000028724 TEACHING LITERATURE TO STUDENTS MAJORING IN ENGLISH: AN INTERACTIVE APPROACH DẠY VĂN HỌC CHO SINH VIÊN NGÀNH TIẾNG ANH: MỘT PHƯƠNG PHÁP TƯƠNG TÁC

000028724 TEACHING LITERATURE TO STUDENTS MAJORING IN ENGLISH: AN INTERACTIVE APPROACH DẠY VĂN HỌC CHO SINH VIÊN NGÀNH TIẾNG ANH: MỘT PHƯƠNG PHÁP TƯƠNG TÁC

T h e in teractiv e m o d e l o f read in g I An in teractiv e ap p ro ac h to th e te ach in g o f literatu re II Illustration

R ead in g is o n e o f th e m a n y w ay s h u m a n b e in g s use to m a k e s e n s e o f th e w orld C o m p re h e n s io n th ro u g h re a d in g m e a n s d ra w in g n e w in fo rm atio n from a p a g e o f scrip t o r print U p to n o w , th e re h a v e b e e n th re e co m m o n ly u s e d m o d e ls of re a d in g in v e stig atin g th e p ro c e ss of d e c o d in g th e text: th e b o tto m -u p m o d el, th e to p -d o w n m o d e l an d o v e r th e p a s t te n y ears, th e in teractiv e m o d e l w h ic h tries to c o m b in e b o th b o tto m -u p a n d to p -d o w n strateg ies.

The bottom-up model views reading as a process of building meaning from the smallest textual units—letters and words—up to larger units such as phrases, clauses, and intentional linkages A key limitation of this model is that it overlooks the reader's active role in interpretation, context, and purpose, which shape how meaning is constructed.

The top-down approach c a m e into b e in g a b o u t a d e c a d e ago, w ith

Goodman's description of reading as a psycholinguistic guessing game has profoundly shaped EFL and ESL reading theory In Goodman’s model, readers do not rely on all textual cues; instead, they make predictions and reconstruct the message encoded by the writer This predictive view emphasizes the active role of the reader in meaning-making and has influenced how second-language reading is taught and understood.

(1979) la te r c o m p le m e n te d G o o d m a n 's m o d e l b y stre ssin g th e role o f b a c k g ro u n d k n o w le d g e (s c h e m a ta ) T h u s, s in c e 1979, a truly to p -d o w n a p p ro a c h to L2 (s e c o n d la n g u a g e ) re a d in g h a s c o m e in to b ein g , s e e in g re a d in g as an active p ro c e s s o f m a k in g p re d ic tio n s a n d p ro c e s s in g in fo rm atio n a n d in w h ic h th e re a d e r ’s p rio r e x p e rie n c e a n d b a c k g r o u n d k n o w le d g e p la y a sig n ifican t role H o w ev er, to p -d o w n th e o rists te n d to d o w n p la y th e im p o rta n c e o f th e tex t itself as w ell as th a t o f th e lo w er lev el skills s u c h as th e re c o g n itio n o f th e lexical u n its a n d th e g ram m atical sig n als re q u ire d for th e s im p le d e c o d in g o f a text.

Over the past decades, the interactive reading model posits that efficient and effective reading arises from the interactive operation of bottom-up and top-down processing A satisfactory interpretation of a text is the result of the compatibility between information processed bottom-up and the conceptual predictions made via top-down processing, a view supported by Rumelhart (1977, 1980) and by van Dyke and Kintsch (1983) In case of a mismatch between the bottom-up input and the top-down predictions, comprehension can falter.

10 to p -d o w n p re d ic tio n s a n d th e b o tto m -u p in fo rm atio n , w e are fo rced to rev ise th e in te rp re ta tio n o f th e text.

Numerous empirical investigations conducted within an interactive framework have explored the relationship between a reader's concept of reading and reading performance For example, Joanne Devine's studies examine the role of the L2 reader's conception of reading and its relation to reading performance From an oral reading interview about what constitutes good reading, twenty low-intermediate ESL readers were classified as sound-, word-, or meaning-centered readers A close analysis of the errors these subjects made during oral reading showed a significant difference in how readers with these three internalized models processed the information available in the printed text The conclusions suggest that the internal model a reader adopts shapes processing strategies and, in turn, affects reading performance.

