to separate the independent clauses
Supper,” by Leonardo da Vinci. (The of a compound sentence that are not
Innocents Abroad by Mark Twain). joined by conjunctions, before certain
transitional words (however, furthermore,
moreover, therefore, etc.), and between
R items in a series if the items contain
commas. Example: Cowards die
Reflexive pronoun. A pronoun formed many times before their deaths; the
by adding self or selves to a personal valiant never taste of death but once.
pronoun. Example: myself, yourself, (Julius Caesar by William Shakespeare).
himself, herself, itself, ourselves,
yourselves, themselves. The fault, Sentence. A group of words with a
dear Brutus, is not in our stars, but in subject and a verb that expresses a
ourselves, that we are underlings. complete thought. Example: The odor
(Julius Caesar by William Shakespeare). of the sharp steel forced itself into
my nostrils. (The Pit and the
Regular verb. A verb that forms its Pendulum by Edgar Allan Poe).
past tense and past participle by adding
ed or d to the present tense. Example: Sentence fragment. A group of words
He ordered me like a dog, and I that lacks either a subject or a verb that
obeyed like a dog. (David Copperfield does not express a complete thought.
by Charles Dickens). Example: Scrooge! a squeezing,
wrenching, grasping, scraping,
Relative pronoun. A pronoun that clutching, covetous old sinner! (A
relates an adjective clause to its Christmas Carol by Charles Dickens).
antecedent. Example: who, whom,
whose, which, that. Note: Adjective Series. Three or more words or phrases
clauses sometimes begin with where in succession separated by commas or
and when. Example: There was semicolons. Example: At a table he sat
things which he stretched, but and consumed beefsteak, flapjacks,
mainly he told the truth. (Huckleberry doughnuts, and pie. (The Cop and the
Finn by Mark Twain). Anthem by O. Henry).
54
GRAMMAR GLOSSARY T
Tense. The form a verb takes to show
S time. Example: present, past, future,
present perfect, past perfect, and future
Simple predicate. The verb. The main perfect. Example: We will have rings
word or phrase in the complete and things and fine array. (The Taming
predicate. Example: This cold night of the Shrew by William Shakespeare).
will turn us all to fools and madmen.
(King Lear by William Shakespeare). Transitive verb. An action verb that
requires an object. Example: Vanity,
Simple sentence. A sentence that is one working on a weak head, produces
independent clause. Example: Tom every sort of mischief. (Emma by
appeared on the sidewalk with a bucket Jane Austen).
of whitewash and a long-handled brush.
(Tom Sawyer by Mark Twain).
U
Subject. A word or group of words that
names the person, place, thing, or idea Understood subject. A subject that is
the sentence is about. Example: A long, understood rather than stated. Example:
low moan, indescribably sad, swept over [You] Give me the worst first. (A Tale
the moor. (The Hound of the of Two Cities by Charles Dickens).
Baskervilles by Arthur Conan Doyle).
V
Subordinate clause. A clause that
cannot stand alone as a sentence Verb. A word or words that show the
because it does not express a complete action in the sentence and tell what the
thought. Also called a dependent clause. subject is doing. Example: A girl learns
Example: As Ichabod approached many things in a New England village.
this fearful tree, he began to whistle. (The House of the Seven Gables by
(The Legend of Sleepy Hollow by Nathaniel Hawthorne).
Washington Irving).
Verbal. A verb form used as
Suffix. A word part added to the some other part of speech. The
end of a word that changes its meaning. three verbals are: participles,
Example: A minority is powerless gerunds, and infinitives.
while it conforms to the majority.
(Civil Disobedience by Henry Verbal phrase. The main verb
David Thoreau). plus one or more helping verbs.
Example: would have made,
will be going, should do.
After such a fall as this, I
shall think nothing of tumbling
downstairs! (Alice’s Adventures in
Wonderland by Lewis Carroll.
55

Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson

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Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson

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The Grammardog Guide to

Dr. Jekyll and

All exercises use sentences from the novel.

Visit the website at www.grammardog.com

Copyright © 2005 Grammardog.com L.L.C.

