Essential Question Guide

MR. CHANDLER’S ADVANCED PLACEMENT ADVANCED ACADEMIC ENGLISH ESSENTIAL QUESTIONS PACKET

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IN NO WAY, SHAPE, OR FORM IS THIS A COMPLETED LIST!!!

Certain “big questions” are central to human existence and therefore to the humanities. First, Biblical allusions are key to Western literature; therefore, use some type of Biblical Lexicon to assist you in your endeavors.

Secondly, your AP Literary terms will be freely used. My advice to each of you is to know as many upon returning in August before the vocabulary tests begin.

Research the following human nature theories & criticisms: INNATE AGGRESSION, CHRISTIANITY, MARXISM, ARCHETYPES, FREUDIAN THEORY, 7 DEADLY SINS, EXISTENTIALISM, BEHAVIORISM, PSYCHOANALYSIS Questions are the very essence of AP English, both ageless questions on which thinkers have been reflecting for centuries and new ones, often challenging to accepted belief, which are posed by contemporary life.

• How do 'believing that' and 'believing in' differ? How does belief differ from knowledge?

• What are the differences between the following: information, data, belief, faith, opinion, knowledge and wisdom?

• How is knowledge gained? What are the sources? To what extent might these vary according to age, education or cultural background?

• What role does personal experience play in the formation of knowledge claims?

• How are knowledge claims justified? Are the following types of justification all equally convincing: intuition, perception, evidence, reasoning, memory, authority, group consensus, and divine revelation?

• To what extent is knowledge about the past different in type from other kinds of knowledge?

• Does perception perform fundamentally distinct functions in the arts and the sciences? To what extent is it true that the artist makes an advantage out of the subjective nature of perception, while the scientist regards it as an obstacle to be overcome?

• To what extent is it possible to overcome ambiguity and vagueness in language? In what contexts might ambiguity either impede knowledge or contribute to it? Does the balance between precision and ambiguity alter from one discipline to another?

• Is it correct to think that what constitutes a good reason varies from discipline to discipline and from culture to culture? What are the implications of the answer to this question when disputes arise among practitioners and between cultures?

• What part does emotion play in the acquisition of knowledge? Does the role of emotion vary across the different Areas of Knowledge? Should emotion play such a role in the evaluation of knowledge claims?

• What is the foundation on which mathematical knowledge rests? Is it discovered or invented? What is meant by this distinction? Can it be applied usefully in other areas?

• What is the role of creativity in the sciences? To what extent is the creation of a hypothesis or a research method comparable to the creation of a work of art?

• Are the human sciences, as a whole, fundamentally different from the natural sciences? What might be the outcome of comparing and contrasting, for example, the role of models and theories, methods for collecting data, the nature of facts, the role of observation and experimentation, the impact of the observer on the observed phenomena, quantification, falsifiability, precise prediction, identification of constants, and the degree of complexity of the phenomena studied?

• Can one talk meaningfully of a historical fact? How far can we speak with certainty about anything in the past?

• Is originality essential in the arts? Is the relationship between the individual artist and tradition similar in all cultures and times?

• What are the justifications for, and implications of, claiming that there are absolute standards for morality, or that the standards of morality can be set only by society, or that the standards of morality can be set only by the individual? Are the three positions mutually exclusive?

MARY SHELLEY FRANKENSTEIN Among these questions are the following: • Who and what shapes our identity?

• What is truth? What is beauty?

• What is good? What is evil?

• What is the nature of a good life?

• What gives life meaning?

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Specific essential questions for the discipline of English are these: • What value does literature have for our lives?

• What can we learn about ourselves and others from literature?

• What are the elements of effective oral, written, and visual communication?

• How does one judge the value of a literary work?

• What determines a literary canon?

Letters 1-4 1.

Who is writing Letter 1 (and all the letters)?

2.

To whom is he writing? What is their relationship?

3.

Where is Robert Walton when he writes Letter 1? Why is he there? What are his plans?

4.

What does Robert Walton tell us about himself?

5.

Where is Walton now? What do you think of Walton's question "What can stop the determined heart and resolved will of man"?

6.

How much time has elapsed between Letter 3 and Letter 4? What "strange accident" has happened to the sailors?

7.

Why does the man picked up by the ship say he is there? What shape is he in?

8.

What sort of person does he seem to be? How does Walton respond to this man?

9.

How much time has elapsed when Walton begins writing again? What has happened in the meantime? How does the man respond to Walton's project? How is Walton responding to the man?

10.

How much time has elapsed when Walton begins writing again ? What has happened in the meantime? How does the man respond to Walton's project? Why does the man agree to tell his story?

Ch 1- 5 11.

What is the man's background? (Do we know his name yet?) Where is he from?

12.

What is the story of the man's mother, Caroline Beaufort? How does the man feel toward his parents, and what responsibilities does he feel they had toward him?

13.

Who is Elizabeth Lavenza and what is her story? What gift does the man's mother give him?

Do we know the man's name yet? Do we know his family name?

14.

Who is Henry Clerval and what is his relation to Victor?

15.

How does Victor characterize the interests and characters of Clerval, Elizabeth, and himself ?

16.

Who is Cornelius Agrippa and how does Victor find out about him ? How does Victor's father respond, and how does Victor comment on that response?

17.

What sort of science ("Natural Philosophy") is Victor learning from Agrippa, Paracelsus, and Albertus Magnus? How would a modern scientist respond to this sort of thinking?

18.

What happens when Victor sees an oak tree destroyed by lightning and hears an explanation? What does Victor then begin to study?

19.

Who or what does he credit for this change in direction ? Who or what does he blame for his "utter and terrible destruction" ?

20.

What happens to Elizabeth and to Victor's mother as a result of Elizabeth's scarlet fever ?

How does this compare with the mother's early history ?

21.

Why does Victor's father send him to the university of Ingolstadt ? How old is Victor then?

(Ingolstadt is in southern Germany, in Bavaria, on the Danube, 43 miles north of Munich. The university founded there in 1472 moved to Landshut in 1802 and to Munich in 1826.)

22.

What does Victor learn from M. Krempe? How does Victor respond to him, and on what grounds? Is this a good basis for making such a decision? ( 23.

What does Victor learn from M. Waldman? How does Victor respond to him? How does Victor think of his older science as opposed to modern science ? What does M. Waldman say in describing modern chemistry that changes Victor's mind ? What does Victor say he will now do ?

24.

How well does Victor progress during the next two years? What does he then become interested in, and what ultimately does he discover ?

25.

Will he share that knowledge with Walton? Why? (Note the "present" of the telling breaking through the narration here.)

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26.

How does he go about creating a human being, and what does he expect as a result of this creation ? How long does the task take? What happens to Victor in the process?

27.

Do you recognize the opening words of this chapter? Remember that Shelley gave them as the starting point of her story ?

28.

Given all the mad doctor and monster movies we've seen, including perhaps versions of Frankenstein, what is unexpected about the description of the actual creation of life here ? How much do we learn of the actual procedure?

29.

How does Victor respond to the actual creation of life ? What surprises him about the way the creature he has brought to life looks? What does that do to Victor's response ?

30.

What does Victor dream ? How does the dream grow out of, comment on, even explain what Victor has done and been through?

31.

What does the creature do ? How does Victor respond?

32.

Whom does Victor meet arriving in a coach the next morning ? How does Victor respond?

What does Victor discover when they go to Victor's apartment ? How does Victor respond? What happens to him, and for how long ? Is there any more news of the creature?

Ch 6-8 33.

What is waiting for Victor when he finally recovers? Who has nursed him during his illness?

34.

Who is Justine Moritz and what is her story? What comments does Elizabeth make about her position in Swiss society ? What religion is Justine ?

35.

Who is William and how old is he? Have we heard of him before?

36.

What does Victor do after his recovery ? What is Clerval's "plan of life" ?

37.

When does Victor finally plan to return home? What do he and Clerval do while waiting for his father's directions?

38.

What is waiting for Victor when he returns to his apartment? What news does his father have for him? And what is his father's name ? How does Victor respond?

39.

How long has Victor been away from home ? What happens the night he returns to Geneva ?

How does he respond?

40.

Whom does Victor see that night ? When was the last time they saw each other? How long ago was that ?