1 ) F.SL re a d e rs a p p e a r to h a v e th e o re tic a l o rie n ta tio n s to w a rd read in g

There is a significant correspondence between the mental model readers bring to a text and the type of information they attend to during oral reading—graphic or sound cues, syntactic structure, and semantic meaning Sound-centered readers tend to have a more limited understanding of the text, while meaning-centered readers can engage with both text-based details and knowledge-based interpretation, enabling more flexible and comprehensive processing.

Another study conducted by Andrew Cohen and colleagues aims to identify what is problematic for non-native readers when reading English materials in a specialized field The findings indicate three major problems: long groups of words performing a single grammatical function, notably long noun phrases (NPs); reliance on cohesion markers that may confuse or mislead readers; and the limited usefulness of technical terms for helping readers understand the text The conclusion suggests that teachers preparing texts should pay due attention to rigorous analysis of potentially confusing grammatical patterns, cohesive devices, and problematic non-technical vocabulary Complementary studies by J Charles Alderson and A.H Urquhart show that students from a particular discipline tend to perform better on texts related to their field of study than on texts from other disciplines.

II An Interactive A pproach to the T eaching o f English Literature

T h e tra d itio n a l w a y o f te a c h in g literatu re is th ro u g h th e te a c h e r d e liv e rin g le ctu res a n d e x p la in in g to stu d e n ts h o w th e y sh o u ld u n d e r s ta n d th e literary text

When teachers assume students already grasp the literal meaning of a text, they frame literature teaching as primarily an exercise in interpretation, concentrating on how a work reveals the author's philosophical, political, religious, and social viewpoints through sophisticated stylistic forms and narrative techniques This approach foregrounds the interpretive level of literature, inviting readers to explore how form and content reflect broader worldviews and engage with deeper questions beyond surface meaning.

For native speakers, this teaching method works well because English is their mother tongue However, for Vietnamese students, this approach can present several difficulties for a variety of reasons, including gaps between English and Vietnamese phonology, grammar, and syntax; limited exposure to English outside school; and differences in cultural context and learning expectations To address these challenges, educators may need to adapt the method with targeted pronunciation practice, explicit grammar instruction, contextualized vocabulary, and supportive feedback designed for Vietnamese learners.

Vietnamese students typically treat English as a foreign language (EFL), not as a first or second language In the third and fourth years of study, many learners still rely on teachers to help them master advanced skills in speaking, listening, reading, and writing.

- V ie tn a m e se stu d e n ts are n o t u se d to e x te n siv e re a d in g a n d s p e e d re a d in g

Reading difficulties with long literary texts arise from both objective and subjective factors Objective reasons include a lack of reading materials, poorly equipped libraries, and limited time Subjective reasons involve insufficient guidance on study methods, especially reading strategies Consequently, students find lengthy literary works difficult to read and understand.

- s tu d e n ts h a v e n o t b e e n in tro d u c e d y et to th e su b ject of E nglish literatu re w h e n th e y w e re at h ig h sch oo l so th e y n e e d m o re h e lp to u n d e rs ta n d th e literary la n g u a g e ;

- m o st V ie tn a m e se stu d e n ts d o n o t h a v e a d ire c t e x p o s u re to a n E nglish- s p e a k in g cu ltu re;

To help students appreciate the values of literature, teachers should guide them step by step, carefully leading them through the process of understanding the literal meaning of the text before moving on to the interpretation of its themes This approach ensures that students build a solid foundation in comprehension and textual analysis By first unpacking what the author explicitly states, teachers equip learners to engage more insightfully with the deeper messages and themes embedded in the work In this way, the classroom becomes a structured space for developing critical reading skills and a lasting appreciation for literature.

Literature teaching does not stop at the literal meaning of a poem, play, or short story; it invites students to reach the higher levels of language where thoughts, feelings, suggestiveness, and ambiguity come alive To access these levels, students need a more active role in the classroom Instead of being passive recipients of ready-made answers, they should work through the text under the teacher’s guidance, read, interpret, and enrich it with their own background knowledge and life experiences In other words, the teaching process should be a two-way exchange, not a one-way transmission from teacher to student With a learner-centered approach, the emphasis shifts to interaction among the text, the student, and peers, as well as between the student and the teacher This interactive approach to teaching literature highlights dialogic engagement and collaborative inquiry, making literature education more effective and inclusive for learners.