Exercise 1 -- Parts of Speech ....3

Exercise 2 -- Proofreading: Spelling, Capitalization, Punctuation . . . . 5

Exercise 3 -- Proofreading: Spelling, Capitalization, Punctuation . . . . 6

Exercise 4 -- Simple, Compound, Complex Sentences ....7

Exercise 5 -- Complements ....9

Exercise 7 -- Verbals: Gerunds, Infinitives, and Participles . . . 13

Exercise 9 -- Style: Figurative Language . . . 17

Exercise 10 -- Style: Poetic Devices . . . 19

Exercise 11 -- Style: Sensory Imagery . . . 21

Exercise 12 -- Style: Allusions and Symbols . . . 23

Exercise 13 -- Style: Literary Analysis – Selected Passage 1 . . . 25

Exercise 14 -- Style: Literary Analysis – Selected Passage 2 . . . 27

Exercise 15 -- Style: Literary Analysis – Selected Passage 3 . . . 29

Exercise 16 -- Style: Literary Analysis – Selected Passage 4 . . . 31

Answer Key Answers to Exercises 1-16 . . . 33

Glossary -- Definitions of Terms Used in Literary Analysis . . . 35

EXERCISE 1 PARTS OF SPEECH

____2. “Hm,” said Mr. Utterson. “What sort of a man is he to see?”

____4. “You are sure he used a key?” he inquired at last.

____7. “Here is another lesson to say nothing,” said he.

____8. “I thought it was madness,” he said, as he replaced the obnoxious paper

____11. “I wish the friends were younger,” chuckled Dr. Lanyon.

EXERCISE 1 PARTS OF SPEECH

____17. A flash of odious joy appeared upon the woman’s face.

____18. “Ah!” said she, “he is in trouble! What has he done?”

____19. Mr. Utterson and the inspector exchanged glances.

____22. But Lanyon’s face changed, and he held up a trembling hand.

EXERCISE 2 PROOFREADING: SPELLING, CAPITALIZATION, PUNCTUATION

____1. a. Spelling ____1. a. Spelling

____2. a. Spelling ____2. a. Spelling

____3. a. Spelling ____3. a. Spelling

____4. a. Spelling ____4. a. Spelling

____5. a. Spelling ____5. a. Spelling

____6. a. Spelling ____6. a. Spelling

EXERCISE 3 PROOFREADING: SPELLING, CAPITALIZATION, PUNCTUATION

____1. a. Spelling ____1. a. Spelling

____2. a. Spelling ____2. a. Spelling

____3. a. Spelling ____3. a. Spelling

____4. a. Spelling ____4. a. Spelling

____5. a. Spelling ____5. a. Spelling

____6. a. Spelling ____6. a. Spelling

EXERCISE 4 SIMPLE, COMPOUND, AND COMPLEX SENTENCES

____1. “It sounds nothing to hear, but it was hellish to see.”

____6. And at last his patience was rewarded.

EXERCISE 4 SIMPLE, COMPOUND, AND COMPLEX SENTENCES

____4. This document had long been the lawyer’s eyesore.

____11. “Why, money’s life to the man.”

____12. “Have you the envelope?” he asked.

____13. The quarrel with Lanyon was incurable.

____14. Expense is no consideration.

____16. “We give you ten minutes, to get to your stations.”

____23. Small indeed was my appetite.

____24. The laboratory door I had closed.

____3. “Let us make a bargain never to refer to this again.”

____12. Utterson reflected a little, looking in the fire.

____15. “I should like to hear your views on that,” replied Utterson.

____19. Here I proceeded to examine its contents.

EXERCISE 7 VERBALS: GERUNDS, INFINITIVES, AND PARTICIPLES

____ ____1. I had taken a loathing to my gentleman at first sight.

1. a. Spelling 1. a. Spelling

2. a. Spelling 2. a. Spelling

3. a. Spelling 3. a. Spelling

4. a. Spelling 4. a. Spelling

5. a. Spelling 5. a. Spelling

6. a. Spelling 6. a. Spelling

1. a. Spelling 1. a. Spelling

2. a. Spelling 2. a. Spelling

3. a. Spelling 3. a. Spelling

4. a. Spelling 4. a. Spelling

5. a. Spelling 5. a. Spelling

6. a. Spelling 6. a. Spelling

1. I had taken a loathing to my gentleman at first sight.

13. Here, at last, I had a chance of clearly seeing him.