Seventh Grade English
Final Exam Study Guide
A.
Literary Devices: Be able to identify them
(matching definition format) and identify them in context with passages from
literature.
1.
simile
2.
metaphor
3.
irony
4.
dramatic irony
5.
personification
6.
foreshadowing
7.
hyperbole
8.
symbol
9.
motif
10. pun
11. paradox
12. allusion
(literary or biblical)
13. juxtaposition
14. anachronism
15. aside
16. blank
verse
17. couplet
B). Grammar:
Identify all 8 parts of speech in one or two sentences:
1.
noun
2.
pronoun
3.
verb (action, linking, helping in a verb phrase
i.e. “was running” or have worked)
4.
adjective (including articles)
5.
adverb
6.
preposition
7.
conjunction
8.
interjection
Usage: Identify
·
run-on sentences,
·
fragment sentences,
·
complete sentences,
·
compound sentences with comma and conjunction,
·
and compound sentences with semicolons,
·
comma rules (be able to add commas correctly in
a sentence)
o
with appositives,
o
introductory phrases/ clauses
o
dialogue.
Macbeth
·
Review Study Sheet with Quiz Questions
·
Analysis of “Out, Out brief candle” (See your
annotated study sheet. You MAY bring these notes to class!)
·
Analysis of 1 of the following passages:
1. The raven himself is hoarse
That croaks the fatal entrance of Duncan
Under my battlements. Come, you spirits
That tend on mortal thoughts, unsex me here,
And fill me from the crown to the toe top-full
Of direst cruelty. Make thick my blood,
Stop up th’access and passage to remorse,
That no compunctious visitings of nature
Shake my fell purpose, nor keep peace between
Th’ effect and it. Come to my woman’s breasts,
And take my milk for gall, you murd’ring ministers,
Wherever in your sightless substances
You wait on nature’s mischief. Come, thick night,
And pall thee in the dunnest smoke of hell,
That my keen knife see not the wound it makes,
Nor heaven peep through the blanket of the dark,
To cry ‘Hold, hold!’
That croaks the fatal entrance of Duncan
Under my battlements. Come, you spirits
That tend on mortal thoughts, unsex me here,
And fill me from the crown to the toe top-full
Of direst cruelty. Make thick my blood,
Stop up th’access and passage to remorse,
That no compunctious visitings of nature
Shake my fell purpose, nor keep peace between
Th’ effect and it. Come to my woman’s breasts,
And take my milk for gall, you murd’ring ministers,
Wherever in your sightless substances
You wait on nature’s mischief. Come, thick night,
And pall thee in the dunnest smoke of hell,
That my keen knife see not the wound it makes,
Nor heaven peep through the blanket of the dark,
To cry ‘Hold, hold!’
Lady Macbeth speaks
these words in Act 1, scene 5, lines 36–52, as she awaits the arrival of King
Duncan at her castle. We have previously seen Macbeth’s uncertainty about
whether he should take the crown by killing Duncan. In this speech, there is no
such confusion, as Lady Macbeth is clearly willing to do whatever is necessary
to seize the throne. Her strength of purpose is contrasted with her husband’s
tendency to waver. This speech shows the audience that Lady Macbeth is the real
steel behind Macbeth and that her ambition will be strong enough to drive her
husband forward. At the same time, the language of this speech touches on the
theme of masculinity— “unsex me here / . . . / . . . Come to my woman’s
breasts, / And take my milk for gall,” Lady Macbeth says as she prepares
herself to commit murder. The language suggests that her womanhood, represented
by breasts and milk, usually symbols of nurture, impedes her from performing
acts of violence and cruelty, which she associates with manliness. Later, this
sense of the relationship between masculinity and violence will be deepened
when Macbeth is unwilling to go through with the murders and his wife tells
him, in effect, that he needs to “be a man” and get on with it.
2.
Whence
is that knocking?—
How is’t with me, when every noise appals me?
What hands are here! Ha, they pluck out mine eyes.
Will all great Neptune’s ocean wash this blood
Clean from my hand? No, this my hand will rather
The multitudinous seas incarnadine,
Making the green one red.
How is’t with me, when every noise appals me?
What hands are here! Ha, they pluck out mine eyes.
Will all great Neptune’s ocean wash this blood
Clean from my hand? No, this my hand will rather
The multitudinous seas incarnadine,
Making the green one red.
Macbeth says this in
Act 2, scene 2, lines 55–61. He has just murdered Duncan, and the crime was accompanied
by supernatural portents. Now he hears a mysterious knocking on his gate, which
seems to promise doom. (In fact, the person knocking is Macduff, who will
indeed eventually destroy Macbeth.) The enormity of Macbeth’s crime has
awakened in him a powerful sense of guilt that will hound him throughout the
play. Blood, specifically Duncan’s blood, serves as the symbol of that guilt,
and Macbeth’s sense that “all great Neptune’s ocean” cannot cleanse him—that
there is enough blood on his hands to turn the entire sea red—will stay with
him until his death. Lady Macbeth’s response to this speech will be her prosaic
remark, “A little water clears us of this deed” (2.2.65). By the end of the
play, however, she will share Macbeth’s sense that Duncan’s murder has
irreparably stained them with blood.
3.
Out, damned spot;
out, I say.
One, two,—why, then ’tis time to do’t. Hell is
murky.
Fie, my lord, fie, a soldier and afeard?
What need we fear
who knows it
when none can call
our power to account?
Yet who would have
thought
the old man to have had so much blood in him?
These words are spoken
by Lady Macbeth in Act 5, scene 1, lines 30–34, as she sleepwalks through
Macbeth’s castle on the eve of his battle against Macduff and Malcolm. Earlier
in the play, she possessed a stronger resolve and sense of purpose than her husband
and was the driving force behind their plot to kill Duncan. When Macbeth
believed his hand was irreversibly bloodstained earlier in the play, Lady
Macbeth had told him, “A little water clears us of this deed” (2.2.65). Now,
however, she too sees blood. She is completely undone by guilt and descends
into madness. It may be a reflection of her mental and emotional state that she
is not speaking in verse; this is one of the few moments in the play when a
major character—save for the witches, who speak in four-foot couplets—strays
from iambic pentameter. Her inability to sleep was foreshadowed in the voice
that her husband thought he heard while killing the king—a voice crying out
that Macbeth was murdering sleep. And her delusion that there is a bloodstain on
her hand furthers the play’s use of blood as a symbol of guilt. “What need we
fear who knows it when none can call our power to account?” she asks, asserting
that as long as her and her husband’s power is secure, the murders they
committed cannot harm them. But her guilt-racked state and her mounting madness
show how hollow her words are. So, too, does the army outside her castle. “Hell
is murky,” she says, implying that she already knows that darkness intimately.
The pair, in their destructive power, have created their own hell, where they
are tormented by guilt and insanity.