Student–text interaction occurs when reading becomes a process of decoding the message encoded by the writer, drawing on learners’ linguistic knowledge as well as their prior experiences and background knowledge to make accurate predictions about the text This dynamic interaction supports comprehension, interpretation, and engagement with literature The teaching program should aim not only to develop decoding skills but also to enhance vocabulary, activate background knowledge, and foster the ability to infer meaning, analyze themes, and relate the text to students’ own experiences.

14 p ro v id in g th e s tu d e n ts w ith k n o w le d g e o f E ng lish literatu re b u t also e q u ip p in g le arn ers w ith tw o c o m p le m e n ta ry skills:

-sim p le identification skills (w h ic h h e lp le a rn e rs to d e te rm in e just w h a t th e text say s rap id ly a n d a cc u rately );

- interpretation skills (w h ic h m a in ly d e p e n d o n k n o w le d g e o f th e subject- m a tte r o f th e tex t, a n d th e w a y th a t in fo rm atio n is o rg a n is e d in d isco u rse).

L istening activ ities I O ral activities II W riting activities IV R ead ing activities

L isten in g to r e c o r d e d p o e m s , p l a y s a n d s h o r t sto rie s:

These verse exercises can be used before, during, or after the lesson They are highly useful in helping students recognise stress, rhyme, rhythm, intonation, and tone, and in understanding how these sound elements contribute to the meaning of the literary text.

Listen to th e re a d in g o f T S.E liot’s p o e m “P re lu d e ” U n d e rlin e th e stre s s e d sy llab les a n d w o rd s th a t rh y m e to g e th e r at th e e n d o f th e lines. fro m PRELUDE

W ith sm ell o f ste a k s in p a s s a g e w a y s Six o ’clock.

A nd at th e c o rn e r o f th e stre e t

A lo n e ly c a b -h o rs e s te a m s a n d stam p s

A nd th e n th e lig h tin g o f th e lam p s.

Students are asked to listen to a song and fill in the missing lyrics Once they have the complete text, they compare the song with the accompanying poem to study similarities and differences This activity supports language learning by improving listening skills, reading accuracy, and critical analysis as students explore how lyrics and poetry convey meaning.

E x am p le: C o m p a rin g th e so n g ‘M e m o ry ” a n d th e e x c e r p t fro m T.S E liot’ s p o e m

Listen to th e s o n g “M em ory" a n d fill in d ie g a p s o f th e fo llo w in g te x t w ith th e co rrect w o rd s.

M idn ig ht - N ot a s o u n d fro m th e p a v e m e n t

She is sm ilin g a lo n e

T h e (1 ) le av es co llect at m y feet

M em ory - (3) (4 ) in th e m o o n lig h t

I can sm ile at th e o ld d ay s

I re m e m b e r th e tim e I k n e w w h a t h a p p in e s s w as Let th e m e m o ry live again.

D ay lig h t - I m u s t w ait for th e su n rise

W h en the d a w n conies tonight will be a m em ory too

T h e (1 3) cold sm ell o f m o rn in g

A stre e t la m p dies, a n o th e r n ig h t is o v e r

It’s so e a sy to le a v e m e

From T.S Eliot’s Preludes, "The winter evening settles down with the smell of steaks in passageways," and "The burnt-out ends of smoky days" evoke a late-urban setting—dim streets and the city breathing with the residue of daily life; from Memory, "Midnight, not a sound from the pavement" and "Memory, all alone in the moonlight" supply auditory and visual cues of a quiet, moonlit street Together these lines sketch a precise time and place—the city at night—and layer sensory images: olfactory notes of food and smoke, the hush of the pavement, and the pale glow of moonlight, weaving memory with setting into a mood readers can feel and picture.

2 C o m p a re th e s e ttin g a n d th e im ag es u s e d in th e p o e m a n d th e so n g W h e re a re th e sim ilarities?

3 W h a t a re y o u r g e n e ra l im p re ssio n s o r fe e lin g s a b o u t th e p o e m a n d th e so n g (e.g h a p p i n e s s / s a d n e s s /h o p e /p e a c e ) afte r p u ttin g all th e im ag es tog ether?

4 A c c o rd in g to yo u , w h ic h o n e , th e p o e m o r th e so n g , h a s a m o re im p e rso n a l to n e?

Listening exercises can also take the form of a multiple-choice test, where students must understand the questions in order to circle the right answer; the task becomes more demanding when the requirement is to identify the best answer rather than merely the correct one The following illustration shows how a multiple-choice format can be applied to a writer’s biography, using Edgar Allan Poe as an example, to demonstrate how comprehension and critical analysis are assessed through options that test both factual recall and interpretive understanding.

