TABLE OF CONTENTS
E-mail to: ms.rich@att.net
1. You are responsible for all work, assignments, tests, and material covered in class regardless of whether or not you are present.
2. All assignments are due on the assigned date:
3. All major writing assignments must be typed, double-spaced using standard margins and 12 pt type, and include focus correction comments from the previous assignment. All other work must be submitted on loose leaf paper and written in ink.
4. Students are responsible for taking all tests/quizzes.
5. Planned absences:
6. Surprise "reading check" quizzes may be given at any time.
7. Your quarter grade will be averaged as follows:
8. Class participation will be evaluated daily in terms of your contribution to class discussions, insightful responses and questions, and critical thinking skills. (Taking note and attentiveness are expected and result in a minimal grade.)
9. You are expected to show to everyone in this classroom respect, courtesy, and a tolerance of ideas.
10. Honesty is expected. Cheating in any form will not be tolerated.
TOPICS FOR ENTRIES
1. A problem of the day
2. A response to the activities of the day
3. A thought about life
4. The weather and your reaction to it
5. Experiences of yourself, family or friends
6. An explanation of a passing mood
7. An analysis of some experience of the day
8. An observation of nature
9. An analysis of your relationship with some other person
10. Reactions to your reading (newspapers, books, magazines)
11. Impressions of people and interpretations of their behavior
12. In order to attain my goals this year, I...
13. If I could trade places with anyone...
14. If I had three wishes...
15. What really gets to me is...
16. I am thankful for...
17. I'm different from everyone else...
18. I have really been influenced by...
19. I really feel proud when...
EXERCISES AND IDEAS FOR JOURNAL ENTRIES
1. Taste test. You will need a partner for this exercise. Blindfold yourself and have your partner give you similar type items to taste and identify. E.g. various brands of colas, types of apples, types of pears, brands of vanilla ice cream or frozen yogurt. After the test write about
the experience and try to describe the tastes using precise language.2. Scent test. Variation of exercise # 1. Again blindfold yourself and have your partner give you items to smell and identify. E.g. different perfumes, herbs, spices, soaps.
3. For one day carefully and objectively note when you speak and analyze what you learn about yourself. E.g. Do you initiate all, some, none, of the conversations with friends, family, co-workers? Do you express your views frequently, seldom, never? Do you participate in class discussions, all classes, only certain ones, hardly any? Are you a speaker or a listener most of the time? Are you a good listener? What do you talk mostly about during the day?
4. Objectively note how you eat dinner. Do you eat all of one kind of food first? Do you save the best for last? Do you leave what you don't like unfinished? Do you like your food on separate areas of your plate? What does this tell you about yourself? Do you approach other aspects of your life the same way?
5. Examine any "object" for 2 full minutes. (Set a timer if necessary.) Try to use all of your senses. Describe it as completely and precisely as possible.
6. Find some place where you can be completely alone. Spend 30 minutes in this place being by yourself. No radio, T.V. stereo, phone, other people, etc. After 30 minutes write about your reaction to the experience. Were you comfortable, uncomfortable with yourself? Did you feel as if you should be "doing" something? Why or why not? What does this tell you about yourself? Did you become more aware of your "place?"
7. On several pieces of lined paper, print your name vertically putting each letter in your name on a separate line. Give the sheets to various members of your family-- mother, father
, sibling you feel closest to, sibling you usually are in conflict with, and to various friends. Ask each person to complete the exercise alone. Ask the person to write down an adjective beginning with each letter in your name that he or she feels best describes you. Analyze the completed lists objectively. What did you learn about yourself from other people's impressions of you? Do you reveal different aspects of yourself to different people? Were adjectives repeated on the different lists? Do you agree with people's choices of adjectives?8. Record your dreams and try to analyze what you think they mean.
9. Take a new page in your journal and draw the face of a clock without the hands. As you look at the clock, ask yourself the question, "What time is it in my life?" After thinking
about the question, answer it by drawing in the hands on clock. In your entry reflect on your clock.10. As a follow-up to exercise # 9, respond to the following
statements:11. Use three separate pages of your journal to draw three portraits of yourself, one representing the past, one the present, and one the future. Title your portraits "I was," I am," and "I will be." You may use words, symbols, sketches to best express each of these stages in your life. In your journal describe your reaction to each of these portraits in detail. What mood or feeling does each evoke?
