Gusti O. Hingmane. Prose

PROSE
A Handout
Gusti Omkang Hingmane, S. Pd

For the Fifth Semester Students of Academic Year
2011/2012
English Studies Program

Faculty of Teacher Training and Education
Tribuana University
2011
CHAPTER ONE
Proses Meaning and Kinds
1.1 Definition of Prose

Prose is the most typical form of written (http://en.wikipedia.org/wiki/Language),
applying ordinary grammatical structure and natural flow of speech rather than rhythmic
structure (as in poetry). While in http://www.merriam-webster.com/dictionary/prose, prose is, 1a
: The ordinary language people use in speaking or writing; b : a literary medium distinguished
from poetry especially by its greater irregularity and variety of rhythm and its closer
correspondence to the patterns of everyday speech; 2: a dull or ordinary style, quality, or
condition. In other words, prose is defined as free story. Or, prose is any type of written word
that is not poetry (in http://wiki.answers.com/Q/What_are_the_different_types_of_Prose).
1.2 Kinds of Prose

Some well known kinds of prose are essays (including articles), history, biography,
autobiography, anecdotes joke, speech, letter, journals, diaries, tale, short story, novels, myth,
legend, fiction, comedy, and drama (Djoneng, 2008: 30; http://en.wikipedia.org/wiki/Prose;
http://wiki.answers.com/Q/What_are_the_different_types_of_Prose).
While
in
http://answers.yahoo.com/question/index?qid=20070623054553AArnNOA, there are eight types