41.

What does Victor now believe happened to William ? What does Victor assume about the nature of the creature?

42.

Who has been identified as the murderer, and on what evidence ? How does Victor respond to this news? Why doesn't he say anything about the real murderer?

43.

What happens at Justine's trial? How does Victor respond?

44.

The next day, why does Justine say she has confessed to the murder of William ? How does Victor respond to Justine's situation and to Elizabeth's anguish?

Ch 9-12 45.

How does Victor respond in the days after Justine's death? How have Elizabeth's views changed ?

46.

What journey does Victor undertake, and when ? What places does he travel through?

Where does he stay?

47.

Where does Victor go the next day? Where does he go the following day? P. B. Shelley mentions the glacier in a letter written an Chamouni (his spelling) on July 25, 1817: 48.

How does he feel during this part of his journey? (Notice in this chapter that Frankenstein, in the late 1700s, is able to quote a poem written by P.B. Shelley in 1816.

49.

Whom does Victor see? ? How does he respond ?

50.

In this chapter, we finally hear the creature speak for the first time. What does he say? Is this what we expect from the creature?

51.

What does the creature ask of Victor ? What does the creature say to Victor ? Does his language remind you of another literary work? How good is Victor at performing the role of creator for his creature?

52.

Why has the creature caused the deaths of William and Justine? Is he as inherently evil and bloodthirsty as Victor has assumed?

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53.

What will cause the creature to change? Keep in mind his statement "I was benevolent and good; misery made me a fiend. Make me happy, and I shall again be virtuous".What sort of psychological understanding is Shelley showing here?

54.

How good of an ironic sense of humor does the creature have? (See the "hand" bit ) 55.

Does Victor agree to listen to the creature's tale? What does Victor begin to feel ? Where do they go?

56.

What does the creature remember of his earliest days ? How does he seem to be learning things? How well can the creature speak at this point of his existence?

57.

How does the creature respond to his discovery of the fire? Why does he move?

58.

What happens during his first encounters with people ? Is this more like what you expect from a horror story? But from whose point of view do we see these encounters?

59.

Where does he finally find a place to stay ? What does he learn about the people who live in the cottage? How does he feel toward them?

60.

How does the creature continue to learn about the family he is watching? How might a modern anthropologist or sociologist respond to the creature's methods? What is the condition of the family? How does the creature manage to help them?

61.

How does the creature learn language ? Why might he have trouble learning words such as "good, dearest, unhappy" ?

62.

What are the names of the family members ? Who are Agatha and Felix?

63.

What things bother the creature when he thinks of discovering himself to the family ? How does he respond to his own appearance when he sees it?

64.

The creature is still there when spring comes . What has been happening to Victor in the meantime? (See Chapter 5.)

65.

How does the creature hope to win over the family? How does he respond to the coming of spring?

Ch 13-15 66.

Who arrives at the cottage in the spring? What is Safie's background? How does her language problem help the creature? Which of them learns faster?

67.

How does the creature learn about reading? What book does Felix use to teach Safie ?

68.

What does the creature learn from this book? How much of a monster can someone be who can say "but when I heard details of vice and bloodshed, my wonder ceased, and I turned away with disgust and loathing" ?

69.

What happens when the creature begins to think about himself? How does he compare with the humans described in the book? What questions does he ask himself? How does his knowledge make him feel?

70.

What does he learn about human relationships, and how does this make him feel?

71.

How did the De Lacey family come to be living in the cottage?

72.

How did Safie come to find and join them?

73.

What does the creature find in the woods?

74.

What are the three books that the creature reads, and what does he learn from each?

75.

What else does the creature read and what does he learn from it ?

76.

How long has it been since the creature came to life ? What is Victor doing at this point?

(See chapter 6.)

77.

What does the creature hope will happen when he talks to De Lacey? What actually happens?

Ch 16-18 78.

What happens to the De Lacey family after the events of chapter 15? How does the creature respond, and what does he do to the cottage?

79.

How does the creature travel? Does this remind you of any other people's travels?

80.

What event during the creature's travels confirms his hatred of humans ?

81.

What event happens when the creature is near Geneva ? Who is the boy? Who is the woman?

82.

When Victor visits the site of William's death in chapter 7, he says "I had turned loose into the world a depraved wretch, whose delight was in carnage and misery" . After reading the creature's version of events, do you agree?

83.

What does the creature demand from Victor ?

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84.

How does Victor at first respond to the creature's demand? What response does he expect from the creature? What approach does the creature say he will take?

85.

How effective is the creature in convincing Victor?

86.

What does the creature say will happen if Victor creates a female for him ?

87.

What does Victor decide ? What does the creature say he will do while Victor is at work?

88.

How does Victor appear and respond to his family when he returns home?

89.

Why does Victor's father think Victor might not want to marry Elizabeth?

90.

Why does Victor want to visit England? What do you make of his talk of slavery ?

91.

What is the effect of Victor's return to the present?

Ch 19-21 92.

What are Clerval's plans for his career ?

93.

Where does Victor's journey end, and what does he plan to do there? Why is he afraid ?

94.

Why does Victor change his mind about creating the female? Who watches him as he destroys the female?

95.

What happens shortly after Victor destroys the female ? How is this similar to what happened after Victor created the Creature?

96.

What happens when the Creature visits Victor?. What does the Creature promise to do?

What does Victor understand that promise to mean ?

97.

What happens when Victor goes out in a boat to dispose of the female creature's remains?

Where does he end up? What happens when he lands?

98.

Who is Mr. Kirwin and how does he treat Victor? What has happened to cause Victor's arrest? What happens to Victor after his arrest?

99.

What happens when Victor wakes up? Who is there?

100.

What happens at Victor's trial?

101.

How does Victor feel as they leave Ireland and go to France ?

Ch 22-24 102.

Why doesn't Victor get home quickly?

103.

What does Elizabeth say in her letter? How does Victor respond to her?

104.

What are the marriage plans? How does Victor prepare for what he fears will happen?

105.

How do Victor and Elizabeth get to Evian and why do they stop there?

106.

Has Victor understood the Creature's promise correctly? What happens on Victor's wedding night?

107.

How does the Creature respond?

108.

What happens when Victor returns to Geneva? What happens to Victor's father? What happens to Victor?

109.

What happens when Victor tries to get the authorities to help him hunt for the Creature?

110.

What happens during Victor's pursuit of the Creature? Where to they go? What does the Creature do?

111.

What sustains Victor during his pursuit?

112.

What does Victor ask Walton to do? What does he warn Walton about the Creature ?

Walton's letter continues 113.

Why wouldn't Victor tell Walton the details about the creation?

114.

How has Victor come to understand himself ? How does Walton respond to Victor's impending death?

115.

How does Walton avoid the threat of a mutiny ?

116.

Why is Walton returning to England ? What will Victor do?

117.

Does Victor blame himself ? What is Walton's response to Victor's death?

118.

What happens as Walton is writing ? What is the effect of shifting to the present tense here?

119.

When Walton sees the Creature in the cabin with Victor's body, what is familiar about the scene? Why has the Creature come to see Victor?

120.

How does the Creature explain what he has done? How does Walton respond to the Creature?

121.

What will the Creature do next? How does he feel about it?

122.

Do we see the Creature die? • 1. Who was Prometheus? Why is the novel subtitled "the Modern Prometheus"

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2. Why is the novel initially set aboard a ship? Can you think of any other famous works which are set aboard ships? Why did Mary Shelley choose to use that particular setting here? Does it mean anything beyond the immediately apparent physical setting?

3. Note the various narrative "frames" Mary Shelley employs in her novel. What is the purpose of these various frames? What, specifically, does she wish to accomplish by employing these multiple frames?

4. What sort of man is Walton? Does he serve any thematic function in the novel, or is he included largely as a "storyteller"--that is, is he included simply as a mechanical narrative device?

5. In what ways do Walton's letters prepare us for the tale he tells? What difference (if any) do these letters make in the way we react to the rest of the novel? Note that in the 1818 edition the letters (pp.

269-87) [pp. 815-23] appear before the headline announcing "Chapter 1" (p. 289) [p. 823]. What is the effect of thus "bracketing" the letters?