12. What are the images that suggest themselves to you as real descriptions of yourself or your lifestyle? Draw or describe one of these images in your journal. E.g. do you see yourself as an unmade bed, a doormat, a small precious package, an open road, a caution sign? Examine your choice in writing.
A Thematic Anthology edited by Francis Connolly
THE
AIM of this book is
to offer some representative writings that, taken individually, will provide
genuine enjoyment and, taken together, will direct the reader's attention to the
perennial questions: What is man? What
is his measure? This aim
presupposes that literary achievement consists in good part of an imaginative
realization of what these questions imply.
It presupposes, too, that the surest way to excite interest in literary
technique and scholarship is to exhibit the permanent concern of literature for
man's permanent questions.
The
design of this anthology is thematic. The
theme is "man and his measure." Part One, 'What Is Man?" shows
how literature, in various forms (drama, essay, short story, and poem) and in
its full range from the classical period to the present, explores the question:
What does it mean to be a man? The
selections in "The Beginning of Awareness," demonstrate that man is
intellectually aware; he sees, feels, thinks, and responds to his experiences.
The selections in "The Heroic Image," show how this awareness
gives rise to aspiration: man hopes to achieve his full human destiny, and thus
he models himself according to various heroic, or anti-heroic, patterns.
Some inevitable consequences of his aspirations are defeat, fear, and
suffering. The tragic experiences
from which he may derive a purer sense of his selfhood and of his common
humanity are described in the selections in "The Tragic Experience."
In
Part One, then, the reader may trace man's development as it is reflected in and
through literature from an initial awareness of experience and language to an
awareness of his own awareness--that is, to a fuller consciousness of his many
powers of sensation, feeling, thought, and expression.
Man is aware, man hopes and aspires.
Man weeps, he laughs, he reflects upon, and words his experiences. But
this paradigm hardly exhausts the mystery of man.
Nor does it supply the measure according to which we may estimate the
value of his experiences.
In
Part Two, "What Is Man's Measure?" focuses on literature that embodies
a "morality of aspiration," that searches for measures of intellectual
excellence, moral integrity, and happiness.
'The Measure of Justice," records man's struggle to be just in his
relations with society, with the state, with governments, with his fellow man,
and, above all, with his own conscience.
Some
who use this book will want to stress the relevance of literature to human
needs; still others the importance of understanding that literature as a whole
is a continuous dialogue between past and present.
A central purpose of Man and His
Measure is to challenge the student to think in a personal way about the
most important problems of human existence, to provide a context within which be
can develop his thoughts, and, above all, to encourage him to write, and thus to
enter, however modestly, into that continuous civilized conversation we call
humane literature. The key word here is search. Search implies
that we approach literature with questions like Who am I? Who ought I to become? What
do I know? What ought I to know?
It may be that many readers will find some of the answers they seek.
It is certain, however, that all readers will discover that seeking is
finding, especially when their seeking advances in depth and perspective.
To ask questions is to foreshadow answers.
For we cannot seek, we cannot question without first possessing, however
obscurely, some intuition into the meanings that are both the incentives and the
goals of our study.
FRANCIS CONNOLLY
Experience
and Language
I
N T R 0 D U C T I 0 N
I
WH E N we speak of awareness, what do we mean? The word itself means to be wary, to be awake, to recognize
what may easily be overlooked. It
implies a state of heightened consciousness in which we respond to individual
sights and sounds and, more importantly, to the meanings of our perceptions, our
feelings, our thoughts, our actions, and our resolutions. In short, to be aware is to be alive to ourselves, to our
personal being.
In
literature awareness goes by other names. A
writer is said to be aware when he responds to experience with understanding,
imagination, and sympathy. All
these terms imply that the writer has seen vividly, has felt intensely, has
recorded exactly memorable impressions that, by virtue of his literary skill,
come into our possession. Henry
James summed up his advice to young writers in two principles.
The first was: "Write from experience only." But then James
hastened to add: "Try to be one of the people on whom nothing is
lost!" Thus the writer is one who benefits by experience; what he receives
from life he gives to his readers. Awareness,
then, is a combination of the power to receive from life and the power to
communicate what one has received.