This article presents a short talk about Edgar Allan Poe After the talk, you will be asked several questions designed to test your listening and reading comprehension For each question, read the four possible answers and decide which is the best answer to the question you heard Show your chosen answer by circling the letter A, B, C, or D.

(B ) P re p a re for a d iscu ssio n o f a sh o rt story.

(D ) W rite a n analy sis o f o n e o f th e stories.

Gr id s c a n b e u s e d to g u i d e s t u d e n t s n o te d o w n i nfor mation r elevant to the q u es ti o ns , e s pe c i a l l y w h e n it is a talk involving m a n y s p e a k e r s T h e e x a m p l e b e l o w (Malev, 198S: 110) c a n b e u s e d as t h e w a r m i n g - u p part l e a d i n g to t h e s tu dy of E

H e m i n g w a y ' s shor t story "Cat in t h e Rain" d e a l i n g with t he t h e m e of loneliness and

34 isolation T h e listening acti\ it\ c a n b e foll owed bv a s p e a k i n g activity w h e r e s tu d en t s c a n e x c h a n g e their o w n e x p e r i e n c e :

L isten to th e reco rd in g V ario u s p e o p le a re an sw erin g th e q u estio n , “W h en do you feel m o st lo n e ly ? ”

N o te d ow n th e ir a n sw e rs in divid ually T h en ch e c k an sw ers in pairs.

P erso n W h en do you fe e l m ost lon ely?

P a irw o rk : T h in k a b o u t y o u r ow n life an d th e tim e you fe lt lo n e lie s t in y o u r life

E x c h a n g e e x p e rie n c e s w ith yo u r classm ate.

This activity, typically conducted after a listening task, aims to develop students’ awareness of stress, weak forms, linking sounds, intonation, rhythm, and other features of spoken language It is usually a poem or a selected passage from a play Students may read aloud together, or be divided into groups, or read individually.

Frost's poem "Stopping by Woods on a Snowy Evening" serves as a practical exercise for students to practice the alternation of stressed and unstressed syllables—the defining rhythm of English verse Begin with a silent reading, then work in groups to mark the main stresses After the teacher collects the class and checks the students' answers, the class reads the poem aloud together, followed by individual readings.

Stopping by Woods on a Snowy Evening

W h o s e w o o d s th e s e áre I th in k I k n o w Elis h o u s e is in th e village th o u g h ;

T o w á tc h his w o o d s fill u p w ith sn o w

My little h o rs e m ust th in k it q u e e r

T o s to p w ith o u t a fa rm h o u se n e a r

B e tw e e n th e w o o d s a n d fro zen la k e

To a s k if th e re is s o m e m istak e.

T h e w o o d s are lovely, d a rk a n d d e e p But I h a v e p ro m ise s to k e e p ,

A nd m iles to g o b e fo re I s le e p ,

A n d m iles to g o b e fo re I s le e p

For t h e s ta ge of fu rt her readi ng, s t u d e n t s m a y b e a s k e d to d el i ver an oral s u m m a r y o f a story o r a play r e ad at h o m e b ef o r e t h e w h o l e class This gives

This activity is b a s e d on the i d e a of triggering discussion to c h o o s e t he best a n s w e r to t h e q ues ti on A b e t t e r w a y of eliciting lively discussion is to ask s tu d en t s to give r e a s o n s for rejecti ng e a c h of the d i s c a r d e d s t a t e m e n t s r ather t ha n o n e r eas on for c h o o s i n g t he best s t at e me nt This c a n b e d o n e as p a i r w o r k or g r o u p w o r k an d r e q u i r e s s t u d e n t s to b e abl e to e x p r e s s an d s u p p o r t their o w n point of view, listen to o th e rs , e x c h a n g e id e as a n d c o m e u p with a c o m m o n an sw er T h e n a r e p r e s e n t a t i v e of e a c h g r o u p is invited to e x p l a i n t he re as o ns b e h i n d their choice.