6. Work out a character sketch of Victor Frankenstein, concentrating on his values and psychological makeup. What does he value? What motivates him? What appear to be his "moral standards"?

7. The first three chapters tell us about Victor Frankenstein's childhood and youth; the fourth, about his "discovery" of the principle of life. For movie fans these chapters may seem irrelevant: after all, we want to see the Creature being created and--amid bursts of smoke and flashes of lightning--"born." Why, then, does Mary Shelley devote so much space to Victor's childhood environment and his education? See (pp.295) [pp. 824ff.], for instance. Why do we need this stuff, anyway?

8. Volume I, Chapter iv (Chapter 5): the Creature is created. Where is the focus in this section? On the process of creation? On the Creature? Somewhere else?

9. Why does Victor work so diligently to bring the Creature to life and then become so abhorrent when he succeeds? Is Mary Shelley working with any "prototype" or "pattern" here? Has this sort of experience or behavior occurred anywhere else that you can think of, in literature, art, or elsewhere?

10. Chapters II, ii through II, ix (chapters 10-17): the Creature tells his story. Notice the place Victor Frankenstein meets his Creature. Why is this setting particularly appropriate? The novel now begins to zero in on its major themes {see (pp. 363-66) [pp. 857-60], for instance}. Of what does the Creature accuse Victor?

11. What do pages (367-402) [860-79] (Chapters II, iii - II, vii; Chapters 11-15) reveal about the Creature's "natural instincts"? What gives him pleasure? What dos he value? (Consider, for instance, how he describes the DeLaceys and their cottage.) Of what does the Creature's education consist?

12. Volume II, Chapter viii (Chapter 16): What does the Creature finally decide he must do, and why?

13. Volume II, Chapter ix: (Chapter 17): (pp. 412-15) [pp. 883-85]: What argument does the Creature offer in support of his demand? Why? Is it a reasonable argument?

14. Volume III, Chapter iii (Chapter 20) (pp. 435 ff.) [pp. 895 ff.]: Why does Victor Frankenstein decide to discontinue his efforts to create a "bride" for the Creature?

15. On (p. 439) [p. 897] we begin to see most clearly in Frankenstein's isolation from his fellow creatures a parallel to the Creature's own situation {see also (pp. 448, 456) [pp. 901-02, 905]}. In what other ways are Victor and the Creature beginning to be strikingly similar? Have you encountered this sort of "parallelmaking" anywhere else in literature or the arts? If so, where? Does the device have a formal name?

16. Book III, Chapter vii (Chapter 24): Note the surrealistic environment of the "chase" scenes. Are we getting into a different sort of novel than we were originally led to expect? If so, what is the nature of the difference?

17. (Pp. 484-85, 490-91) [pp. 920, 923-24]: Victor Frankenstein's final words--any significance? What about the Creature's final words (pp. 492-97) [pp. 925-27]?

18. Who is the novel's protagonist? Antagonist? "Hero"?

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19. In an influential essay, the Romantic scholar and critic Harold Bloom wrote that the reader's sympathy lies with the Creature, but in his book The Romantic Conflict (1963) Allan Rodway says the reader's sympathy lies with Victor Frankenstein. Who is right?

20. Most modern editions change Mary Shelley's spelling of an important word. Near the top of page 493 of the Penguin (Three Gothic Novels) edition and p. 925 of the Longman anthology edition are these words: "'And do you dream?' said the daemon." In many other editions (especially editions aimed at the "mass market" audience), the end of the line reads: "said the demon." What is the difference between daemon and demon, and can you see any reason why Mary Shelley used the former word in her own text, rather than the latter?

21. What is a "monster"?

22. In 1823 a performing version of Frankenstein was created for the stage by Richard Brinsley Peake. You may find it interesting to compare this version to the novel, as well as to the twentieth-century filmed versions. One thing to consider is the ways in which the author went about trying to adapt this very literary work to the physical performing space of the stage. Another is the characters he added (and subtracted), and what might have prompted him to do so. Mary Shelley actually saw a performance in 1823 and found it "interesting."

CHRISTOPHER MARLOWE DR. FAUSTUS Among these questions are the following: • Who and what shapes our identity?

• What is truth? What is beauty?

• What is good? What is evil?

• What is the nature of a good life?

• What gives life meaning?

Specific essential questions for the discipline of English are these: • What value does literature have for our lives?

• What can we learn about ourselves and others from literature?

• What are the elements of effective oral, written, and visual communication?

• How does one judge the value of a literary work?

• What determines a literary canon?

Introduction: What three great tragedies did Marlowe write? What are some of the occult legends or superstitions surrounding Marlowe's Faustus? What translated German narrative may have been a source for Faustus?

Identify the Following Characters Faustus, Mephistopholis, Good Angel, Bad Angel, The Pope, Wagner, Rafe, Vinter, The Emperor, The Pope, Helen of Troy Explain the Significance of the Following Items in John Donne's Poetry and Prose: A flea, a compass, a virtuous dying man, the quotation, "Ask not for whom the bell tolls" and "No man is an island."

Where is the play set?

What does Faustus study in college? (i.e., what is his "major"?)

What four sorts of books does Faustus sort through and then discard in the opening scene? Why does he discard each type?

What is the one type of book that still holds interest for Faustus?

What are some of the goals or uses Faustus has in mind when he first imagines summoning demons?

In scene two, how do the other scholars at the university react to rumors of Faustus's necromantic dealings?

What problem does Faustus encounter when he first summons Mephistopholis? (i.e., why does he require the demon to leave the stage and then re-enter?

What does Mephistopholis tell Faustus when Faustus starts feeling cocky about his ability to "command" the spirits to appear before him?

What is Faustus's belief about the afterlife?

According to Mephistopholis, where is hell located?

After talking to Mephistopholis, Faustus is left alone on stage at the end of scene three. What are some of the plans he has for using his demonic servants? (i.e., what are some of the things he wants to achieve?

How is the activities of Wagner and the Clown a mirror scene for scene three? What truth do they reveal about the nature of diabolism and demonic summoning?

According to Mephistopholis, why does Satan want Faustus's soul? What good will it do Satan to have souls?

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When Faustus makes a cut on his arm to write his name in blood on the demonic contract, what initially when he waits for the blood to drip out? What does this suggest? After he signs the contract, the blood on his arm forms into letters. What words do the droplets of blood form? (Either provide the Latin or the translation).

What are the five conditions Faustus sets down in the contract?

When does the contract expire?

Faustus asks Mephastophilis to provide him with a wife. Why cannot Mephastopholis do this, according to the footnotes in Abrams?

Mephastophilis refuses to tell Faustus who made the world. Why do you suppose he refuses?

What seven figures with Lucifer to distract Faustus from his prayers?

Of the seven figures, Faustus scorns all of them except one. Which one does he react to positively with the exclamation, "Oh, this feeds my soul!"

After seeing the deadly sins, Lucifer offers Faustus a book that will instruct him in shape-changing ("take this book, peruse it thoroughly, and thou shalt turn thyself into what shape thou wilt.") What is the symbolism here?

Immediately after Faustus is intrigued by one of the seven deadly sins, we switch to scene six. Here, Robin is also up to a bit of witchery as well. What mighty magic does he wish to work upon the parish maidens? How is this a mirror scene for what took place in scene five and in scene twelve?

What bribe does Robin offer to Rafe to get him to participate in his enchantment?

What famous figure in Italy do Mephastopholis and Faustus go to visit?

What spell does Mephastophilis cast on Faustus to allow him some slapstick fun while he is there?

What do Faustus and his companion steal from the Pope? How might this be symbolic?

How does scene eight serve as a mirror scene for scene seven? How might the vintner's desire to have Rafe and Robin pay for their wine tab be symbolic?

Why is Mephastophilis so upset by Rafe and Robin's summoing? What does Mephastophilis do to Rafe and Robin and the Vinter as punishment?

When Faustus goes before the Holy Roman Emperor in Germany, the Emperor wants Faustus to raise up famous spirits of the dead for conversation. Faustus cannot do that, so what does he do instead? What does this limitation in Faustus's magic suggest symbolically or allegorically?

What do Faustus and Mephastophilis do to the rude knight at the emperor's court?

In scene eleven, what trivial task does Faustus appoint to Mephastophilis when he visits the Duke's pregnant wife?