Perhaps
the writer's greatest gift to us is his communication of his own creative power. He does this by inducing us to become, in a sense,
co-creators in his own work. To
know him we must read his work warily, alert not only to the literal what of his
language, but to its nuanced and modifying how.
The writer's how is the particular form and convention in which he
chooses to express himself and the tone of voice that he employs directly in his
own address, as in the essay, or obliquely through fictitious persons, as in the
story, poem, or drama. A vigilant
reader re-creates what the author has written in the total sense of what and
how.
The
reader can advance to a higher degree of awareness, one that involves creative
activity of his own. This activity
is simply his response to a work of literature.
True, one cannot talk back to a book as one can to a living person. Nevertheless, all literature is a kind of dialogue in which
the reader takes an active part by questioning, interpreting, comparing,
contrasting, and judging the author's work.
Where the reader approves, he tends to expand and apply the insights of
the writer to his own experience. Where
he disapproves, he tends to develop the points of difference by proposing other
points of view or opposite assumptions. Live
literature provokes creative thinking, blessing, in Portia's phrase, him that
takes as well as him that gives.
While
all literature, whatever its theme, stimulates our awareness, the literature
centering on the theme of self-knowledge touches us to the quick; it compels us
to look first at the experiences of others, then to discover and examine
experiences of our own. In the
selections that follow, you will find a common concern with the theme of
self-knowledge, of initial moral awareness.
Most of the stories, essays, and poems are directly concerned with youth;
all deal with some aspect of "growing up."
II
IN WILLIAM FAULKNER'S "The
Bear" young Isaac McCaslin goes on a hunt.
The hunt is exciting in itself; but "The Bear" is more
importantly the story of young McCaslin's growing awareness of his heritage and
his personal destiny. At the end,
his father's words render the theme explicitly:
"Courage,
and honor, and pride," his father
said, "and pity, and love of justice and liberty. They all touch the heart, and what the heart holds to becomes
truth, as far as we know the truth. Do
you see now?" . . .
"Yes,
sir," he said.
The
boy in "Sled" also comes to his moment of awareness when, after
gratuitously and maliciously deceiving his sister, he tastes the misery of
remorse. "He was wishing that
he were some time a long time away from now and somewhere a long way away from
here." Like Isaac, he sees, once
his heart is touched.
III
I
F P R 0 S E literature is the artistic record
of those luminous moments in which sense is radiant with intelligence and
feeling, then what is poetry? Poetry
too is just such a record. But it
speaks a special language--one that is necessarily more concentrated, more
selective in its diction, more intensely expressed, and hence more tightly
organized in a structure of words and sounds.
Prose is recitation; poetry is song, chant, evocation.
Poetry conveys meanings far beyond those contained in its explicit
statements. Like music, it vibrates
in the memory, echoing with a different resonance in different souls.
The
vigilant reader will attempt to receive each resonance--not necessarily to agree
with it, for the resonance of poetry is not arguable-but to recognize it as a
particular sensibility responding to a particular human predicament.
The poem is the meeting ground of two souls, not merely of two
intellects.
This
description of the awareness found in a poem implies that poetry is intensely
personal. So
it is. The
poems in this section all deal with revelations derived by observation and
reflection on some aspect of childhood.
They all express some feeling about childhood, yet all take different
points of view.
Walt Whitman's lyric "Beginning My Studies" conveys a note of
wonder in a brief soliloquy.
John Crowe Ransom warns his school girls that their beauty is perishable.
For Francis Thompson childhood is a mingling of sadness in the sweet and
sweetness in the sad. In his elaborate "Ode: Intimations of
Immortality," William Wordsworth speculates on the presence of the divine
in the child and in nature.
One man carols joyfully; another laments; yet another contemplates a
philosophy. Each
one puts us in possession of the poet's experience in language that is at once
recognizable yet strange.
Each man, by recording his personal history, awakens our own conscious
personality. For a measure of man, as of literature, is the quality of
awareness; we achieve a human size when we are one of those on whom
"nothing is lost."
STUDENT RESPONSIBILITIES
1. You are responsible for all work, assignments, tests, and material covered in class regardless of whether or not you are present.
2. All assignments are due on the assigned date:
3. All major writing assignments must be typed, double-spaced using standard margins and 12 pt type, and include focus correction comments from the previous assignment. All other work must be submitted on loose leaf paper and written in ink.