An e x a m p l e of this activity can b e s e e n in the' c h oi c e of a s u m m a r y tor

H e m i n g w a y ' s shor t story “ Cat in t h e Rai n” (Carter, 1987:9):

H e re a re th re e su m m a ries W o rk w ith a n o th e r stu d en t an d d e c id e w hich sum m ary y o u th in k is b e s t and w hy. a) G e o r g e ’s w ife w an ts a c a t in th e rain T h e h o te l-k e e p e r m e e ts h e r and se e s s h e is lo n ely an d finds h e r cat. b) A n A m e ric a n co u p le stay at a ho tel T h e w ife w ants a kitten S he can n o t find it.

38 c) A co u p le stay at a h o tel T h e w ife s e e s a c at ou tside in th e rain S he w ants it but c an n o t find it T h e h o te l-k e e p e r sen d s h e r an o th e r cat.

T h e class is div id ed into tw o g ro up s trying to p e rsu a d e eac h o th e r o f the m erits or d ra w b a c k s o f a co u rse of actio n , or o f a c e rta in c h a ra c te r in a literary work Below is a d iscu ssio n a b o u t tw o c h a ra c te rs o f H e m in g w a y 's short story “C at in the R ain ", G eo rge and his w ife (C arter, 1987:175)

In g ro u p s discu ss th e fo llo w in g s ta te m e n ts about th e A m erican w ife an d h e r husband

G e o r g e in “ C at in th e R a in ” : a) G e o rg e is le v e l-h e a d e d a n d c o n te n te d H is w ife ca n n o t se ttle an d is n eurotic

In this relationship, tension emerges as one partner is described as acting immature and the other as needing firm boundaries to keep things on track The rift is attributed in different ways: some see the wife’s behavior as the primary issue, while others blame the husband’s perceived selfishness and insensitivity to her needs, noting that she seeks more care and attention from him.

This type of activity helps students practice the language of persuasion and recognize resistance to it They can be provided with examples of expressions they may need during discussions—phrases for presenting arguments, challenging ideas, asking clarifying questions, and offering counterpoints—so they can participate more confidently and communicate persuasively in classroom debates.

I've n e v e r m e t a n y o n e w h o is as ( + adj.) as s h e h e is

E xp r es s io ns tor t h o se resisting p er s ua s io n

That' s all very well, but

Students participate in a warm-up activity where they describe pictures that connect to the topic or theme of the literary text, helping set the mood for the lesson and familiarize learners with the central themes before reading For example, when studying Robert Frost’s poem Stopping by Woods on a Snowy Evening, visual prompts can illustrate imagery of solitude and choice, guiding students to identify theme and mood By linking visuals to the text, learners practice descriptive language, activate background knowledge, and prepare for close reading, analysis of tone, and gathering textual evidence This approach supports diverse learners by providing an accessible entry point into literary analysis and building foundational skills in theme identification and interpretation.

As mos t V i e t n a m e s e h a v e n e v e r s e e n s n o w before, p ictur es a b o u t s n o w y s c e n e s can h e l p t h e m i m a g i n e t h e set t in g of t h e p o e m m o r e easily.

G roup w ork: D e s c rib e th e p ic tu re s o f th e w o o d s th e te a c h e r g iv es you W h at d o you think it w o u ld feel like to s ta n d an d w a tc h th e s e s n o w y w oo ds? N o m in a te o n e re p re s e n ta tiv e o f y o u r g ro u p to talk in fro nt o f th e w h o le class.

C over d esig n , illu stra tio n s

Students are asked to design the cover of a book or an illustration for a poem or story they have just studied, a design task usually done in pairs or small groups When the designs are complete, a classroom exhibition can be held to showcase the work Each design team then presents its product to the class, explaining the meaning behind their design or illustration and the effects they intend to achieve.

Next p a g e is an e x a m p l e o f this kind of e x er c is e o n d r a w i n g a b o o k c ov er for

H e m i n g w a y ' s s ho rt story “Cat in t h e Rai n”:

Would you choose this as a j ■ ■ m j

■M book cover for Hem ingway’s story “ Cat in the Rain”?

1 | # Can you design something i : 0 */ ?y* ;>sV. different to be used as a co v e rt

S tu d en ts a re a s k e d to w rite a su m m a ry o f a story they h a v e stu d ied in class or re a d at h o m e T h e te a c h e r lim its the m a x im u m n u m b e r o f w ords.

Write a summary of the Story “Cat in the :

Now write another a) You must use only 25-30 words

42 b) You must not interpret the story You must only summarise what happens in the narrative.

