8/25/2020 6 Ways to Study English Literature - wikiHow

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How to Study English Literature

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Last Updated: August 20, 2020 References Approved

English Literature is a complex subject, and many students end up having to study it at
some point. With so many things to keep track of, it can feel overwhelming to even
decide where to start. Whether you’re studying for a test, an AP exam, or a college
course, you can take some steps to help you achieve your goals.

Method
1 Laying the Groundwork

Start early. Don’t wait to study until the night before a big exam!
1 Particularly with a subject such as English literature, where you will
probably be asked analytical questions as well as content questions, you
must have time to familiarize yourself with some of the complexities of your
material. Being able to summarize the plot or name some characters is
material
unlikely to be all you’ll need to do.

Examine what you already know. Write out all the details you can
2 remember from your first reading of the text, as well as anything you
remember from your course lectures. Don’t “cheat” by looking at your notes or
your text -- just write down what you are confident you remember. This will be
your starting base and will reveal any gaps in your knowledge.

Consider whether there are literary terms you’re unfamiliar with.

3 Many tests and exams in English literature want you to be familiar with
some key terms, such as stanza, irony, alliteration, speaker, and figurative
language. While you’re not likely to be expected to have comprehensive
knowledge of literary terminology, understanding some of these key concepts
will be important to your success. There are many guides available that can

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help you find definitions for important literary concepts, but here are a few
crucial terms:
A stanza is a poetic division of lines and is equivalent to the paragraph in
prose writing. Usually, stanzas are at least three lines long; groups of two
lines are usually called “couplets.”[1]
Irony at its basic level says one thing but means another, which is almost
always the opposite of what is actually said. For example, a character
who meets someone in a raging blizzard might say “Lovely weather we’re
having, isn’t it?” This is ironic because the reader can see that it is clearly
not lovely weather. William Shakespeare, Jane Austen, and Charles
Dickens are famous for their use of irony.[2]
Do not confuse irony with misfortune, which Alanis Morissette’s song
“Ironic” is culpable of: “a black fly in your chardonnay” is definitely
unfortunate, but it’s not ironic.
Dramatic irony occurs when the reader or audience knows important
information that a character does not, such as the fact that Oedipus killed
his father and will marry his mother.[3]
Alliteration is a technique used most often in poetry and plays; it is the
repetition of the same initial consonants in multiple words within a short
space. “Peter Piper picked a peck of pickled peppers” is an example of
alliteration.
A speaker usually refers to the person from whose point of view a poem
is given, although it may also be used to refer to a novel’s narrator.
Keeping the speaker separate from the author is important, especially in
poetic dramatic monologues such as Robert Browning’s "My Last
Duchess," in which a maniacal duke admits to having murdered his first
wife. Obviously, it is the speaker, not Browning, who is saying these
things.
Figurative language is discussed in more length in Part 2 of this article,
but it is the opposite of “literal” language. Figurative language uses
techniques such as metaphor, simile, personification, and hyperbole to
make a point more vividly. For example, in Shakespeare’s play Antony
and Cleopatra, Cleopatra describes Mark Antony this way: “His legs
bestride the ocean. His reared arm / Crested the world.” This is
hyperbolic language: obviously Antony’s legs didn’t literally straddle the
ocean, but it powerfully conveys Cleopatra’s high opinion of him and his
power.

Look at sample questions, if you can. If you were given a study guide
4 or sample questions, see how much of this material you are already

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familiar with. This will help you zone in on what needs more work and make a
study plan.

Method
2 Re-reading Your Texts

Re-read your text. You should have already read the text for class, but if
1 you’re studying for an exam, make sure you go back and re-read it to
catch things you missed out on the first time.

Look for figurative language. Many authors use techniques such as

2 metaphors, similes, and personification to emphasize their points. These
may be crucial to understanding the literary work you’re reading: for example,
knowing that the white whale in Moby-Dick represents (among other things)
Captain Ahab’s hubris is essential to being able to understand Melville’s
novel.
Metaphors make direct comparisons between two seemingly dissimilar
things. They are stronger than similes. For example, the last line of F.
Scott Fitzgerald’s novel The Great Gatsby is a famous metaphor
comparing human lives to boats trying to make progress against a strong
current: “So we beat on, boats against the current, borne back
ceaselessly into the past.”[4]
Similes also make comparisons, but they don’t directly state that “x” is “y”.
For example, Margaret Mitchell uses a simile to describe Scarlett
O’Hara’s interest in Ashley Wilkes with a simile in her novel Gone With
the Wind: “The very mystery of him excited her curiosity like a door that
had neither lock nor key.”[5]
Personification occurs when a non-human animal or object is given
human characteristics in order to express an idea more powerfully. For
example, Emily Dickinson frequently uses personification in her poems,
as in this poem about a snake: “A narrow fellow in the grass /
occasionally rides; / You may have met him, -- did you not, / His notice
sudden is.”[6] Here, the snake is a “narrow fellow” who “rides” in the
grass, which makes it seem almost like a dashing Victorian gentleman,
rather than a reptile.