4. Students are responsible for taking all tests/quizzes.
5. Planned absences:
6. Surprise "reading check" quizzes may be given at any time.
7. Your quarter grade will be averaged as follows:
8. Class participation will be evaluated daily in terms of your contribution to class discussions, insightful responses and questions, and critical thinking skills. (Taking note and attentiveness are expected and result in a minimal grade.)
9. You are expected to show to everyone in this classroom respect, courtesy, and a tolerance of ideas.
10. Honesty is expected. Cheating in any form will not be tolerated.
JOURNAL PROJECT
TOPICS FOR ENTRIES
1. A problem of the day
2. A response to the activities of the day
3. A thought about life
4. The weather and your reaction to it
5. Experiences of yourself, family or friends
6. An explanation of a passing mood
7. An analysis of some experience of the day
8. An observation of nature
9. An analysis of your relationship with some other person
10. Reactions to your reading (newspapers, books, magazines)
11. Impressions of people and interpretations of their behavior
12. In order to attain my goals this year, I...
13. If I could trade places with anyone...
14. If I had three wishes...
15. What really gets to me is...
16. I am thankful for...
17. I'm different from everyone else...
18. I have really been influenced by...
19. I really feel proud when...
EXERCISES AND IDEAS FOR JOURNAL ENTRIES
1. Taste test. You will need a partner for this exercise. Blindfold yourself and have your partner give you similar type items to taste and identify. E.g. various brands of colas, types of apples, types of pears, brands of vanilla ice cream or frozen yogurt. After the test write about
the experience and try to describe the tastes using precise language.2. Scent test. Variation of exercise # 1. Again blindfold yourself and have your partner give you items to smell and identify. E.g. different perfumes, herbs, spices, soaps.
3. For one day carefully and objectively note when you speak and analyze what you learn about yourself. E.g. Do you initiate all, some, none, of the conversations with friends, family, co-workers? Do you express your views frequently, seldom, never? Do you participate in class discussions, all classes, only certain ones, hardly any? Are you a speaker or a listener most of the time? Are you a good listener? What do you talk mostly about during the day?
4. Objectively note how you eat dinner. Do you eat all of one kind of food first? Do you save the best for last? Do you leave what you don't like unfinished? Do you like your food on separate areas of your plate? What does this tell you about yourself? Do you approach other aspects of your life the same way?
5. Examine any "object" for 2 full minutes. (Set a timer if necessary.) Try to use all of your senses. Describe it as completely and precisely as possible.
6. Find some place where you can be completely alone. Spend 30 minutes in this place being by yourself. No radio, T.V. stereo, phone, other people, etc. After 30 minutes write about your reaction to the experience. Were you comfortable, uncomfortable with yourself? Did you feel as if you should be "doing" something? Why or why not? What does this tell you about yourself? Did you become more aware of your "place?"
7. On several pieces of lined paper, print your name vertically putting each letter in your name on a separate line. Give the sheets to various members of your family-- mother, father
, sibling you feel closest to, sibling you usually are in conflict with, and to various friends. Ask each person to complete the exercise alone. Ask the person to write down an adjective beginning with each letter in your name that he or she feels best describes you. Analyze the completed lists objectively. What did you learn about yourself from other people's impressions of you? Do you reveal different aspects of yourself to different people? Were adjectives repeated on the different lists? Do you agree with people's choices of adjectives?8. Record your dreams and try to analyze what you think they mean.
9. Take a new page in your journal and draw the face of a clock without the hands. As you look at the clock, ask yourself the question, "What time is it in my life?" After thinking
about the question, answer it by drawing in the hands on clock. In your entry reflect on your clock.10. As a follow-up to exercise # 9, respond to the following
statements:11. Use three separate pages of your journal to draw three portraits of yourself, one representing the past, one the present, and one the future. Title your portraits "I was," I am," and "I will be." You may use words, symbols, sketches to best express each of these stages in your life. In your journal describe your reaction to each of these portraits in detail. What mood or feeling does each evoke?
12. What are the images that suggest themselves to you as real descriptions of yourself or your lifestyle? Draw or describe one of these images in your journal. E.g. do you see yourself as an unmade bed, a doormat, a small precious package, an open road, a caution sign? Examine your choice in writing.