In scene twelve, when Mephastophilis threatens to arrest Faustus' soul for treason and rend it, to whom does Faustus beg for mercy? Why is this ironic?

How does Mephastophilis distract Faustus from his thoughts of repentance? [I.e., who or what does he bring as the ultimate distraction? How does this choice of temptations correspond to Faustus's reactions to each of the seven deadly sins earlier?

In scene thirteen, Faustus tells the scholars that he cannot call upon God or repent. Why not?

What large object dominates the stage during the last scene? Why does this object's relentless motion cause so much despair in Faustus?

What happens to Faustus at the end of the play--perhaps a bit predictably?

What promise does Faustus make as he is carried off stage?

Food for thought: Does Marlowe depict Faustus as having the capacity to repent after he signs away his soul? What clues in the text can we find regarding this question? Do the differences between the A and the B text alter that?

What does the play suggest about the desire to use evil means to achieve good ends--such as using demons to improve the world?

Identifications: Explain who the author is, what the work is, and what the significance is for each passage below:

A: I'll have them fly to India for gold Ransack the ocean for orient pearl, And search all corners of the new-found world, For pleasant fruits and princely delicates.

I'll have them read me strange philosophy And tell the secrets of all foreign kings: I'll have them wall all Germany with brass, And make swift Rhine circle fair Wittenberg; I'll have them fill the public schools with silk, Wherewith the students shall be bravely clad.

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B: Why, this is hell, nor am I out of it.

Think'st thou that I, who saw the face of God, And tasted the eternal joys of heaven, Am not tormented with ten thousand hells In being deprived of everlasting bliss?

O Faustus, leave these frivolous demands, Which strike a terror to my fainting soul.

C: Oh, somthing soundeth in mine ears: "Abjure this magic, turn to God again."

Ay, and [xxx] will turn to God again.

To God? He loves thee not: The god thou servest is thine own appetite Wherein is fixe dthe love of Belzebub.

To him I'll build an altar and a church, And offer lukewarm blood of newborn babes.

D: Was this the face that launched a thousand ships, And burnt the topless towers of Ilium?

Sweet [XXX], make me immortal with a kiss: Her lips sucks forth my soul, wee where it flies!

Come [XXX], come, give me my soul again.

Here will I dwell, for heaven be in these lips, And all is dross that is not [XXX]!

Question: Who is addressing whom in this passage, and what is the context?

E: Now hast thou but one bare hour to live, And then thou must be damned perpetually.

Stand still, you ever-moving spheres of heaven, That time may cease,and midnight never come. [ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .]

O I'll leap up to my God! Who pulls me down?

See, see where Christ's blood streams in the firmament!

One drop would save my soul, half a drop: ah my Christ-Ah, rend not my heart for naming of my Christ; Yet I will call on him--O spare me, Lucifer!

F: You stars that reigned at my nativity, Whose influence hath allotted death and hell, Now draw up Faustus like a foggy mist Into the entrails of yon laboring cloud, That when you vomit forth into the air My limbs may issue from your smoky mouths, So that my soul may but ascend to heaven.

G: Adders and serpents, let me breathe awhile!

Ugly hell gape not! Come not Lucifer!

I'll burn my books!

NATHANIEL HAWTHORNE YOUNG GOODMAN BROWN How do I correctly interpret the tone of an author?

How do diction, details, imagery, language, and syntax relate to the concept of tone?

What is mood and how does it affect my interpretation of a work?

How do I identify and subsequently understand theme, symbolism, conflict, aphorisms, and anecdotes?

How do I correctly incorporate literary quotations into my writings?

Young Goodman Brown contains many motifs that the writer may bring forth.

Isolation played its own important role in Young Goodman Brown.

Initiation into evil is a major Hawthorne theme.

Write your essay over symbolism in Young Goodman Brown.

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Color imagery in Hawthorne’s work is everywhere.

The characterization of Goodman Brown is a sensitive issue.

What Biblical images are produced in Young Goodman Brown, what impact does it have on the short story?

Discuss the many ambiguities in Young Goodman Brown.

How does setting play an important role in Hawthorne’s writing?

What is the significance of the title? What may have been Hawthorne’s motive in naming his protagonist "Young Goodman Brown," rather than, say, Miles Bradford? What is the significance of his wife’s name?

What are some features of the author’s style? What are some examples of indirection? Irony? ("mumbling some indistinct words, a prayer, doubtless," 616) Humor? Overt allegory?

When does the narrator enter the story, and what effect does this have?

What do we learn about Goodman Brown’s wife at the beginning of the story? What do we know about Brown’s motives for leaving his wife? ("as if a dream had warned her what work is to be done to-night. But, no, no! ‘t would kill her to think it," 614).

What symbolism is associated with nature and the forest?

What is the tone of the tale’s several references to Native Americans? (e. g., 614, 615, 618, 620) With what rites are they associated?

What thoughts prompt the appearance of Goodman Brown’s guide? What are some of his strange qualities?

Why, for example, does he resemble an older version of Brown himself, and carry a snake-like staff? (614615) Are the narrator’s descriptions always an accurate guide to events? (e. g., "This, of course, must have been an occular deception, assisted by the uncertain light," 615).

What means does the devil use to persuade Brown to continue his journey to the devil’s baptism? What are the stages of Brown’s gradual disillusionment? Whom does he encounter on his journey? (615-16, 618) What do many of these secret sinners seem to have in common?

Why doesn’t Brown turn back, as he resolves to do? (617) What different accounts of the devil’s communion does he hear on his journey? Does the reader receive clues as to what he will find there? ("there is a goodly young woman to be taken into communion," 618).

What sound drives Brown to further despair? (618) What comments on human nature does this prompt the narrator to make? ("The road grew wilder . . . leaving him in the heart of the dark wilderness, still rushing onward, with the instinct that guides mortal man to evil. . . . But he was himself the chief horror of the scene, and shrank not from its other horrors. . . . The fiend in his own shape is less hideous, than when he rages in the breast of man," 618).

How is the devil’s service and congregation described? (619-21) How is the natural setting altered for this event? (620) What specific sins does the devil promise the potential communicant he will learn to recognize?

(621) What deeper mysteries will he come to understand? ("ye. . . shall exult to behold the whole earth one stain of guilt, one mighty blood-spot. . . . It shall be yours to penetrate, in every bosom, the deep mystery of sin" [621]).

If they consent to the devil’s "baptism," what evil fate will overtake Goodman Brown and Faith? (621) By what act does Goodman Brown break the evil spell? What is the effect of his words on Faith? Why does he abjure her to resist evil, rather than himself? In what state does he find himself after his shout of resistance?

What events trouble Goodman Brown on his walk home? How does Faith greet him?

What lasting effect does Brown’s experience have on him, on his perception of others, and on his family life?

What expected solace is absent from his tombstone? On what basis does the narrator say of him, "his dying hour was gloom."

Final Questions: What is added to the story by the narrator’s comments?

What seems to be the allegorical significance of the story? Which aspects of the story seem most directly relevant to seventeenth-century New England, and which suggest general themes?

Which aspects of Puritanism does the tale seem to critique? Which aspects does it seem to replicate or embody?

Which aspects of the story seem to suggest psychological readings? What kinds of "sin" seem to preoccupy the protagonist and narrator? Are there other aspects of morality/religious attitudes outside the scope of the tale?

What relationship between imagination and reality is presented by the story?

Did you like "Young Goodman Brown"? What are ways in which it is well-written? What passages did you most admire?

Are there aspects of this tale which remind you of "Rip Van Winkle"? What are some contrasts between the two stories, e. g. in their responses to nature? portrayal of women? moral concerns? approach toward history?

What values might Irving and Hawthorne have shared?

Directions: Read and discuss each question. Look closely at the text to find support for your answers. Appoint one person from your group to write your answers and one to be the spokesperson for your group.

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What do you think Hawthorne’s purpose was for writing this story?

On page 576, Hawthorne states that Brown’s wife is “aptly named,” Faith (i.e., her name fits her personality).

After reading the story, do you agree? Does Brown have true “faith” in her?

What do you think the pink ribbons are meant to signify?

Was everything Brown witnessed a figment of his own imagination, something conjured by evil, or a dream?