of prose, namely: short stories, factual prose, letters, novels, diaries, testimony, journals, and the
personal essay. Some of them are explained like below:
1.2.1 Essay. Essay may be formal or informal. They are formal if they follow strict rule of
discourse, and informal if they do not follow these rules very strictly and tend to put forward
opinions that are markedly personal.
1.2.2 History. A history gives chronological accounts of event undergone by a nation, political
group, an institution, or an organization. Histories often derive their material from biographies
and autobiographies as well as other documents.
Gusti O. Hingmane, S.Pd English Teacher at SMAN 1 ABAD and lecturer at Untrib University
Page 2
1.2.3 Biography. A biography is an account of a personal life, or a stage of his life, given by
another. While a autobiography is account of personals life or a stage of his life, given by
himself and tending to subjective.
1.2.4 Anecdote. An anecdote is an account of an incident in a personals life that depicts a facet
of his character.
1.2.5 Jokes. Jokes are accounts of humorous incidents, factual or imagery.
1.2.6 Speech. A speech is an oral discourse deliver on an important topic during the important
occasion.
1.2.7 Letter. A letter is written missive from one person to another (its quality and important will
determine its place in literature).
1.2.8 Journal. A journal is day to day account of occurrences connected with an important
undertaking such as sea voyage, a project, etc.
1.2.9 Diary. A diary is a day to day account of occurrences during certain stage of a personals
life, written by himself.
1.2.10 Tale. Tale is a kind of story that includes some wonderful and magical events. There is
also a kind of summary, but there isnt any detailed drawing of characters. The main goal is the
revelation of the marvelous things rather than insisting on presenting the characters. As the
example may be considered Jack and the Beanstalk, which is an English folk tale. The most
important
are
the
marvelous
beanstalks
with
giants
is
than
Jacks
personality
(http://www.bryk.pl/teksty/studia/j%C4%99zyki/angielski/16637-types_of_prose.html).
1.2.11 Short Story. A short story is that kind of prose narrative, which length is limited. That
kind of prose is probably as old as the literature. Moreover, this form of prose has existed for
many years before the same art of writing was invented. Probably the oldest example of short
story is an Egyptian tale entitled "The Two Brothers", which dates back around 3200 B.C. What
is more, until today the original of that prose remains unbroken. The short stories usually are
consisted of description, some dialogues or commentary. However, the most important is the fact
that every short story has a compact narrative and characters are well-drown. The examples of
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such stories are: "To build a Fire" written by Jack London and "Well-lighted Place" written by
Ernest
Hemingway(http://www.bryk.pl/teksty/studia/j%C4%99zyki/angielski/16637-
types_of_prose.html).
Short story is a fictitious narrative, the length is limited. It was defined by Edgar Allan
Poe (Djoneng, 2008) as a story whose one main requisite characteristic is that of unity. This to be
achieved by means of unity of character, unity of time and place, unity of theme, unity of plot,
and unity of discourse.
For unity of character (C), there should be only one main character (MC), the other
characters to be mostly supportive in function; or, if the other characters are equally important,
they must be extremely to the MC. Unity of C includes unity of viewpoint. The story is usually
told from the point of view of the MC. The narrative may be done either in the first person (using
I and we), or in the third person for all characters (Lukeman, 2003: 148).
For unity of time and place, the main events including the climax should take place
within only one limited span of time and place. A more remote time and place may be permitted,
if necessary, only in the flashback or in characters nostalgic retelling of the past of the initial
problem, occurring in a distant place after the passing of considerable length of time.
For the unity of time, the short story should be about only one subject matter, and the
initial problem or predicament must be clearly connected with the climax and denouement (the
climax is the highest point of a story where all of the conflicting elements come together to a
head) (Djoneng, 2008:32; Zaenuddin, 2004:66). The denouement is a solution, happy or sad, all
of the conflicts in the story; it comes just before the ending sentence(s).these parts of a short
story are given more treatment in connection with unity of line of feelings or emotion goes
through the whole story. Unity of theme does not include unity of aim, for a work of fiction is
not supposed to have any aim except to entertain the reader by giving him vicarious experience.
For unity of plot, the short story should deal with only one story outline occurring to only
one set of characters of limited number (Djoneng, 2008). All occurrences should fit into a
beginning that show a predicament that the main character has to deal with; a development;
which shows how he tries to deal with the predicament, the development culminating in a climax
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by which the main character comes to a point which may mean either victory or defeat for hi;
and then denouncement or solution which quickly followed by the end.
1.2.12 Novel. For unity of plot in a novel, the connection between various sub-plots must be
well shown. One of the sub-plots must be treated as the main plot with the other sub-plots being
made subordinate to the main plot. The length of a novel allows it to have several such sub-plots
(whereas a short story can accommodate only one).
Novel is also a kind of prose, which is narrated on a bigger scale. Similar to the short
story, a novel includes a lot of different kinds and possibilities. Its length is also longer than the
length of short story. More extended narratives forms have been invented as soon as the same
literature was invented. What is more, the novels are considered as the most popular literary
form nowadays, in both criteria: in the quantity and the quality. However, if we consider the
quality, it has a rival which a magazine short story. A lot of people dont want to read any other
type of literature than the novels or short story. It is said that the novel is the best qualitative
form literature. As the best authors are consider the class writers. The example of novels are
book such as: Harry Potter and Philosophers Tone written by J.K. Rowling or Bridget Jones
written
Diary
by
Helen
Fielding(http://www2.anglistik.uni-
freiburg.de/intranet/englishbasics/ProseTypes.htm).
The novel can be defined as an extended work of prose fiction. It derives from the Italian
novella (little new thing), which was a short piece of prose (http://www2.anglistik.unifreiburg.de/intranet/englishbasics/ProseTypes.htm). The novel has become an increasingly
popular form of fiction since the early eighteenth century, though prose narratives were written
long before then. The term denotes a prose narrative about characters and their actions in what is
recognizably everyday life. This differentiates it from its immediate predecessor, the romance,
which describes unrealistic adventures of supernatural heroes. The novel has developed various
sub-genres:
1.2.12.1 Epistolary Novel. In the epistolary novel the narrative is conveyed entirely by an
exchange of letters.
1.2.12.2 Picaresque Novel. A picaresque novel is an early form of the novel; some call it a
precursor of the novel. It presents the adventures of a lighthearted rascal (pcaro = rogue)
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(http://www2.anglistik.uni-freiburg.de/intranet/englishbasics/ProseTypes.htm).
It
is
usually
episodic in structure, the episodes often arranged as a journey. The narrative focuses on one
character who has to deal with tyrannical masters and unlucky fates but who usually manages to
escape these miserable situations by using her/his wit. The form of the picaresque narrative
emerged in sixteenth-century Spain. Examples are: in the English tradition: Thomas Nash, The
Unfortunate Traveler; Mark Twain, The Adventures of Huckleberry Finn; Daniel Defoe, Moll
Flanders.
1.2.12.3 Historical Novel. The historical novel takes its setting and some of the (chief) characters
and events from history. It develops these elements with attention to the known facts and makes
the historical events and issues important to the central narrative. (e.g. Charles Dickens, A Tale
of Two Cities)
1.2.12.4 Bildungsroman. The Bildungsroman (novel of education) is a type of novel originating
in Germany which presents the development of a character mostly from childhood to maturity
(http://www2.anglistik.uni-freiburg.de/intranet/englishbasics/ProseTypes.htm).
This
process
typically contains conflicts and struggles, which are ideally overcome in the end so that the
protagonist can become a valid and valuable member of society. Examples are J.W. Goethe,
Wilhelm Meister; Henry Fielding, Tom Jones; Charles Dickens, David Copperfield; James Joyce,
A Portrait of the Artist as a Young Man.
1.2.12.5 Gothic Novel. The gothic novel became very popular from the second half of the
eighteenth
century
onwards
(http://www2.anglistik.uni-
freiburg.de/intranet/englishbasics/ProseTypes.htm). With the aim to evoke chilling terror by