T h e literal m e a n in g o f the lite ra ry tex t I T h e fig u rativ e-sy m b o lic m e an in g o f the literary tex t II S ound and sen se IV S tu d e n ts’ fe e d b a c k

At a very basic level of reading literature, students may already misunderstand texts because they aren’t aware that English encompasses many distinct language varieties, including the formal language of science, the precise language of history, the succinct tone of journalism, and, of course, the language of literature itself The language of poetry, for example, often relies on imagery, rhythm, and metaphor rather than straightforward prose, which can challenge learners who expect a single, uniform style.

Poetry is very different from the language of science and history, because it uses specific devices to convey a precise meaning, such as rhythm, rhyme, and figurative language Whether it is prose, poetry, or drama, students should seek to understand the vocabulary, the pronouns (especially its), the sentence structure, and even the punctuation.

An average word has three components: its sound, its denotation, and its connotation The basic part of a word’s meaning is its denotation, or dictionary meaning, which represents the literal definition you’d find in reference books Denotation is the core sense that remains constant across contexts, while connotation refers to the associations, emotions, and ideas that a word can evoke beyond its dictionary definition Understanding both denotation and connotation helps explain not just what a word means, but how its use can influence tone and interpretation in different contexts.

A word may have more than one denotation, and dictionaries often list several meanings for a single term For example, "spring" can denote a leap, a season, a natural source of water, or a coiled elastic wire, illustrating how a single word can carry multiple senses Because senses depend on context, students should learn to identify the correct denotation by examining the surrounding words and the topic, rather than relying on one or two meanings they already know This contextual approach improves understanding, supports accurate vocabulary use, and enhances reading and writing skills.

H o w e v e r, th e la n g u a g e of literature differs from th e la n g u a g e of c o m m u n ic a tin g in form ation in that it d o e s not c o n fin e his w o rd s to o n e m e a n in g at

Writers often exploit polysemy, using a single word to carry multiple meanings at once so a phrase can express more than one idea simultaneously This technique is evident in Edith Sitwell's writing, where spring denotes both a season of the year and a sudden leap, blending the wild energy of spring with the image of tiger mating to create a vivid, layered effect.

Beyond their denotations, words carry connotations—meanings that emerge from associations and shape how we interpret them For example, the word borne denotes a place where one lives, but its connotations evoke security, love, comfort, and family The adjectives 'childlike' and 'childish' both describe qualities of a child, yet they carry different implications: 'childlike' suggests innocence, while 'childish' suggests petulance or willfulness Keith Sitwell uses tigers rather than lambs or birds because tigers convey fierceness and wildness that the other two lack.

Students may struggle to understand a sentence’s meaning when its structure is unusual, a problem that often arises in poetry where inversion of word order is common Inversion can emphasize a particular idea, create rhythm, or fit a metrical pattern, but it can also obscure syntax for readers who are not familiar with the technique This piece outlines the main kinds of word-order inversion and explains how moving elements like the subject, verb, and modifiers can change emphasis, clarity, and tone, with examples to illustrate how different inversions alter meaning.

54 o rd e r To u n d e r s ta n d lhe m e a n in g l the s e n te n c e , stu d e n ts h a \ e to restore ik irnial (>rder < >1 wx>rds:

W h o s e w o o d s th e se are I think I know

(R obert Frost) Normal w o rd order:

S u b o rd in a te co n ju nctio n

His h o u s e is in the village th o u g h

(R obert Frost) Normal w o rd order:

T h o u g h his h o u s e is in the village

T h at tim e of th e y ear th o u m ayst in m e b e h o ld

T h o u m a y in m e b e h o l d that tim e of the year

My little- h o rs e m u s t th in k it q u e e r

“It" h e re is not u s e d as a p r o n o u n to s ta n d for a n o u n that p r e c e d e s it It is an introductory "it" in tro d u c in g th e p h r a s e that follows: “to sto p w ith o u t a farm h o u se near".

My little h o rs e m u st th in k it /= to stop without a farm house near! q u eer.

In n o rm al s p e e c h , w e w o u ld r a th e r say: "My little h o rs e m ust think that to sto p w ith o u t a fa rm h o u s e n e a r is q u e e r"

3) The facts of the story

Students should be taught to understand the literal meaning of a literary text through close reading and by asking explicit questions about the story's basic details Essential prompts include: What happens in the plot, who are the main characters, and what are their relationships to one another? Clarifying these literal elements lays a solid groundwork for deeper analysis and helps prevent misinterpretation of the text This approach strengthens comprehension, supports the use of textual evidence, and enhances overall literary study.