INTRODUCTION:
BODY PARAGRAPHS:
CONCLUSION:
The focus corrections checked below must appear typed at the top of your next essay. These are the weak areas that you should strive to eliminate in your next writing assignment. Failure to type these comments at the top of page one will result in a grade reduction of 4 points.
Content
_____ 1. Overview statement on the work is needed.
_____ 2. Thesis statement needs to be established.
_____ 3. Clearly establish main ideas in the introduction.
_____ 4. Develop ideas fully and completely.
_____ 5. Develop ideas clearly and logically.
_____ 6. Support all ideas and opinions with examples.
_____ 7. Use all pertinent examples/quotes to prove your point.
_____ 8. Work on accuracy of interpretation.
_____ 9. Essay needs a conclusion.
_____ 10. Do not introduce new ideas in your conclusion.
Style and Grammar
_____ 11. Work on effective topic sentences that reflect thesis.
_____ 12. Work on transitional sentences.
_____ 13. Work on sentence variety.
_____ 14. Work on clarity of expression.
_____ 15. Work on effective handling of quotes.
_____ 16. Watch awkward wording.
_____ 17. Watch incorrect word choice/usage.
_____ 18. Watch grammatical errors.
_____ 19. Watch spelling/punctuation errors.
_____ 20. Spell author's/characters' name(s) correctly.
_____ 21. Indicate title properly.
_____ 22. Do not use "I" in formal writing.
_____ 23. Review rules for standard margins.
_____ 24. Proofread more carefully.
Other Comments
_____ 25. _____________________________________________
Experience
and Language
I
N T R 0 D U C T I 0 N
I
WH E N we speak of awareness, what do we mean? The word itself means to be wary, to be awake, to recognize
what may easily be overlooked. It
implies a state of heightened consciousness in which we respond to individual
sights and sounds and, more importantly, to the meanings of our perceptions, our
feelings, our thoughts, our actions, and our resolutions. In short, to be aware is to be alive to ourselves, to our
personal being.
In
literature awareness goes by other names. A
writer is said to be aware when he responds to experience with understanding,
imagination, and sympathy. All
these terms imply that the writer has seen vividly, has felt intensely, has
recorded exactly memorable impressions that, by virtue of his literary skill,
come into our possession. Henry
James summed up his advice to young writers in two principles.
The first was: "Write from experience only." But then James
hastened to add: "Try to be one of the people on whom nothing is
lost!" Thus the writer is one who benefits by experience; what he receives
from life he gives to his readers. Awareness,
then, is a combination of the power to receive from life and the power to
communicate what one has received.
Perhaps
the writer's greatest gift to us is his communication of his own creative power. He does this by inducing us to become, in a sense,
co-creators in his own work. To
know him we must read his work warily, alert not only to the literal what of his
language, but to its nuanced and modifying how.
The writer's how is the particular form and convention in which he
chooses to express himself and the tone of voice that he employs directly in his
own address, as in the essay, or obliquely through fictitious persons, as in the
story, poem, or drama. A vigilant
reader re-creates what the author has written in the total sense of what and
how.
The
reader can advance to a higher degree of awareness, one that involves creative
activity of his own. This activity
is simply his response to a work of literature.
True, one cannot talk back to a book as one can to a living person. Nevertheless, all literature is a kind of dialogue in which
the reader takes an active part by questioning, interpreting, comparing,
contrasting, and judging the author's work.
Where the reader approves, he tends to expand and apply the insights of
the writer to his own experience. Where
he disapproves, he tends to develop the points of difference by proposing other
points of view or opposite assumptions. Live
literature provokes creative thinking, blessing, in Portia's phrase, him that
takes as well as him that gives.
While
all literature, whatever its theme, stimulates our awareness, the literature
centering on the theme of self-knowledge touches us to the quick; it compels us
to look first at the experiences of others, then to discover and examine
experiences of our own. In the
selections that follow, you will find a common concern with the theme of
self-knowledge, of initial moral awareness.
Most of the stories, essays, and poems are directly concerned with youth;
all deal with some aspect of "growing up."
II
IN WILLIAM FAULKNER'S "The
Bear" young Isaac McCaslin goes on a hunt.
The hunt is exciting in itself; but "The Bear" is more
importantly the story of young McCaslin's growing awareness of his heritage and
his personal destiny. At the end,
his father's words render the theme explicitly:
"Courage,
and honor, and pride," his father
said, "and pity, and love of justice and liberty. They all touch the heart, and what the heart holds to becomes
truth, as far as we know the truth. Do
you see now?" . . .
