Unlocking Literary Themes: A Student’s Guide

One of the rites of college lit classes is writing about how the writer writes. This can right well make you a better writer!

Before a college student completes the undergraduate requirements, he or she will write a bona fide Literary Analysis. Many students coming straight out of secondary school into their first university Comp classes have one primary means of critically analyzing literature – the Reader Response critique. This focuses primarily on how, in reading the literature, the student reacts to, understands, is moved by, or connects with the reading. Out of a number of different critical analysis methods, this one is a favorite.

But what does the student do with the elements and devices of literature if Reader Response is the sole grid through which the student has analyzed literature? That’s why reading to understand both why and how the author writes is so important. The “what” is manageable for many; the “why” and “how” can add a whole new level of understanding literature. It’s called the Thematic Literary Analysis.

The key to a strong Thematic Literary Analysis is having a solid grasp of the literary work (more than a cursory glance and a quick search for a summary), identifying the author’s dominant theme (if more than one, choosing the one worth writing about from your perspective), and determining at least three literary elements that author uses to make the theme come alive.

Here are the different elements and devices the author might use along with a brief description. I have arrange these in four categories: plot, conflict, characterization, and point of view. The author may use all or some of these; but the theme often leans heavily on some of these. Figure out which, and enjoy the analysis!

Literary Elements and Devices

Plot:

The plot and theme are the two driving elements in a poem or narration.

The plot is the beginning to end flow or development of drama that forms the story. Keep in mind that there are often sub-plots within the main plot as you analyze the story,.

The theme is that driving reason or developing purpose the author chooses to project through the narrative. Again, there are sub-themes.

When analyzing a poem or work of fiction try to discern between the main theme and sub-themes and the main plot and sub-plots.

Plot (and surrounding literary elements):

• Exposition: The exposition of the narrative is that early part that introduces setting, characters, tone, and other parts of the story the reader needs to engage in the rest of the narrative. This exposition can use dialog (the conversation between characters), inner dialog (the conversation going on inside a character’s mind), flashback (moving back in time), flash forward (moving ahead in time), setting, and initial plot development.
• Inciting Force: The author will use earlier rather than later in the narrative inciting force as a tool to initiate the conflict the characters face.
• Conflict: All narratives have conflict that needs some sort of interaction with or resolution to. Conflict leads to characters having to interact and respond to the plot. Conflict requires decision and reveal characterization as well as values like evil, good, wisdom, beauty, etc.
• Inciting Force: The plot develops from the inciting force through the choices the characters make and to the place where the action reaches climax.
• Crisis: Conflict and rising action leads to a developing crisis as the possible consequences appear. It is at this point that the author leads the reader to know something must be done.
• Climax: The climax is the most intense point in the crisis. It is also the highest point of emotion, decision-making, and reveals the possibilities of resolution.
• Falling action: After this revelation of climax, the reader interprets the outcome and the next element within the plot is the falling action. This is usually brief is the place where the author ties loose ends and unresolved elements.
• Resolution: The falling action brings resolution to the story and wraps up the plot. Different cultures need different resolutions to be satisfied with the narrative.
• Foreshadowing: foreshadowing  is when the author uses dialog, event, or other element to point to what happens later in the narrative. This can be used for suspense building or in order to validate the resolution. Foreshadowing is “in the shadows” of the plot and often reveals itself after the first reading.
• Irony: Often the author wants to tweak the reader’s understanding of reality by using irony. Irony of situation is when what happens or what should happen is the opposite of what really happens. Dramatic irony is when the author lets us in on what is happening before the characters know. Verbal irony is what we are most familiar with and the irony we  most likely discover first (though the other two types are more fun to discover.) Verbal irony is when the character says the opposite of what he or she means (if they do this with overly dramatic tone, it can drift into sarcasm which is often offensive in a character.)
• Symbolism and Allusion: Sometimes, the author uses symbolism in a character, a name, a position, a title, a place, or an occurrence to represent something else in the story. It remains important in its own right; but it takes on the additional importance by symbolizing something else that is often larger in meaning that itself. (Symbolism is often mixed up with metaphor.) Frequently, authors will allude to another literary work, quote, or character, a biblical character or quote. This is called allusion.
• Metaphor and Simile: These two literary devices are used in poetry frequently but in narration as well. The metaphor and the simile do the same thing: they both make one thing mean something else. The difference is this: the simile uses the words like or as; the metaphor does not. (Metaphor: The paint splashed red was a knife to my memory. Simile: The paint splashed red was like a knife slashing into my memories. Symbol: The paint splashed red was violence that formed my anger and led my actions. )
• Tone and Mood: This element of literature begins early in the narrative and often gradually changes. Tone is what the narrator (and the author) feel about the theme. It may be angry, ambivalent, humorous, pessimistic or optimistic). Mood is that level of tension and feeling developed by setting, character attitudes, events, etc. that create mystery, suspense, humor, fright, joy, etc.

Conflict Types:

Conflict leads to characters having to interact and respond to the plot. Writers use four primary kinds of conflict:

• The classic narrative conflict is Character versus Character: The Protagonist (the main character) is in conflict with the Antagonist (the character in charge of opposing decision-making). The author will often use a Foil who represents the unwise choice to what the protagonist chooses.
• Some of the most intense narrations are Character versus Nature. The main character fights to survive against a force of nature. This character depends greatly on other characters including the foil, the mentor, the hero, the love interest, the confidant, and the comic relief (jester).
• Some narratives such as dystopic stories and intrigue stories rely on Character versus Culture (Society). The values that dominate the audience’s belief system are threaten by another cultural force or ideology. The protagonist leads the minority to face this crisis and overcome so that good wins and/or martyrdom happens.
• The fourth type of conflict is Character versus Self. This conflict is often present with the other conflicts as the flawed hero or protagonist is the most loved, especially when he or she reveals and then deals with that inner conflict. Some narratives are dominated by this conflict and reveals moral strength, a set of values that are tested, or the overcoming of a personal inner problem.

Characterization:

The plot engages the characters and the theme is revealed through how those characters face the conflict of the plot. Therefore, characterization and how the main and minor characters develop and grow and contribute to the theme are essential to a good narrative.

• The first is the main character. This one is well-developed and makes the most decisions. They grow and change as they make decisions and choices and most often grow more loved and respected as the plot develops. The more the main character changes and develops and works through flaws and the results of the past, the more that character is a dynamic character.
• Alongside the movement of the main character are supporting characters and minor characters. The supporting characters may or may not develop and show changes as they make decisions even though these supporting characters show up a lot in the narrative. They are key to the development of the main character. The minor characters are typically flat characters who offer one thing to the narrative, even though that “one thing” becomes key to the resolution of the plot.

Point of View:

• First Person POV: This is when the narrator is the key supporting character or the main character in the story. The narrator here can witness what he or she sees and express feelings, interpretations and analysis of what is seen.
• Second Person POV:  This is the least used in narratives but shows up in poetry and instructional writing. The main feature of second person POV is the “you” voice that is introduced and, because of this, involved the reader in the plot (even if the “you” is directed at another character, we read “you” as if it means “me.”)
• Third Person Objective is when the narrator is within the story as an observer. This POV is frequently used and the narrator becomes the witness to all that happens. The Third Person narrator cannot read thoughts and is not involved in directing the plot.
• Third Person Limited & Third Person Omniscient: There are two additional Third Person POV’s. The Third Person Limited narrator is outside the main characters but can read the thoughts of a character or characters in a limited manner. Third Person Omniscient is the all-knowing narrator who see all, reads minds and intents, and can know the past and future for the purpose of flashback and flash forward.