exploiting mystery and a variety of horrors, the gothic novel is usually set in desolate landscapes,
ruined abbeys, or medieval castles with dungeons, winding staircases and sliding panels. Heroes
and heroines find themselves in gloomy atmospheres where they are confronted with
supernatural forces, demonic powers and wicked tyrants. Examples are Horace Walpole, The
Castle of Otranto; Ann Radcliffe, Mysteries of Udolpho; William Faulkner, Absalom! Absalom!
1.2.12.6 Social Novel. The social novel, also called industrial novel or Condition of England
novel, became particularly popular between 1830 and 1850 and is associated with the
development
of
nineteenth-century
realism
(http://www2.anglistik.uni-
Page 6
reiburg.de/intranet/englishbasics/ProseTypes.htm). As its name indicates, the social novel gives a

portrait of society, especially of lower parts of society, dealing with and criticizing the living
conditions created by industrial development or by a particular legal situation (the poor laws for
instance).
1.2.13 Drama. A drama or a play is a story told, by means of dialogue, by living actors acting the
story out on a stage. The movie or cinema is a contemporary of the dramas.
By tradition, there are two kinds of dramas, the tragedy and the comedy. The theme of
tragedy is usually a sad one and is more serious than that of a comedy. Tragedy centers on a here
who struggles against powerful and evil forces that finally defeat him, the story ending in his
death.
In a comedy, the hero tries to deal with a predicament, and, while doing it, he undergoes
humorous and ridiculous situation until, finally, he emerges successful, and, while doing it, he
undergoes humorous and ridiculous situation until, finally he emerges successful and victorious.
In both tragedy and comedy, characterization is made paramount, that is, the personality
of each character, especially of the hero, is finely delineated, with the result that the audience can
accept as people like themselves, or, at least, understand as to their motivation.
There are some variations of tragedy, such as: melodrama (which has a sad ending like
tragedy but is poor in characterization), interludes (short conversation exchange done between
the acts of a long play to amuse the audience, while they waited), miracle (enacted stories from
the bible and from the lives of the lives of the saints), and morality (play had abstract traits or
quality-like peace, justice, patience, wisdom, beauty, or prudencefor characters to enact a
message or teaching) (Djoneng, 2008: 37).
Drama is divided into acts, and each act is divided into scenes. An act is roughly
determined by one opinion and closing of the stage curtain. Five acts in one play used to be a
regular and normal length for a play.
1.3 Differences between Prose and Poetry
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Prose and poetry are the two basic categories which language can be divided into. Poetry
is characterized by its use of rhythm, and prose by not using a regular rhythm, which is the case
for
the
vast
majority
of
spoken
and
written
language
(http://www.usingenglish.com/glossary/prose.html). Prose lacks the more formal metrical