Support your answer with passages from the text.

Directions: Read and discuss each question. Look closely at the text to find support for your answers. Appoint one person from your group to write your answers and one to be the spokesperson for your group.

Who do you think the old man Brown meets on the road really is? Look closely at the words used to describe him. What do they signify?

What does the staff represent? Do you think the staff leads Brown onward in his journey or does Brown’s own conscience/mind lead him forward?

If Brown had not ventured into the forest, how would his life have been different? If Brown had stayed home with Faith, do you think he would have gone on trusting her and the other townspeople?

Was everything Brown witnessed a figment of his own imagination, something conjured by evil, or a dream?

Support your answer with passages from the text.

Directions: Read and discuss each question. Look closely at the text to find support for your answers. Appoint one person from your group to write your answers and one to be the spokesperson for your group.

What do you think the reasons were for Brown taking such a night’s journey?

Do you think Brown should have taken the journey or stayed at home? Do you think Brown could have had a better, more peaceful life if he had stayed home from this night’s journey?

What do you think Hawthorne was saying to his contemporary audience?

Was everything Brown witnessed a figment of his own imagination, something conjured by evil, or a dream?

Support your answer with passages from the text.

NATHANIEL HAWTHORNE THE SCARLET LETTER 1. The problems faced by Hester & Arthur cannot be properly analyzed without considering the nature of community in which they lived. How reasonable would it be to say that the Puritan villagers at times exhibited the classic symptoms of a lynch mob? In what sense did public punishment in such a rigid environment often serve the needs of the punishers more than it did those of the punished?

What is there about human nature that makes it almost impossible to enforce inflexible codes of behavior? In your reply, make reference to such modern issues as dress and hairstyles, interpersonal morality, and integrity in political office.

2. What are your impressions of Hester’s general character, considering her reactions to the crowd, her punishment, and her sin? How deep was her sense of guilt? What extenuating circumstances existed that not only influenced the judges but seem to suggest that there was more of tragedy than guilt in Hester’s plight? How do you as a modern view the situation? Where did the author’s sympathies lie? Give evidence to support your conclusion by referring to words, tone, or mood. (Do not confuse your sympathies to those of Hawthorne.)

3. Why did Hester prefer to remain in Boston after her disgrace? She might have arranged to sail away to another land where she and Pearl might have begun life anew, with no badge of dishonor and no reputation for sin. Remember that she had some means of her own and that her needlework provided a living for her. How far do you go in accepting the author’s explanations of her reasons for staying? Why did she return to Boston after Pearl’s marriage abroad? In summary, to what extent can it be said that she was a victim of her environment?

4. There are those that say that Arthur Dimsmesdale was basically a hypocrite. How reasonable was his statement that he could not confess for fear of destroying his parishioners? Why might this be called a cowardly excuse or was it? In your assessment of Arthur’s possible hypocrisy, consider these additional points: • His only gestures in Hester’s behalf were his efforts to keep her from being branded or executed.

• He seemed obviously relieved when Hester refused to name the father of her child.

• He. Too, was a product of his environment, and it might be argued that it took an act of courage to remain silent for the sake of the church.

• There seemed to be ample evidence that he was suffering within almost as much as Hester was without.

5. When you first became aware of Roger Chillingworth’s relationship to Hester, what did he do or say to arouse your sympathy? On the other hand, in his insistence on Hester’s oath of secrecy, what suggestions of unwholesomeness or evil did you suspect? Remember, it was he who sent Hester to Bostob alone, did not correspond or get word to her somehow for two years, and suddenly appeared after his disgrace. What might have been his real reasons for the pledge of secrecy? In what 12

respects might his concepts of appropriate punishment have been even more severe than those of the self-righteous mob? In this connection, bear in mind his cat-and-mouse game with Arthur.

6. The religious person says that confession is good for the soul. The psychologist suggests that facing up to one’s mistakes and weaknesses, admitting them, and learning to live with them frees the mind and the emotions from an impossible burden. From either or both points of view, evaluate the extent of spiritual freedom gained or lost by Hester, Arthur, and Roger in their struggles with proclaiming or hiding the truth. Suppose either Arthur or Roger had revealed their true relationship to Hester early in the story, how might it have changed its course? Again, keep in mind the nature of community.

7. Some critics have charged Hawthorne with excessive use of symbolism, that is, the use of an object, figure, or word to represent a broad idea or concept. Hester’s A, for example, is a symbol, as is the rose near the jail door. In what way might Pearl be regarded as a symbol? or Roger Chillingworth?

What other symbols can you point to in the narrative development? Explain them. How does the use of symbols contribute to economy of writing? How do you asses Hawthorne’s use of this literary device – too much or consistent with his fictional purposes? Explain.

8. Hawthorne expresses Hester’s hope that a new relationship between man and woman might be established “on a surer ground of mutual happiness” (275). Write an analysis of the man-woman relationship as Hester might have written in her day. Continue by having Hester reveal her dream of the future. Conclude by comparing Hester’s views with relationships as they exist today. Include your opinion of the extent to which greater freedom does or does not lead to greater “mutual happiness”.

9. Pearl is depicted as a rather strange child. Indeed, old Mr. Wilson says, “The little baggage hath witchcraft in her, I profess. She needs no old woman’s broomstick to withal” (118). Why do you suppose Hawthorne gave Pearl such unusual traits? What might this reveal about some of the author’s moral prejudices?

10. Although it was written well over 100 years ago, The Scarlet Letter continues to be among the top five classics taught in the schools. Every year hundreds of thousands of copies of the novel, both cloth-bound and paperback, are sold in the educational market. How do you account for the books continuing popularity? In your response, consider such matters as plot, style, point of view, and issues raised. If you were a teacher would you want your students to read the book? Why or why not?

ARTHUR MILLER THE CRUCIBLE How do I correctly interpret the tone of an author?

How do diction, details, imagery, language, and syntax relate to the concept of tone?

What is mood and how does it affect my interpretation of a work?

How do I identify and subsequently understand theme, symbolism, conflict, aphorisms, and anecdotes?

How do I correctly incorporate literary quotations into my writings?

Act One 1. Why would Miller include the note on historical accuracy?

2. Who are Reverend Parris, Betty, and Abigail? What is their relationship?

3. Who is Tituba? What is her relationship to the family?

4. What is wrong with Betty?

5. Why does Parris suggest calling in Reverend Hale?

6. Who are Ann and Thomas Putnam? What do they suggest is Betty's problem? What is their motivation for suggesting this?

7. Rev. Parris is worried that Abigail's actions have jeopardized something important-What is jeopardized?

8. Who is Ruth? What is wrong with her? and How do the Putnams tie her problem to Betty's?

9. What does the conversation between Abigail, Mercy Lewis, Mary Warren, and Betty reveal about their recent activities?

10. What will Abigail bring to those who breathe a word of the truth?

11. Give three characteristics of John Proctor.

12. What event transpired between Abigail and John Proctor prior to the beginning of Act One? 13. What does Abigail say about Elizabeth Proctor? How might this affect the outcome of the play?

14. What happens to Betty when she hears the Lord's name?

15. Why didn't the Putnams like the Nurses?

16. What does Rebecca say about Betty's condition?

17. Give two examples that Proctor, Putnam, and Corey give for why Parris is an ineffective minister.

18. What is the Putnam's grievance over land? What significance might this have?

19. Describe Giles Corey in one sentence.

20. How does Miller describe Reverend Hale?

21. How does Hale confuse Tituba? What is the significance of their conversation?

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22. How and by whom are the other villagers accused of witchcraft? What is the motivation of the girls' accusations? and How many people are accused on the last page of act one?

Act Two 1. What is the significance of the scene between Elizabeth and John Proctor? What does it reveal about their relationship and about their characters?

2. Why do you think Miller would include such a conversation?

3. What does Elizabeth encourage John to do on pages 56?

4. Explain Elizabeth's statement: "John, if it were not Abigail that you must go to hurt, would you falter now? I think not?" and explain John's response.

5. What is the gift Mary Warren gives to Elizabeth?

6. What information does Mary Warren provide about the trial? What role is she playing at the trial? Why does John forbid her from attending?