What is th e situation in th e p o e m ? Where a n d w h e n d o e s th e story ta k e place?

T h e facts o f H e m in g w a y ’s s h o rt sto ry “ C at in th e R ain” c a n b e sta te d as follow s:

A young American couple stayed at a hotel on a rainy night The husband was reading a book in their room when his wife noticed a cat outside in the rain She went out to fetch it, but the cat had already disappeared She returned to the room, and the hotel keeper, who had seen her go out, sent her another cat.

Paraphrase means expressing the same idea in different words, and in its simplest form a paraphrase is just a restatement of the plain sense of a literary text Understanding literature, however, doesn’t stop at paraphrase, because it cannot convey deeper, figurative or symbolic meanings Still, paraphrase can function as a helpful exercise to check students’ grasp of the text’s literal meaning, since learners won’t reach the work’s next layers of interpretation until they have mastered its plain sense.

E x a m p le : A p a r a p h r a s e of F ro st’s p o e m “S to p p in g b y W o o d s o n a S now y

Frost’s poem depicts a traveler strolling home on a winter evening who pauses before a dark stand of woods to savor the peace, solitude, and beauty of the snowy landscape His horse doesn’t share the moment, resisting the stop because, with miles to go before sleep, there’s little reason to linger in such a cold, deserted place The scene sets up the central tension between the lure of quiet nature and the obligations that propel us forward, a meditation on restraint, duty, and the pull of the road ahead.

57 w ay to go T h e s p e a k e r , in th e encl, c o n c e d e s th a t h e s h o u ld c o n tin u e his journey to k e e p th e c o m m it m e n ts he h a s m a d e "

II The figurative -sym bolic m eanin g o f a literary text

Understanding the figurative and symbolic meanings of a literary text hinges on strong reading strategies: close reading, making inferences, predicting outcomes, and recognizing organizational patterns—argumentative, descriptive, and narrative—through the identification of rhetorical devices such as linking words and transitional phrases Students should engage with both analytical and synthetic methods while developing imagination and critical thinking to interpret how form and language convey deeper meaning This integrated approach supports coherent analyses, evidence-based reasoning, and enhanced literacy and interpretive skills.

Figures of speech and symbols are images used to express not only ideas but also feelings, since literature is the language of the mind as well as the heart The writer uses imagery to bring concrete life to the story, so readers can understand the characters' thoughts and share their deepest emotions Metaphors, similes, personification, and symbolic objects help make abstract themes tangible and memorable, strengthening the reader’s connection to the narrative For example, in Shakespeare's plays, vivid imagery reveals character motives and emotional nuance that plain prose cannot convey.

M acbeth, w h e n M acb eth s a w his o w n d r e a m s perish, he says:

'Tomorrow, a n d tom orrow , a n d tom orrow ,

C r e e p s in this p etty p a c e from d ay to d ay

To th e last syllable of re c o rd e d time;

And all o u r y e s terd a y s h a v e lighted fools

T h e w a y to d u sty d eath Out, out, brief candle!

Life's b u t a w a lk in g s h a d o w , a p o o r pla y er

T h at struts and frets his h o u r u p o n th e stage And th e n is h e a rd no more It is a tale Told by an idiot, full o f s o u n d a n d fury, Signifying nothing.

T h e m ain id e a e x p r e s s e d in th o s e ten lines is: Life is m e a n in g le s s But

S h a k e s p e a r e also w a n ts his a u d i e n c e to s h a re th e feeling of utter b itte rn e s s a n d e m p tin e s s e x p e r i e n c e d by M acbeth T h o s e feelings are s u g g e s te d th ro u g h the im a g e s o f p e tty p a c e, last syllable, d u sty d e a th , b r ie f candle, a w a lkin g s h a d o w , a p la y e r that struts a n d frets For M acbeth, life is as m e a n in g le s s as a s h a d o w , a fretting player, an idiot's tale At this stage, if s tu d e n ts only u n d e r s ta n d th e literal m e a n i n g of th e p a s s a g e an d fail to g ra s p its su g g e s tiv e n e ss , th e y h a v e failed to

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