structure of verse that is almost always found in traditional (http://en.wikipedia.org/wiki/Poetry"
\o "Poetry); (http://en.wikipedia.org/wiki/Prose). This web below links like the statement above:
Jika bahasa berlaku sebagai pemeran pembantu dalam prosa, maka dalam puisi
bahasa adalah pemeran utama. Ada kalanya muncul kiasan lain: prosa adalah
bahasa dalam bentuk cair, puisi adalah bahasa dalam bentuk padat. Puisi adalah
ungkapan bahasa yang gemar bersolek, aneh, samar-samar, bahkan gelap,
sementara prosa adalah ungkapan bahasa yang wajar dan terang, makin wajar dan
terang-benderang, makin baguslah prosa itu. Puisi mengigau sendiri; prosa
berkomunikasi (http://bukuohbuku.wordpress.com/2010/06/06/perbedaan-puisidan-prosa).
While, according to Djoneng (2009), both poetry and prose combine elements of
description, narration, exposition and argumentation in a manner best suit to authors purpose. A
poem may describe a scene, tell a story and explain a state of mind, and the poet may even use
argument, for example, to persuade a woman he loves to return his love.
Poetry differs from prose in that it is more concise, concentrated, intense, rhythmical and
melodious than prose. A poem can express in a few lines what it would take prose counterpart
chapter to explain. It does this by the selection of a few exact detailing and putting in them
intense personal significance.
Poetry usually express an attitude, an emotion or an opinion, and is dependent on word
sounds, as well as on meaning, for its effect (Djoneng, 2009: 10). It consciously use melodic
devices and a definite rhythmic pattern, both of which distinguish it from prose.
Page 8
CHAPTER TWO
The Elements of Literature
2.1 Character
Most of us are interested in other people. When we meet someone for the first time, we
notice certain things: how the person looks, speaks, and acts, for example. We make judgment
according to what we notice. Sometimes, as we get to know the person better, those evaluations
are affirmed. Sometimes, they are challenged. Interested in other people is more than just idle
curiosity. We based our most important life decision-whom we will work with, whom we will
live-on what we learn from observing, talk with, and interacting with other people.
It is not surprising, then, that then we watch television programs, see movies, or read
literature; most of us pay attention to the people-the characters-whose lives unfold before us. To
stay interested in film, a novel, a short story, or a play, we must find the characters interesting in
some way. Some characters fascinate us by being very different-by living in a distant place or a
time long past or by being wildly glamorous or consummately evil. Sometimes characters may
capture our minds and hearts because they are people we can relate to. They may face
circumstances similar to our own may act in ways that makes us feel as though in a mirror.
Frequently a character intrigues us by displaying a specific quality or style: a unique sense of
humor, a gift for the absurd, or a profoundly wise way of looking at the world.
Writer may want to describe action or ideas. But they must also describe the charactersthe persons or objects-affected by these actions and ideas. The characters make up the central
interest of many dramas, and novels as well as biographies or autobiographies. Even a poem is
concerned with characters (Djoneng, 2008:6). The speaker, or poet, is often the main character of
a poem. Writers must know their character thoroughly and have the clear picture of each ones
look, speech, and thoughts.
2.1.1 Characterization
Characterization is the depicting of clear images of a person. There are two methods:
2.1.1.1 Dramatic methods (indirect method)
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The writer allows us to know the opinions of the characters from what they do and
say, from their environment, and from what are the characters think of them by
looking into their dialogue and action.
2.1.1.2 Analytical method (direct method)
The author tells us about the characters directly.
2.2 Plot
When you tell what happens in a film or in the works of literature, you are describing the
plot. Plot is the sequence of events that take place. It is also the outline or the frame of the story.
Most readers begin by describing external actions, those that, through the writers description,
we can see and hear. For instance, in her response to Butterflies, Lisa Tisico begins by writing
about the granddaughters starting school and the drawing, she includes in her story of killing
butterflies. These are external plot action. But Lisa also asks questions that indicate her interest
in external actions, those events that take place inside the heart and mind. For example, she sees
the granddaughter does not agree with the teacher; in addition, Lisa wonders why the child
would want to kill the butterflies. So looking at the external actions carefully led Lisa to think
about the internal changes that may be happening.
The sequence of external and internal actions and events in literary work creates its structure,
the pattern the plot follows. In the most traditional plays and works of fiction. The plot structure
is something like this: the work usually opens with an introduction that let us know whom the
action will concern and where the action will take place.
Next, we are given a complication or a series of complications (small or large problems,
sometimes comic, sometimes serious). For instance, in the Man in a case, after Byelinkov and
Varinka greet each other, they almost immediately have a series of small disagreement. He
claims not to like the apricot; she has received as a gift for him. She offers to return the apricot
and try to exchange them for a different gift. He responds by attacking the character of the
woman who gave Varinka the apricots. Furthermore, we will come to the climax. Climax is the
point of the greatest tension or the turning point. Then, there is conclusion in which the story
ends. There are two kinds of plot, they are:
2.2.1 Closed plot. Through the closed plot, the writer revolves or concludes the story for
the readers.
Gusti O. Hingmane, S.Pd English Teacher at SMAN 1 ABAD and lecturer at Untrib University Page 10
2.2.2 Open plot. The story frequently ends at the climax and the reader is left to decide
what he thinks the resolution or outcome of the story might be.
2.3 Setting or Background
Learning where others were born or grew up or discovering where they have lived or
traveled help us understand better. In some cases, a new friend comes from a place where
customs and values are different from ours. From instance, most people in the United State
believe that not looking another person in the eye indicates shame or deceit. In some cultures,
however, looking directly at another individual is a sign of boldness and lack of respect.
In reading literature, it is just an important as it is in daily life to think about time and
place, the setting of work. Setting is the place and time in which a characters story occurs.
Literary characters, like the persons who read about them, do not exist alone in space. They
act and react with one another. They also respond to the world in which they live. Setting is
another way of showing people.
2.4 Point of View