Consider the structure of your text. The way that an author expresses
3 her or his ideas is often as important as the ideas themselves. In many
cases, the form and structure of the text will have some kind of influence on
its subject matter.

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If you’re reading fiction, think about the order in which the events are
recounted. Are there flashbacks or places in the narrative that cycle back
in time? Sandra Cisneros’s novel Caramelo begins close to the end of the
actual “story” and switches between various times and places in order to
emphasize how complicated family histories are.
If you’re reading poetry, think about the form of the poetry. What type of
poem is it? Is it something formally structured, like a sonnet or sestina? Is
it free verse, which makes use of elements such as rhythm and
alliteration but doesn’t have a set rhyme scheme? The way the poem is
written will often offer clues as to the mood the poet wanted to convey.

Think about character archetypes. An archetype is usually a character

4 -- although it may also be an action or situation -- that is believed to
represent something universally recognized as part of human nature. The
influential psychologist Carl Jung argued that archetypes tap into the
“collective unconscious” of humanity, and thus we recognize experiences
we’ve shared with others in archetypes. Several types of of literature analysis
have been influenced by Jung, so being familiar with some archetypes that
may appear in your text will probably be useful.[7]
The Hero is a character who embodies good and often fights against evil
in a struggle to bring justice or restore order. Beowulf and Captain
America are perfect examples of the Hero archetype.
The Innocent Youth is a character who is usually inexperienced, but
whom others like because of the faith s/he has in other people. For
example, Pip in Charles Dickens’s novel Great Expectations is an
Innocent Youth, as is Luke Skywalker from Star Wars. Often, these
archetypes will experience some sort of “coming of age” in later parts of
the story.
The Mentor is tasked with caring for or protecting the main character
through wise advice and assistance. Gandalf in J.R.R. Tolkien’s Lord of
the Rings and The Hobbit is an excellent example of a Mentor archetype,
as is Obi-Wan Kenobi from the Star Wars movies.
The Doppelganger is a character who doubles for the main character in
order to represent the “dark side” of the hero or heroine. Common
examples of doppelgangers include Frankenstein and his Creature in
Mary Shelley’s Frankenstein and Dr. Jekyll and Mr. Hyde in Robert Louis
Stevenson's' novel of the same name.
The Villain is a character with evil plans whom the hero must oppose. The
villain will usually do anything to defeat the hero and is often, though not
always, clever. Good examples include Shere Khan from Rudyard

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Kipling’s The Jungle Book, Smaug the Dragon from The Hobbit, and the
Joker from the Batman comics and films.

Think about situational archetypes. The other main type of archetype

5 you’ll probably encounter is situational, i.e., a very familiar and expected
type of plot and progression. Some common situational archetypes include:[8]
The Journey. This is an incredibly common archetype and is referenced in
everything from stories of King Arthur to Jonathan Swift's Gulliver’s
Travels to Tolkien's Lord of the Rings. In this archetype, the main
character undertakes a journey -- physical or emotional, literal or
figurative -- to understand something about herself/himself or the world
around her/him, or to achieve an important goal. Often, the journey is
very important to the plot, as with the Fellowship’s quest to destroy
Sauron’s One Ring in the Lord of the Rings.
The Initiation. This archetype has similarities with the Journey, but the
focus is more on the hero/heroine’s developing maturity through their
experiences. This type of story may also be called a ‘’bildungsroman.’’
Henry Fielding's Tom Jones is an excellent example of this, as are the
origins of most comic book heroes (for example, Peter Parkers lessons
about how to handle “great power and great responsibility” as he
becomes Spiderman).
The Fall. This is another very common archetype. In this archetype, the
main character experiences a fall from grace as the consequence of
her/his own action. Examples of this archetype are all over classic
literature, including King Lear from Shakespeare’s play King Lear, Ahab
from Melville's novel Moby-Dick, and Satan from John Milton’s epic poem
Paradise Lost.

