Monday, July 30, 2012

Looking for 'Malaysian Short Stories'?

You can purchase the book at Silverfish Books in Bangsar or order it online at
Price: RM29.90

Silverfish books, 28-1 Jalan Telawi, Bangsar Baru, 
59100 Kuala Lumpur, Malaysia. 
tel: (603) 2284 4837, fax: (603) 2284 4839 

Monday, June 25, 2012

Paper 1 (Modular) Study the poems

NOTE: The written examination for Paper 1 will be held in the first week of November 2012 Click on the title of the poem to read.

SONNET 75 by Edmund Spenser
Read an analysis of Spenser's poem here
SONNET 73 by William Shakespeare
A POISON TREE by William Blake
The SOLITARY REAPER by William Wordsworth
SHE WALKS IN BEAUTY by Lord Byron, George Gordon
LOVE'S PHILOSOPHY by Percy Bysshe Shelley
ODE TO AUTUMN by John Keats
MY LAST DUCHESS by Robert Browning
A BIRD CAME DOWN by Emily Dickinson
I LOOK INTO MY GLASS by Thomas Hardy
Read and listen to Thomas Hardy's poem AT TEA

Sunday, January 01, 2012

Send an email for more information on this.

Requests for information are to be made via email only and must include sender's full name and school or institution. Otherwise they will not be entertained.

Friday, June 15, 2007

Literary Devices - What you should know.

Literary terms you should know:

  1. Simile
  2. Metaphor
  3. Personification
  4. Symbols
  5. Hyperbole
  6. Onomatopoeia
  7. Rhythm
  8. Rhyme
  9. Metre
  10. Alliteration
  11. Assonance
  12. Paradox
  13. Contrast/Comparison
  14. Irony
  15. Repetition
  16. Binary opposition
  17. Leitmotif
  18. Tone

Please note that STPM candidates taking this paper need to know all of the above.

Saturday, September 16, 2006

Shakespeare's Comedies

'Comedy could simply be defined as a dramatic presentation which makes us laugh. Literary and cultural critics, however, tend to regard something as a comedy not so much because it makes us laugh - laughter may be evoked in tragic circumstances - but because a certain set of conventions is being followed. The very act of breaking with these conventions is an acknowledgement that they remain in place.

Those of Shakespeare's plays called comedies are so designated primarily because they adhere to a particular set of expectations - not necessarily because they are funny. Some are, of course - but the history plays - even the tragedies - can, in my experience, get more laughs in performance than productions of All's Well That Ends Well or The Two Gentlemen of Verona. Thus, although The Merchant of Venice is usually regarded as a comedy because of the conventions it deploys, the subject matter of its main plot is not particularly a laughing matter. It is worth considering, however, that it might have been for some or all of its original audience.

What all the comedies seem to have in common is their preoccupation with the journey of young women (and sometimes men) from the state of virginity to that of marriage. Whereas tragedy works towards death, that moment which gives a particular meaning to the actions of the protagonists, comedy traces the passage of young people out of their parents' control and into marriage.

... comedy is often about one or more young persons whose love meets an obstacle of some sort.

Often some sort of resistance to this obstacle, be it parental disapproval or the apparent refusal of the loved one to return that love, is shown. The central plot of a comedy often requires the young people to disguise themselves (usually with women cross-dressed as men, like Portia in The Merchant of Venice, Viola in Twelfth Night or Rosalind in As You Like It), or to abscond into the woods (like Hermia and Helena and their lovers in A Midsummer Night's Dream, or Rosalind in As You Like It, or to undertake a journey (like Petruchio and Katherina in The Taming of the Shrew). When they emerge on the other side of the experience, something will have happened to make their love a social reality in some way, and the play ends with an apparently happpy union.'

from Sean McEvoy (2000) Shakespeare: The Basics, London: Routledge