Point of view is a way of how a story is told. Point of view is a way and vision used by the
author as tool to present the figures, the action, the setting and any other events that form the
story in a fictional works to the readers.
Everything is presented in a fictional work belong to author, his philosophy and
interpretation about life. The choice of point of view is very important because it is not only
related to the problems of style, but it is also related to grammatical and rhetorical problems. The
grammatical problems are related to how the author presents his writing. Point of view has
psychological side with the readers. The readers need clear perception about point of view of the
story.
A writer may tell a story in the first person (I, and we. Laksana, 2007:107) as though the
narrator were a major or minor character in it. Or, the writer may use the third person (he or she),
in which the narrator stand apart from the characters and describe the action. The writer also can
use second person (you). There are three variants of the third-person point of view: dramatic or
objective, omniscient, and limited omniscient. (Laksana, 2007: 108-114).
2.5 Theme
Theme or statement is the basic idea expressed by a work of literature. It develops of
interplay of the character and plot. A theme may warn the reader to lead a better life or different
kind of life. It may declare that life is profitable or unprofitable, or the crime does or does not
pay.
Serious writers strive to make their work an honest expression of sentiment, or true emotion.
They avoid sentimentality, which mean giving too much emphasis to emotion or pretending to
feel an emotion. A writer of honest emotion does not have to tell the reader what to think about a
story. A good story directs the reader to the authors conclusion.
2.6 Style and Tone
Style is the way a writer uses words to create literature. It is one following another, and one
paragraph leading to the next. We can seldom enjoy a storys character or plot without enjoying
the authors style. The way writers write is a part what they have to say. From the first word to
the last, a writer must solve problems of style by answering as: what kinds of words shall I
use?, how shall I present details?, should paragraph be long or short?.
Meanwhile, tone is a manner of expression in speaking. Tone is related to high tone, low
tone, soft and strong. Tone is related to intonation, melody, and stressing of the sentences.
CHAPTER THREE
Basic Prose Style and Mechanics
3.1 Write in the Active Voice
Unless you have a good reason to do otherwise, always choose the active, rather than the
passive voice. With the active voice, the agent (the person or thing carrying out the action
expressed by the verb) is the subject:
John opened the door.
There are two types of passive voice constructions. In one, the agent is identified, but the
person or thing toward which the action is directed (rather than the agent) is the subject of the
sentence:
The door was opened by John.
In the second type of passive voice construction, the agent is not identified at all:
The door was opened.
3.2 Avoid Nominalizations
A nominalization is a noun derived from and communicating the same meaning as a verb
or adjective. It is usually more direct, vigorous and natural to express action in verbs and
qualities in adjectives.
No: Our expectation was that we would be rewarded for our efforts.
Yes: We expected to be rewarded for our efforts.
No: There was stuffiness about the room.
Yes: The room was stuffy.
3.3 Express Parallel Ideas in Parallel Grammatical Form
Parallelism is the principle that units of equal function should be expressed in equal form.
Repetition of the same structure allows the reader to recognize parallel ideas more readily.
No: This could be a problem for both the winners and for those who lose.
Yes: This could be a problem for both the winners and the losers.
3.4 Choose Your Words Carefully
Linguists estimate that the English language includes over one million words, thus
providing English speakers with the largest lexicon in the world. From this vast lexicon, writers
may choose the precise words to meet their needs. The list below describes some of the factors
you might consider in choosing, from among a number of synonyms or near synonyms, the word
or phrase most appropriate to your purpose. Notice that the distinctions between these factors are
not always sharp; some might properly be considered subsets of others. For example, tone,
formality, and intensity might be considered subsets of connotation.
Connotation: While the literal or explicit meaning of a word or phrase is its denotation,
the suggestive or associative implication of a word or phrase is its connotation. Words often have
similar denotations but quite different connotations (due to etymology, common usage,
suggestion created by similar-sounding words, etc.); hence, you might choose or avoid a word
because of its connotation. For example, although one denotation of rugged is "strongly built or
constituted," the connotation is generally masculine; hence, you might choose to describe an