7. How many had been arrested for witchcraft at this point?

8. Mary Warren tells Proctor that those accused will not hang if they do something-what is it that they must do?

9. Explain why Mary Warren thinks Elizabeth should speak civilly to her?

10. Why does Rev. Hale come to the Proctor's home? What does this scene reveal about Hale's role in the trial?

11. What does Proctor tell Hale about why the children were ill? How does he claim to know?

12. What is the point of the discussion between Hale and the Proctors about whether or not they believe in witches?

13. What event begins to change Hale's opinion about the arrests? How does he feel about the court?

14. Who do you think accused Elizabeth and why?

15. Which of the Ten Commandments does Proctor forget?

16. How are these two ideas connected: 1) Walcott buying a pig. 2) Martha Corey being accused of witchcraft.

17. Explain the allusion that Proctor makes to Pontius Pilate.

18. What does Proctor want Mary Warren to do after Elizabeth is arrested? What is her response to this?

19. What do we learn about Mary Warren's motives at the end of the act? Why did she give the poppet to Elizabeth?

Act Three 1.What is the significance of the behind the scenes discussion between Hathorne, Danforth, Martha Corey, and Giles Corey?

2. Who does Proctor bring into court with him?

3. What does Mary Warren tell Judge Danforth?

4. What is the significance of Proctor plowing on Sunday?

5. What does Judge Danforth tell Proctor about Elizabeth?

6. What arrangement does Danforth make for Elizabeth regarding the date of her hanging?

7. Danforth assumes Proctor would drop his fight once Elizabeth's arrangement is made -- why does Proctor refuse to back down?

8. What document does Proctor present to Danforth, and what does the document say?

9. How many people have signed the document?

10. What does Danforth do to those who signed the document presented by Proctor?

11. Explain the statement made by Danforth: "a person is either with this court or he or she must be counted against it, their be no road between." Is this true?

12. What is meant by Proctor's statement "Do that which is good, and no harm shall come to thee."

13. What accusation does Giles Corey make against Thomas Putnam?

14. What information does Corey withhold from the court?

15. Who does Danforth say can best identify a witch?

16. What change occurs in the opinion of Rev. Hale?

17. Does Mary Warren actually admit that she lied even when she knew innocent people would hang by her evidence?

18. What can Mary Warren not do when requested? What point does Hathorne make about it?

19. What secret does John openly admit to Danforth?

20. What does Elizabeth do to protect John Proctor's name?

21. What does Mary Warren say to reverse her reversal of prior testimony?

22. What evidence is there that Rev. Hale no longer believes the testimony and crying our of the girls?

23. What do the girls do to convince the men otherwise? Why? How do their actions further befuddle (confuse) Mary?

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Act Four 1. What time of day does Act IV open?

2. Whose presence in the jail makes Danforth upset?

3. Cheever says that cows are running freely in the streets. Why are they roaming?

4. Who does Parris say has robbed him and vanished from the town?

5. What object did Parris see as an intentional threat to his life?

6. How many people have hanged already, and why does Danforth refuse to postpone any hangings?

7. Who has been arrested and detained in the dungeon.

8. Is Elizabeth really pregnant?

9. Rev. Hale offers four signs that the town is being ruined, please list them.

10. Who is planning to hang when the sun rises in a few hours?

11. Does Rebecca confess to witchcraft?

12. Give two reasons why Giles Corey was smart for not admitting or denying the charges against him.

13. What were Giles Corey's dying words, and how did he die?

14. What does Proctor admit to?

15. What will Proctor not sign?

16. Why would Proctor admit, but not sign, a confession of his guilt?

17. How does Proctor think Danforth is using him?

18. What finally happens to Proctor's confession?

19. What happens to John Proctor?

20. List the fate of these characters: Rev. Parris Tituba Abigail Williams John Proctor Rebecca Nurse Giles Corey Martha Corey Rev. Hale Elizabeth Proctor 21. Did you like The Crucible? Why or why not? "How is it related to the Red Scare of the 1950's?"

DANTE ALIGHIERI THE DIVINE COMEDY (INFERNO) How do structure (terza rima), diction, tone, symbolism, figurative language relate to the work?

How do choices and heroic journeys enhance themes?

Lecture or Handouts: What is the Italian word for Hell? What is the difference between Hell and Purgatory in medieval belief?

Introduction: How many cantos are in the Divine Comedy as a whole How many in each subsection--the Inferno, the Purgatorio, and the Paradiso? What happened in 1302 that ensured Dante would never get to see his hometown of Florence again?

Identify the Following Primary Characters, Monsters and Places from The Inferno.

Gemma Donati (in Introduction), Beatrice Portinari (in Introduction); Dante the pilgrim, the three beasts on the road, Virgil, Minos, Francesca da Rimini and Paulo, the Medusa, the Three Furies, the Angelic Gatekeeper, Ugolino, Ugolino's son Anselm, Ugolino's son Gaddo, Satan, Brutus, Cassius, Judas Iscariot Explain the Significance of the Following and How it Relates to Dante's poem terza rima, the number three, contrapasso, fourfold interpretation CANTO I: At what point in Dante's life does he "lose his way" on the path of righteousness?

When Dante tries to travel upward toward the beautiful mountain and leave the dark valley behind, what animal blocks his path at first?

When Dante tries to go around that beast, what second animal appears and blocks his path?

When he tries yet again to get around that second beast, what third animal blocks his path?

Dante then sees a spirit in the desert, and asks this spirit for help. This spirit offers to guide him through Hell.

Who is Dante's guide through hell? Why does he make a suitable guide for Dante?

Where have we seen this spirit-guide character before as a historical figure?

Virgil claims that he has been exiled in this location because he was rebellious to the laws of "That Emperor who reigns above." Of whom is Virgil speaking?

CANTO V: In Canto V, they meet the judge who assigns sinners to various places in Hell. What is this judge's name? What does this judge do with his tail to indicate how far down in Hell the sinner must go?

What does Virgil tell to Minos in order to convince him to let Virgil and Dante pass?

How are illicit lovers ("carnal malefactors") punished in their ring of Hell? Who are some of these famous lovers?

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When Dante wants to speak to some of the lovers, Virgil says he can call them down by imploring them "by [XXX]." By what force or name does Dante implore the lovers to come down? Why is that appropriate, given the nature of their sins?

The lover that speaks with Dante in Canto V says she has "stained the world incarnadine" through her sins.

What does she mean, and how does this relate to Christian beliefs about the forgiveness of sins?

According to Francesca, what was she reading when she first gave into desire?

CANTO IX: In Canto 9, Dante and Virgil approach the city of Dis at the center of hell. They encounter the Three Furies or Erinyes here. What are these three beings? (Consult a mythological dictionary, encyclopedia, or look online for this information.)

What physical actions do the Three Furies take as they confront the two pilgrims Virgil and Dante? What do those gestures and actions suggest about their state of mind?

Why does Virgil turn Dante away and cover his eyes as the Medusa approaches? Why is he so afraid of her?

Who opens the gates to Dis so that Virgil and Dante can enter? What tool does he use to push open the doors?

How does the Angelic messenger react to the air in Hell as he breathes?

In lines 110-120 of Canto 9, we hear what structures make up the city of Hell. What structures are visible everywhere with flame scattered between them?

CANTO XXXIII: In Canto 33, Dante and Virgil encounter Ugolino frozen in ice. What is Ugolino eating?

How did Ugolino and his sons die in Pisa?

How does Ugolino spend all eternity? What is his food?

What does Dante promise to Friar Alberigo in hell? How does he fulfill his promise? (trick question!)

What is Friar Alberigo's body and Ser Branca d'Oria's body doing while their souls are in hell? Who or what does Alberigo claim is controlling these bodies?

CANTO XXXIV: What is the temperature like in the center of hell?

When they cross over past the fog of freezing mist, Dante sees something he first thinks is a giant windmill.

What is this windmill in actuality?

What is the source of the cold winds in hell that rhythmically blow outward from the center ring?

Describe Satan's body and appearance. What are some of his distinctive features in The Inferno?

What three things does Satan snack on?

When Virgil and Dante run between Satan's beating wings, Virgil stops and puts his feet on the ceiling and appears to turn upside down. What happened that allowed him to do this astonishing feat, and how is this connected to their location at the center of the earth?