Consider how action develops from conflict. For many texts,

6 particularly plays and fiction, there is an “inciting incident” that sets the
main action of the story in motion. This moment disturbs the equilibrium of the
situation, poses a problem, and sets off a series of events that will form the
rest of the story.[9]
For example, in Shakespeare’s Macbeth, Macbeth hears a prophecy from
a trio of witches that says he will become King of Scotland. While he has
never wanted to be king until this moment, the prophecy sets him on a
path of ambition and murder that eventually leads in his downfall.
As another example, in Arthur Miller’s play The Crucible, a group of
young girls face a conflict: they’ve been caught doing naughty things in
the woods and face punishment. To try to cover up their actions, they
accuse their fellow villagers of witchcraft. This action incites the rest of

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the play’s story, which follows these accusations as they spin out of
control.

Method
3 Making Useful Notes for Fiction and Drama

Summarize each chapter or act in bullet points after you read

1 through the text for the second time. This will make future review
easier, as you will have a rough summary to work from.
Don’t get too bogged down in summary. You don’t have to summarize
every little thing that happens in a chapter or act. Aim to note the main
action of each one, as well as any important character or thematic
moments.

Make out character profiles for each main character. Include anything
2 important that the character says or does, along with links to other
characters in the text.
For plays, you may want to note any speeches that seem particularly
important, such as Hamlet’s “To be or not to be” speech or the “attention
must be paid” speech from Arthur Miller’s Death of a Salesman.

Outline any problems the characters face. This can often be even
3 more helpful than chapter summaries. What challenges and conflicts do
the main characters face? What are their goals?
For example, Shakespeare’s Hamlet has several problems he needs to
solve: 1) Is the ghost of his father urging him to seek revenge
trustworthy? 2) How can he take revenge on his uncle in a court full of
people who are watching his every move? 3) How can he overcome his
natural tendency to overthink things to work up the courage to take the
revenge he wants?

Determine whether these problems are solved. Sometimes, problems

4 are solved fairly neatly at the end of a story: the Death Star is destroyed
in Star Wars, the One Ring is destroyed and Aragorn restored as King in Lord
of the Rings. Sometimes, problems are solved but not in ideal ways: for
example, Hamlet does achieve his revenge and fulfill the ghost’s request, but
he also kills several innocent people along the way and ends up dead
himself. Understanding whether characters achieved their goals, or why they
didn’t, will be useful in discussing the works in your exam.
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Remember some important statements made. While you don’t

5 necessarily need to memorize important statements or speeches,
remembering what they’re generally about can be very helpful when you go to
make an argument about a text.
For example, if you’re studying Jane Austen’s Pride and Prejudice,
remembering that Mr. Darcy admits to meddling in Elizabeth’s family
affairs will be useful in explaining why they are so angry with each other
early in the book (i.e., he is too proud to admit that meddling really was
wrong, and she is too prejudiced to admit he might have had motivations
that made sense).

Make more detailed notes, including main themes in the text and
6 how each character is important in the text. Don’t skimp on detail
here! Noting that “the tone of Mary Shelley’s Frankenstein is very sinister”
won’t be much use in the exam if you don’t have a way to describe what’s
making it feel sinister.
Write down particularly vivid moments from the text. Not only can these
help you remember what happened in a chapter, they will give you
evidence to use when you make claims about the text in your exam.
For example, consider this quotation from Chapter 41 of Herman
Melville’s Moby-Dick, when Ahab has finally caught up with the White
Whale: “He [Ahab] piled upon the whale’s white hump the sum of all the
general rage and hate felt by his whole race from Adam down; and then,
as if his chest had been a mortar, he burst his hot heart’s shell upon
it.”[10] This is far more evocative than simply saying “Ahab attacked the
whale.” This passage emphasizes that Ahab is after the whale not just for
taking his leg, but because he’s come to embody every single horrible
thing that has happened to humans since time began in this whale, and
he is willing to destroy himself -- it’s as if his chest is a cannon,
remember, with a cannonball exploding from it -- to take the whale down.