athletic woman as athletic rather than rugged. Likewise, although one denotation of pretty is
"having conventionally accepted elements of beauty," the connotation is generally feminine;
thus, most men would probably prefer being referred to as handsome.
Level of Formality: Some dictionaries indicate whether a word is formal, informal,
vulgar, or obscene; most often, however, your own sensitivity to the language should be
sufficient to guide you in making the appropriate choice for a given context. In writing a report
about the symptoms of radiation sickness, for example, you would probably want to talk about
"nausea and vomiting" rather than "nausea and puking."
Intensity: Intensity is the degree of emotional content of a wordfrom objective to
subjective, mild to strong, euphemistic to inflammatory. It is common, for example, for wildlife
managers to talk about harvesting deer rather than killing them. Choosing a less intense word or
phrase can avoid unnecessarily offending or inciting your readers; however, it can also be a
means of avoiding responsibility or masking the unsavory nature of the situation. As George
Orwell says in "Politics and the English Language": "In our time, political speech and writing are
largely the defense of the indefensible. . .. Thus, political language has to consist largely of
euphemism, question begging, and sheer cloudy vagueness."
Achieving the appropriate level of intensity is as often a question of choosing the more
intense as it is of choosing the less intense word. Ultimately, you must rely upon your own
sensitivity to the language, to your topic, and to your audience to guide you in making the
appropriate choices for a given context.
Repetition: Using the same word to refer to the same thing or idea is desirable when it
contributes to transition and coherence. For example, substituting commands for translators in
the second pair of sentences below provides a smoother transition.
3.5 Avoid Overusing Word Modifiers
Avoid overusing adjectives and adverbs. These modifiers have their place, but in the
most vigorous prose, action is expressed in verbs, and the agents of that action are expressed in
nouns. This principle applies to both ornate, pompous modifiers and to such commonplace
intensifiers as really, pretty, and very.
One of the best ways to avoid overusing modifiers is to select specific, self-modified
nouns and verbsones that don't require adjectives and adverbs to supplement their meaning.
For example, you might replace long black car with limousine or ran very quickly with sped or
bolted.
3.6 Clarify the Logical Relationship between Your Ideas
In order to make your writing coherent and the transitions between your ideas smooth,
you must clearly express or imply the logical relationships between your ideas. If you fail to do
so, one idea is simply juxtaposed with another, and readers are left to make the logical
connections for themselves. In this situation, experienced readers will suspect that you have not
clarified the logical relationships between your ideas because you don't know what those
relationships are-or worse, because there aren't any.
Hodges (2001) lists eight logical relationships and some of the transitional devices that
may be used to indicate each of them:
1. Addition: moreover, further, furthermore, besides, and, and then, likewise, also, nor, too,
again, in addition, equally important, next, first, second, third, in the first place, in the second
place, finally, last, etc.
2. Comparison: similarly, likewise, in like manner, etc.
3. Contrast: but, yet, and yet, however, still, nevertheless, on the other hand, on the contrary,
even so, notwithstanding, for all that, in contrast to this, at the same time, although this may be
true, otherwise, etc.
4. Place: here, beyond, nearby, opposite to, adjacent to, on the opposite side
5. Purpose: to this end, for this purpose, with this object, etc.
6. Result: hence, therefore, accordingly, consequently, thus, thereupon, as a result, then, etc.
7. Summary, repetition, exemplification, intensification: to sum up, in brief, on the whole, in
sum, in short, as I have said, in other words, that is, to be sure, as has been noted, for example,
for instance, in fact, indeed, to tell the truth, in any event, etc.
8. Time: meanwhile, at length, soon, after a few days, in the meantime, afterward, later, now, in
the past, etc.
3.7 Use Metaphor to Illustrate
Metaphor may be broadly defined as an imaginative comparison, expressed or implied,
between two generally unlike things, for the purpose of illustration (Laksana, 2007: 138;
Lukeman,
2003;
http://www.novel-writing-help.com/how-to-write-prose.html).
By
this
definition, similes (expressed comparisons) are a subset of metaphor. In prose (as opposed to
poetry), metaphors are most often used to illustrate, and thus make clear, abstract ideas. For
example:
Solving the problem was as easy as pie.
hair felt like silk
Her skin was as smooth as cream her
Her eyes were as blue as neon
Solving the problem was easy.
3.8 Use Basic Punctuation