"Yes,
sir," he said.
The
boy in "Sled" also comes to his moment of awareness when, after
gratuitously and maliciously deceiving his sister, he tastes the misery of
remorse. "He was wishing that
he were some time a long time away from now and somewhere a long way away from
here." Like Isaac, he sees, once
his heart is touched.
III
I
F P R 0 S E literature is the artistic record
of those luminous moments in which sense is radiant with intelligence and
feeling, then what is poetry? Poetry
too is just such a record. But it
speaks a special language--one that is necessarily more concentrated, more
selective in its diction, more intensely expressed, and hence more tightly
organized in a structure of words and sounds.
Prose is recitation; poetry is song, chant, evocation.
Poetry conveys meanings far beyond those contained in its explicit
statements. Like music, it vibrates
in the memory, echoing with a different resonance in different souls.
The
vigilant reader will attempt to receive each resonance--not necessarily to agree
with it, for the resonance of poetry is not arguable-but to recognize it as a
particular sensibility responding to a particular human predicament.
The poem is the meeting ground of two souls, not merely of two
intellects.
This
description of the awareness found in a poem implies that poetry is intensely
personal. So
it is. The
poems in this section all deal with revelations derived by observation and
reflection on some aspect of childhood.
They all express some feeling about childhood, yet all take different
points of view.
Walt Whitman's lyric "Beginning My Studies" conveys a note of
wonder in a brief soliloquy.
John Crowe Ransom warns his school girls that their beauty is perishable.
For Francis Thompson childhood is a mingling of sadness in the sweet and
sweetness in the sad. In his elaborate "Ode: Intimations of
Immortality," William Wordsworth speculates on the presence of the divine
in the child and in nature.
One man carols joyfully; another laments; yet another contemplates a
philosophy. Each
one puts us in possession of the poet's experience in language that is at once
recognizable yet strange.
Each man, by recording his personal history, awakens our own conscious
personality. For a measure of man, as of literature, is the quality of
awareness; we achieve a human size when we are one of those on whom
"nothing is lost."
1. How old is Isaac McCaslin on his first hunt?
2. In what months did the hunt take place?
3. What did he know about the bear even before he went on his first hunt?
4. What did he realize about the others hunters' quest for the bear?
5. What is the name of his mentor? How is it symbolic?
6. What teaching method does the mentor use to teach Isaac? Give 3 examples.
7. What did Isaac come to "recognize" on his first hunt and how did he learn the lesson?
8. What distinction does Sam make between being scared and being afraid?
9. What must Isaac do if he wants to see the bear?
10. Describe Isaac's first encounter with the bear?
11. Based on the description of the encounter, what might the bear symbolize or represent?
Find some supportive evidence.12. What does Sam do to Isaac when he kills his first deer? What do you think it symbolizes?
13. Describe the kind of dog that finally confronts the bear?
14. Describe the confrontation between the bear, the dog, Sam and Isaac?
15. What is the immediate reason why Isaac does not shoot the bear?
16. What deeper reason exists that Isaac is not yet aware of?
17. How does Isaac's father help him to become aware of the reason?
18. In Isaac's mind what do the bear, Sam, the dog, and he himself, represent?
19. What is the significance of the opening sentence of this story?
20. On the first page, Faulkner uses the phrase "the unaxed woods." What connotative meaning does this adjective give to the wilderness?
21. Examine the symbolic level of the story. What do the wilderness, the bear, Sam Fathers, the boy, and the hunt represent?
22. What is the point of awareness?
1. How "true to life" is the opening scene at the dinner table?
2. Examine the author's use of body language in the opening scene? Is it "accurate?" Effective?
3. How does Joey feel about his sister immediately before he goes out of the house?
4. How does he feel about his sled? Support with evidence.
5. How does the sled get broken?
6. How does Joey feel?
7. Find a passage that indicates that he is contemplating what he will do to his sister.
8. How does the author make us aware of the fact that Joey has never done anything this malicious before?
9. When does he first regret his decision?
10. Why doesn't he stop her from riding on the sled?
11. After her fall, how does he react to her reaction?
12. Find a passage that indicates that the sister knows what Joey has done to her?
13. How does their relationship change?
14. What 2 things does Joey become aware of?
STUDENT RESPONSIBILITIES
1. You are responsible for all work, assignments, tests, and material covered in class regardless of whether or not you are present.