When Dante looks upward/downward to gaze at Satan, what does he see that horrifies him? Why is this funny?

Sample Quotations for Identification (Be able to identify what work these quotations come from, what the author is, what character (if any) is speaking, and briefly comment upon the quotations significance or importance in the work: A: Midway upon the journey of our life / I found myself within a forest dark, / For the straightforward pathway had been lost. / . . . I cannot repeat how there I entered, So full was I of slumber at the moment / In which I had abandoned the true way."

B: "Now, art thou that Virgilius and that fountain / Which spreads abroad so wide a river of speech?" / I made response to him with bashful forehead. / . . . / Thou art my mastaer, and my author thou, / Thou art alone the one from whom I took/ The beautiful style that has done honor to me."

C: More than a thousand ruined souls I saw, / Thus feeling from before one who on foot / Was passing o'er the Styx with soles unwet. / From off his face he fanned that unctuous air, / Waving his left hand oft in front of him / And only with that anguish seemed he weary. / Well I perceived one sent from Heaven was he. . .

D: And one of the wretches of the frozen crust / Cried out to us: "O souls so merciless . . . Lift from mine eyes the rigid veils, that I may vent the sorrow which impregns my heart / A little, e'er the weeping recongeal /. . . / But hitherward stretch out thy hand forthwith, / Open mine eyes;"--and open them I did not, / And to be rude to him was courtesy.

E: The Emperor of the kingdom dolorous / From his mid-breast forth issued from the ice; / And better with a giant I compare / Than do the giants with those arms of his/ . . . What a marvel it appeared to me, When I beheld three faces on his head!

F: I lifted up mine eyes and thought to see / Lucifer in the same way I had left him; / And upward I beheld him hold his legs. / And if I then became disquieted, / Let stolid people think who do not see / What the point is beyond which I had passed.

Why does Dante make himself into the epic/heroic protagonist of his own poem? Does this fit in with the medieval view of the human individual and his/her place in the universe? Why? Why not?

What may have been Dante's motivations in writing the Inferno? Do his personal desires and feelings (love/hatred, etc) play a role in this endeavor? Who does he place in hell? Why? Is there significance to this work beyond the expression of personal emotions and political or other opinions?

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What was Dante's position toward the religion of his time? How about the pope? How do Dante's positions toward the Catholic faith and the papacy affect the composition of his poem? Why does Dante place some of the popes in hell? What practices of the Church of Dante's time are criticized in his work? What procedures does Dante employ for the expression of his views?

What specific dogmas are placed under questioning and scrutiny in the Inferno? What about the notion that hell is forever (notice the inscription on the gates of hell)? What of the case of the so called "virtuous pagans" (good people who were unfortunate enough to live before the times of Christ or did not practice Christianity and hence, according to dogma, had to go to hell)? Can anyone get out of hell ? Are there any characters in Dante's narrative which are said to have escaped from hell? What are the implications of such figures?

What symbolic meaning may underlie the literal representation of the spiritual life after death? What is death anyway? Is there only one kind? Does one go to hell only after physical death? How may one interpret the concepts of the "first" and the "second" death alluded to in the poem? How might such interpretations differ from the conventional and literal understandings of the first and second deaths? What images in the poem support such readings?

Why is Dante allowed to enter the underworld while still alive? Why does he suggest that he entered hell, "midway in our life's journey"? What may this imply regarding the character of the journey and its relation to the concepts of the first and second deaths? Are there any other "living" characters in hell besides Dante?

What does this imply regarding Dante's symbolism of hell and damnation? When does one enter hell? At what points is it still possible to get out? When does it become impossible to escape?

What seems to be happening to the very structure and physical reality of Dante's hell over time? When did such a process begin? What does it represent or allude to? How might such images and issues relate to the concepts of the first and second deaths? Any relevance to the concept and/or interpretation of the Second Coming?

What is the relation between sin and punishment in Dante? What is the meaning of the concept of contrapasso?

What is the significance of the three symbolic beasts which Dante encounters before entering hell? What about the mountain which he is unable to climb? How do these symbols relate to the issues of responsibility for Dante's entrance into hell?

Why must Dante meet and speak with the souls of the damned? How is this important or useful to him?

Why does Beatrice act as the protector and ultimate guide of Dante toward salvation? Why is Virgil, a pagan poet, chosen to guide Dante through the underworld? What does the choice of such guides suggest concerning the significance and messages of Dante's work? Is there any hope of salvation for someone like Virgil? What is salvation according to Dante?

Why is Odysseus (Ulysses) placed by Dante in the underworld? In what circle of hell do we find him (see Canto XXVI)? What is his punishment? In what ways does Dante's work complete the story which Homer began?

How does such an ending fit in with Homer's understanding of the character and life of Odysseus?

Why does Dante faint at certain points in his journey (e.g. just before crossing the river of death (Acheron), during his encounter with the souls of the lovers Paolo and Francesca)? What may the fainting symbolize or suggest in those different occasions?

Why is Dante moved to pity by the stories of some of the sinners in hell? Which sinners does he feel sympathy toward?

Why does Dante become so angry during the crossing of the river Styx (where the souls of the angry are submerged in mud)? How about Dante's behavior (lying, cheating, kicking, pulling hair) toward the souls entrapped in the ice in the ninth circle of hell?

Is there a pattern or significance to Dante's different reactions (sympathy, hatred, pity, anger, etc.) to the various sinners he confronts?

What is the symbolic significance of Cocytus, the frozen lake of ice at the bottom of hell? What about the figure of Satan himself, trapped at the center of the lake?

Is it surprising for the reader to discover that the bottom of hell is frozen solid? What does the cold symbolize?

In what way does the place affect Dante?

What is the effect on the reader and on Dante of the discovery of the tears of Satan and the misery of his condition? Does this in any way contradict the reader's expectations? Why must Dante physically embrace the body of Satan before his departure from hell?

JEAN PAUL SARTRE NO EXIT What is hell?

Are we in hell?

Does hell exist?

Among these questions are the following: • Who and what shapes our identity? • What is truth? What is beauty?

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• What is good? What is evil?

• What is the nature of a good life?

• What gives life meaning?

Explain the many dualistic beliefs concerning hell?

Think about the place you have chosen as your hell. Does it look ordinary and bourgeois, like Sartre's drawing room, or is it equipped with literal instruments of torture like Dante's Inferno? Can the mind be in hell in a beautiful place? Is there a way to find peace in a hellish physical environment? Enter Sartre's space more fully and imagine how it would feel to live there endlessly, night and day.

Could hell be described as too much of anything without a break? Are variety, moderation and balance instruments we use to keep us from boiling in any inferno of excess,' whether it be cheesecake or ravenous sex?

How does Sartre create a sense of place through dialogue? Can you imagine what it feels like to stay awake all the time with the lights on with no hope of leaving a specific place? How does GARCIN react to this hell?

How could you twist your daily activities around so that everyday habits become hell? Is there a pattern of circumstances that reinforces the experience of hell?

Explain what philosophies and psychological theories that were displayed in the play. Who represented what, and did that character change any particular theory? Did you follow the characters by theory or by action-but wait, is an action a theory?

Garcin – Why so many questions? Why does he answer his own questions? Is he prideful? He slept fine on earth until hell where there is no sleep; what does that say about his character? Why does he describe the bullet holes in depth?25 “what evil costs”43 “hell”46-47 Valet – Is his condemning in attitude or apathetic? Why does he use sarcasm? In what way does the valet make this play move ahead unlike the main characters?

Estelle – What does her fashion-sense display? Why does she begin with questioning everything? Why does she have a guilty conscience? Why wouldn’t she want to hear the truth? Why would she tease the others and then stop at any physical attention? “truly exist w/out seeing self”19 Inez – Why is she written as the boldest character? Why does her tone seem bold? Is she the most honest, truthful character? Why does she use certain word choices? “dreamt you were a hero”44 “summation of Garcin & Estelle”46 1. Is Garcin a coward? Why or why not?

2. "That's just it. I haven't a notion, not the foggiest. In fact, I'm wondering if there hasn't been some ghastly mistake. Don't smile. Just think of the number of people who - who become absentees every day. There must be thousands and thousands, and probably they're sorted out by - by understrappers, you know what I mean. Stupid employees who don't know their job. So they're bound to make mistakes sometimes..."