Write down any symbols in the text and where they appear.
7 Symbolism is a favorite tool of authors. If some element, such as a color
or specific item, shows up more than once or twice, it’s likely to be a symbol
that represents something important.
For example, in Nathaniel Hawthorne’s novel The Scarlet Letter, the “A”
that Hester Prynne must wear in punishment of her adultery is an obvious
symbol, but her daughter Pearl also serves as a symbol. Like the “A,”
Pearl is a reminder of her adultery, a “token of her shame.” Hester often
dresses Pearl in beautiful gold and red dresses, physically linking her to
the letter and to Hester’s crime.
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Look up contemporary connections. It is often very helpful to be able

8 to reference in your exam or essay some important cultural or social
issues that were relevant at the time a text was first written. Use any course
material you have, along with introductions to critical editions of the text and
reliable resources such as those found through a library database to do a bit
of research. Do not rely on websites such as wikipedia or your own
knowledge of a period, as both of these may be incomplete or inaccurate.
For example, if you are studying Charlotte Perkins Gilman’s short story
"The Yellow Wallpaper," it’s important to be able to speak about the
condition of women in the late 19th century. Gilman was a very important
feminist writer who wrote against the traditional social structure of her
time, which insisted that a woman’s only place was as a wife and mother.
Importantly, her arguments usually insisted that this structure harmed
men as well as women -- something that is very useful to bring up in a
discussion of her fiction, and something you might not know if you were
only acting on “common knowledge” of the era.

Method
4 Making Useful Notes for Poetry

Note what type of poem you’re dealing with. Sometimes, knowing the
1 type of poem you’re studying, such as whether it’s a sonnet or sestina or
haiku, can be very important to being able to discuss its meaning. You can
often determine what type of poetry you’re dealing with by examining the
rhyme scheme (the pattern of rhymes at the end of each line) and the meter
(the number of poetic “feet” each line has).
For example, Edna St. Vincent Millay tackles how difficult it is to write
poetry in her poem “I Will Put Chaos into Fourteen Lines.” Knowing that
this poem is a sonnet about writing sonnets helps explain part of what the
poem’s goal is: putting a little modern “chaos” into a very old and
established poetic form. Recognizing that Millay uses a classic
Petrarchan rhyme scheme and that many of the lines are in iambic
pentameter (meaning they sound like “ta-TUM ta-TUM ta-TUM ta-TUM ta-
TUM”) will help you identify the poem as a sonnet.
Many modern poets write in free verse, but this doesn’t mean they aren’t
also paying close attention to the form of their poetry. Look for elements
such as alliteration, assonance, repetition, enjambment (the breaking of

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poetic lines), and rhythm in free verse poetry just as you would in more
formally structured poetry.

Identify the speaker and the audience of the poem, when possible.
2 This is particularly important for poems such as dramatic monologues,
where the speaker is definitely ‘’not’’ supposed to be the poet. Felicia
Hemans, Robert Browning, and Alfred, Lord Tennyson all wrote dramatic
monologues from the points of view of characters very different than
themselves.
Identifying the speaker can be trickier in lyric poetry, such as the type
written by poets like Wordsworth or John Keats, because these poems
are often written in first-person but don’t make a clear distinction between
the speaker and the poet. Nevertheless, even in poems that are written
using first-person pronouns like “I”, always refer to the speaker as the
speaker, not the poet.

Write down any symbols in the poem and where they appear. Just as
3 with prose writing, symbolism shows up all the time in poetry. Be on the
lookout for repeated elements, especially things like colors or natural
imagery.
For example, in William Wordsworth’s poem “Tintern Abbey,” the eye is
an important symbol that represents many things, including the poet’s
imagination. Wordsworth will often play on the similarity of sound between
I and eye, further relating the two concepts.
Symbolism is all over the place in the Anglo-Saxon epic poem Beowulf.
One key symbol is the hall of Heorot, King Hrothgar’s great golden mead-
hall. Heorot symbolizes community, bravery, warmth, safety, wealth, and
civilization, so when Grendel invades Heorot and murders warriors in
their sleep there, he’s violating everything about the Scyldings’ lives.

Remember that you don’t have to memorize poems you’re studying.

4 Just make sure you know the basics such as structure of the poem,
themes, and overarching idea or story.
It can sometimes be helpful to memorize a key line or two from a poem so
that you can use it as evidence. For example, if you’re studying Walt
Whitman’s huge poem Leaves of Grass, you might want to memorize the
short phrase “dismiss whatever insults your own soul; and your very flesh
shall be a great poem.” This short quotation encapsulates much of the
meaning from the larger text, and being able to drop it into an exam will
help you support your claims.

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Look up context for your poems. Context is just as important for poetry
5 as it is for fiction or drama. Knowing what types of issues the poet may
have been addressing can help you understand the goal of the poetry.
Contextual information can also be useful in keeping you from making
incorrect statements about poems. For example, it’s important to know
that Shakespeare’s sonnets are not all written to female lovers, even
though that was the standard for sonnets of the era. In fact, most of them
are written to a “fair youth,” a wealthy young man to whom the poet has
some sort of deep, possibly romantic, attraction.