2. All assignments are due on the assigned date:
3. All major writing assignments must be typed, double-spaced using standard margins and 12 pt type, and include focus correction comments from the previous assignment. All other work must be submitted on loose leaf paper and written in ink.
4. Students are responsible for taking all tests/quizzes.
5. Planned absences:
6. Surprise "reading check" quizzes may be given at any time.
7. Your quarter grade will be averaged as follows:
8. Class participation will be evaluated daily in terms of your contribution to class discussions, insightful responses and questions, and critical thinking skills. (Taking note and attentiveness are expected and result in a minimal grade.)
9. You are expected to show to everyone in this classroom respect, courtesy, and a tolerance of ideas.
10. Honesty is expected. Cheating in any form will not be tolerated.
Prologue Episode II Episode V
calamity magnitude omen
prerogative imprecation carrion
meddle libation bandy
denounce obstinate Exodos
Parados transgress swoon
sate dire discretion
arrogant renown ominous
impious reconcile
rampart lurk
frenzy subverter
tempestuous taunt
Episode I Choral Ode II
edict insolence
rally illusion
scorn Episode III
lament enmity
mangle vindicate
requite prudently
connive censure
lure intimidate
verdict prosperity
despondent Choral Ode IV
barricade havoc
appalled awry
contrive Episode IV
prevail verge
devastate Choral Ode V
vile quell
suffice spurn
ply constraint
Choral Ode II
tempest
Structure of the Greek Theater
Reading
Guide Questions for Antigone
As you begin
this assignment, please be aware that you must ALWAYS be able to support
your ideas with evidence from the text.
Critical thinking questions:
Challenge Question:
Examine Haemon’s first speech (lines 669-708).
Critical thinking questions:
COMPARE AND CONTRAST WORKSHEET
ANTIGONE/ISMENE |
ANTIGONE/ISMENE |
SIMILARITIES (give supportive evidence) |
DIFFERENCES (give supportive evidence) |
|
|
CONCLUSION--What point is Sophocles trying to make?
|
COMPARE AND CONTRAST
ANTIGONE/CREON |
ANTIGONE/CREON |
SIMILARITIES (give supportive evidence) |
DIFFERENCES (give supportive evidence) |
|
|
CONCLUSION--What point is Sophocles trying to make?
|
COMPARE AND CONTRAST
HAEMON/TEIRESIAS |
HAEMON/TEIRESIAS |
SIMILARITIES (give supportive evidence) |
DIFFERENCES (give supportive evidence) |
|
|
CONCLUSION--What point is Sophocles trying to make?
|
1. Tell me your name.
2. What is your real name (not necessarily the name you go by, but a name you wish were yours, or a name you feel is true for you)?
3. Name the animal inside you. Explain your choice.
4. There's an object inside your heart. What is it? Explain its significance.
5. There's a word written on your forehead. What is it? Explain.
6. Tell me a sound you love. Tell me a sound you hate.
7. Tell me a smell you love. Tell me a smell you hate.
8. What is your favorite time of day? Why?
9. If your hands could speak, what would they say?
10. Tell me something you remember from your childhood.
11. Tell me a phrase or saying your mother/father/significant person said to you often. (This does not have to be English.)
SAMPLE
I am Juliet Capulet
Please call me Mrs. Montague
A lovebird is inside me, singing her sweet, lonely song.
Poison is in my heart--one drop, sucked from the lips of me Romeo
Star-crossed should be written on my forehead, for my destiny is heartbreak.
The sound I love is the sound of the nightingale, for it means my Romeo will be at my side.
The sound I hate is the sound of the lark, for it means he will leave again.
I love the scent of Romeo's hands when he holds my face close to his. But
I hate the metallic odor of his sword, that brought death to my cousin and banishment to my husband.
I am in love with the night, eternal night, where Romeo and I will be together always.
If my hands could speak, they would say, "Oh, Romeo be a glove upon my hand,
that you might touch my cheek."
I remember my parents--how they hated the Montagues.
I remember them telling me I must hate them too.
Never Never Never Never Never Never Never Never Never