To be a writer or reader, we must do understand well the use of punctuation, so, what we
read or write can be understood well. The punctuations are: commas, semicolons, colons, dashes,
parentheses, ellipsis dots, hyphens, apostrophes, italics, titles, numbers, quotation, question
marks, exclamation points, and multiple Punctuation (Keraf in Ola, 2006:23-37).
References
Djoneng, A. 2008. Introduction to Literature. Kupang: Unpublished

----------------2009. Course Book on Poetry. Kupang: Unpublished
Hodges, John and Mary Whitten. 2001. Harbrace College Handbook, 14th ed. New York:
Harcourt Brace Jovanovich
Laksana. A. 2007. Creative Writing: Tips dan Strategi Menulis Cerpen dan Novel. Jakarta:
Mediakita
Lukeman. N. 2003. Panduan Menulis dalam Bahasa Inggris. Jakarta: PT Bhuana Ilmu Populer
Ola, E. 2006. Mata Kuliah Bahasa Indonesia: Untuk Kepentingan Perkuliahan Mahasiswa NonBahasa Indonesia di Perguruan Tinggi. Kupang: Unpublished
Zaenuddin, HM, 2004. Panduan Praktis Penulis: How to be a Writer. Jakarta: Bentara Cipta
Prima
www.merriam-webster.com/dictionary/prose,%20was%20 accessed in August 26th 2011
http://en.wikipedia.org/wiki/Prose, was accessed in August 26th 2011
http://answers.yahoo.com/question/index?qid=20070623054553AArnNOA,%20was accessed in
August 26th 2011
http://www.hu.mtu.edu/~cwaddell/Basic_Prose_Style.html,%20was%20accessed in
August26th2011
http://www.bryk.pl/teksty/studia/j%C4%99zyki/angielski/16637-types_of_prose.html,%20was
accessed in August 26th 2011
http://www.bryk.pl/teksty/studia/j%C4%99zyki/angielski/16637-types_of_prose.html, was
accessed in August 26th 2011
http://www.usingenglish.com/glossary/prose.html, was accessed in August 26th 2011
http://www.hu.mtu.edu/~cwaddell/Basic_Prose_Style.html%20was%20accessed%20in%20Augu
st%20%2026th%20%202011
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September 3rd 2011

Gusti O. Hingmane. Prose

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PROSE

Gusti Omkang Hingmane, S. Pd

English Studies Program

1.1 Definition of Prose

1.2 Kinds of Prose

http://answers.yahoo.com/question/index?qid=20070623054553AArnNOA, there are eight types

freiburg.de/intranet/englishbasics/ProseTypes.htm). With the aim to evoke chilling terror by

reiburg.de/intranet/englishbasics/ProseTypes.htm). As its name indicates, the social novel gives a

(http://www.usingenglish.com/glossary/prose.html). Prose lacks the more formal metrical

2.4 Point of View

3.8 Use Basic Punctuation

Djoneng, A. 2008. Introduction to Literature. Kupang: Unpublished

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