Method
5 Handling Difficult Texts

Re-read passages you don’t understand. Particularly in poetry, authors

1 may use language unconventionally in order to make a more powerful
impact on the reader. This can be confusing at first, but re-reading the
passage slowly and carefully will reward your attention.[11]
Look for footnotes and other aids. Often in books edited for a student
audience, the editors will include explanatory footnotes, word definitions,
and other aids that can help you grasp what’s going on. Don’t ignore
these! They can really help clear up confusing passages.

Avoid skimming material. Especially if you’re reading poetry or plays,

2 reading everything is very important. Skipping things such as stage
directions in a Shakespeare play can mean you miss out on crucial
information. Language in poems is precisely chosen and structured to have a
particular effect, so missing even a word or two could damage your
understanding of the whole text.

Read passages aloud. This technique works especially well with poetry
3 and plays, but it can also work for long, dense passages of prose in a
novel, especially if it’s something like a Charles Dickens novel where
sentences can run to a full paragraph. Reading the language aloud will help
point out elements such as rhythm, alliteration, and repetition, which are all
things that your exam may ask you to speak about.

Make flash cards. If you’re having trouble remembering things, make

4 yourself some flash cards. Sometimes, the transfer of material from one

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medium to another (e.g., from written notes to flash cards) will help you learn
it more effectively.
Flash cards are especially helpful for memorizing things such as literary
terms and character names. They may be less helpful for remembering
more complex information.

Community Q&A

Question

I want to make literature notes? What are the important steps which
should be taken?

Community Answer

Taking good notes is the same with all subjects. Understand the passage,
and write down important information, like the relationship between
characters, key events and themes.

Question

How do I understand a literary question?

Community Answer

Break the question up into the object and the verb acting on the object.
Then, use text from the book to support your claim.

Question

What jobs can I do if I study English literature?

Community Answer

You can be an English teacher or professor, or you can be a writer (of books,
of reviews, of critical theory, etc.).

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Question

How can I improve my vocabulary if I don't have time to read?

Donagan
Top Answerer

Do you have time to talk? Get into conversations with adults.

Question

How do I improve my vocabulary?

Donagan
Top Answerer

Read widely.

Question

What is mean by metaphysical poetry?

Community Answer

Metaphysical means beyond the physical or spiritual. So in metaphysical

poetry, some of the imagery and metaphors used are not scientific or
concrete.

Question

How I do I analyze a poem?

Donagan
Top Answerer

See Analyze Poetry.

Question

How can I remember a novel?

Community Answer

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Read the novel many times. This will help you remember better the plot and
characters. If you don't have a lot of time, read in your spare time.

Question

How do I learn and remember answers to long questions?

Community Answer

First of all, you'll need to understand the question and the answer to that
question. You will not have to "memorize the answer." As long as you
understand the question and understand the answer, you'll be able to
answer it.

Question

How can I learn word meanings?

Donagan
Top Answerer

Ask others or check a dictionary. You may also be able to figure it out from
the context.

Tips

Use a highlighter to highlight key parts so they stand out when you read
them.

Read the text as many times as you possibly can.

Put your notes in the form of spider diagrams or mind maps, as these can
help you remember essential notes much easier.

You can use guides such as SparkNotes, York Notes, Shmoop, etc., but don’t
rely on them to be your only source of analysis. Teachers are often very
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familiar with these guides themselves, and will likely not be impressed if your
analysis does not extend beyond them.

Use evidences when answering questions. It will make the answers more
credible and realistic.

Submit a Tip
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Your tip here

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Warnings

Do not just read a summary of the book or the blurb. Read the whole text.

Do not just learn the storyline off by heart. You need to be able to analyze the
storyline.

References

1. http://literarydevices.net/stanza/
2. http://literarydevices.net/irony/
3. http://www.english.cam.ac.uk/classroom/terms.htm
4. https://ebooks.adelaide.edu.au/f/fitzgerald/f_scott/gatsby/
5. https://ebooks.adelaide.edu.au/m/mitchell/margaret/gone/chapter2.html
6. http://etc.usf.edu/lit2go/115/the-poems-of-emily-dickinson-series-
two/4460/nature-poem-24-the-snake/
7. http://literarydevices.net/archetype/
8. http://literarydevices.net/archetype/
9. http://narrativefirst.com/articles/plot-points-and-the-inciting-incident
10. http://americanliterature.com/author/herman-melville/book/moby-dick-or-the-
whale/chapter-41-moby-dick

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11. http://www.reading.ac.uk/web/files/deal/english_literature_study_tips_from_rea
ding_university.pdf

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