Analyse the passage in light of Sartre's existentialism. Ask yourself the fundamental question: are the characters assembled by mistake? In other words, is it chance that has brought them together?

3. Examine the masculine-feminine dynamic in the play. What does Sartre seem to be saying about the battle of the sexes? Is it even important that Inez and Estelle are women, and Garcin a man? Is Sartre's argument gender-based or gender-neutral?

4. Why does Garcin refuse to leave when the door opens? Compare this moment to the stasis that is at the heart of Beckett's Waiting for Godot, where the two men keep saying they will leave and never do.

5. Estelle cannot bear the absence of mirrors in the room. Discuss the idea that hell might be the inability to see oneself.

6. Examine the ways in which Inez's sexuality drives the narrative and offers a king of commentary on the other characters. What does Sartre have to say in regard to homosexual versus heterosexual desire?

7. Analyze the play's title. Be sure to consider the original French: Huis Clos.

8. Does No Exit offer hope? Can the play's implications be reconciled with Sartre's later attempts to propose a more humanist form of existentialism?

9. Compare No Exit and Endgame. In what ways is Beckett's vision similar to Sartre's, and in what ways does it differ?

10. All three characters are able, at certain points, to "watch" the world of the living. Analyze the underlying patters and the ways in which one character's vision differs from another's.

FRANZ KAFKA THE METAMORPHOSIS Nobody ever asks why it happens--this is satirical: Kafka is saying that in a society that has accepted absurdity, nobody sees any absurdity in a young man turning into a cockroach.

His sister reacts initially with compassion, but, later, with resolve to get rid of him. Why? 18

His father reacts with anger from the very beginning. Why? His mother is confused and sad. Why? Gregor reacts by trying desperately to hold on to some part of his humanity--but every time he tries he is physically injured.

Wanting to keep the furniture in his room Wanting to hold on to a picture His father throws an apple at him--which becomes the most serious injury that he sustains.

Why an apple? Is this symbolic?

His ultimate downfall is preceded by his wanting to listen to his sister play music (2025--not an animal, a human).

When Grette rejects Gregor, his just ceases to exist—again, this is part of the metaphor—he wills himself out of existence.

1. What is the effect of Kafka's matter-of-fact assertion of the bizarre incidents with which the story begins?

How does Kafka keep the way it came to pass from becoming a major issue in the story?

2. What is the relationship between realism and fantasy in this story? What are some details that make the fantastic story credible?

3. What are Gregor's concerns in section I? To what degree do they differ from what would matter to him if he had not been transformed into an insect?

4. Why does Gregor dismiss the idea of calling for help when he tries to get out of bed?

5. What seems most important to members of his family as he lies in bed?

6. How do you view the reactions of Gregor's parents to their first view of his metamorphosis? What circumstances in ordinary life might elicit a similar response?

7. What is the significance of the view from Gregor's window?

8. Trace Gregor's adaptation to his new body. In what ways do the satisfactions of his life as an insect differ from the satisfactions of his life as a traveling salesman?

9. When Gregor's father pushes him back into his room at the end of section I, why does Kafka call it "literally a deliverance"?

10. How does Grete treat Gregor in section II? Is he ill?

11. What are Gregor's hopes for the future? Is there anything wrong with those hopes?

12. For a time, Gregor is ashamed of his condition and tries to hide from everyone. In what way might this be called a step forward for him?

13. What conflicting feelings does Gregor have about having the furniture taken out of his room? Why does he try to save the picture? What might Kafka's intention be in stressing that it is on this occasion that Grete calls Gregor by his name for the first time since his metamorphosis?

14. Why does Gregor's father behave as he does when Gregor "breaks loose"? Explain the situation that has developed by the end of section II? 15. How does the charwoman relate to Gregor? Why is she the one who presides over his "funeral"?

16. Compare the role of the lodgers in the family with Gregor's role. Have they supplanted him? Why does Gregor's father send them away in the morning?

17. How does Gregor's condition deteriorate by the end of the story, in his environment and within himself?

18. How does Gregor's family behave at the end of the story? What are your reactions to the events and atmosphere at the end?

19. What symbolic objects or other details appear in the story? Do they have connections with earlier mythologies or legends or literature?

20. How does this story compare with other transformation stories or animal stories we are studying? What makes the narrative approach of this modern story different from a folktale?

I. 1.

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Write a definition of "metaphor" and provide several examples.

Metaphorically, what does it mean to be a "bug"? Provide several examples.

Make a listing of some of the humorous scenes. Why do you think they are humorous?

Describe Gregor's room. What is the picture hanging on the wall?

Describe Gregor's own attitude and his reaction to his new predicament.

Describe what life was like for Gregor before his metamorphosis, at home and on job.

Describe everyone's reaction as they see Gregor come out of his room.

In what ways do you think Gregor was like a "bug" even before his metamorphosis?

II. 1. Describe how and what Gregor eats.

2. What is his family situation like?

3. How does Gregor's sister treat him differently from the way he is treated by his parents?

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4. How does Gregor entertain himself?

5. Why doesn't Gregor want his furniture moved out?

6. What kind of changes does Gregor notice in his father?

III. 1. How does Gregor's family try to make life seem "normal" for themselves?

2. What prevents the family from moving to a smaller apartment?

3. How do they try to manage financially?

4. How has Gregor's attitude toward his family changed?

5. How has Grete's treatment of Gregor changed? Give some examples.

6. What changes take place in Gregor's room?

7. What is Gregor's attitude toward the roomers? Why? 8. Describe Gregor's reaction as he hears his sister play the violin.

9. Why do the roomers threaten to leave?

10. Describe the scene of Gregor's death.

11. Describe how each family member reacts when they hear that Gregor is dead.

12. How do they celebrate Gregor's death?

13. Who do you think is responsible for Gregor's fate? To what exptent do you think he is responsible?

THE NOVEL NOW MAKES US COMPARE “BUG LOGIC” TO “HUMAN LOGIC.” FROM THE POINT OF VIEW OF BUG LOGIC, GREGOR SHOULD TRY TO BE AS HAPPY AS POSSIBLE IN BUG LAND. HOWEVER, THIS MEANS GIVING UP THINGS THT ARE ESSENTIAL TO HUMANITY. CONSIDER THE QUESTION, “WHY DO WE HAVE GENERAL STUDIES WHEN THEY WON’T HELP US ENTER THE WORKFORCE. BUT THIS IS NOT THE POINT….STEPHEN CRANE THE OPEN BOAT ERNST HEMINGWAY HILLS LIKE WHITE ELEPHANTS Looking back on the story, list the evidence that tells what kind of operation Jig is confronting. How risky is it physically and emotionally?

Are you surprised that this story was written by a man? Why or why not?

How do the hills in the story spotlight Jig's decision? How does Jig see the setting as symbolic of her choices?

How does the fact that Jig sees the setting symbolically get us to identify with her more readily than if the author had suggested the symbolism to us directly? Note the symbolism of the two different landscapes on either side of the Zaragosa train station, plus the possible symbolism of the curtain, as suggested in the commentary beside the story.

Hemingway once suggested that his purpose in such a story is to tell the reader as little as possible directly yet to reveal characters' motives and their conflict. How does this principle operate in this story? Where would you like to have more information (besides "he said" and "she said")?

Lewis Weeks, Jr., claimed in 1980 that "although subject, setting, point of view, characterization, dialog, irony, and compression all make 'Hills Like White Elephants' one of Hemingway's most brilliant short stories, the symbolism implicit in the title and developed in the story contributes more than any other single quality to the powerful impact." Agree with any part of this statement in detail, quoting relevant phrases from the story as needed.

FRANK MCCOURT ANGELAS ASHES Countless memoirs have been published recently, yet Angela's Ashes stands out. What makes this memoir so unique and compelling?

Discuss the originality and immediacy of Frank McCourt's voice and the style he employs -- i.e., his sparing use of commas, the absence of quotation marks. How, through a child's voice and perspective, does McCourt establish and maintain credibility?

Ever present in Angela's Ashes is the Catholic Church. In what ways does the Catholic Church of McCourt's Ireland hurt its members and limit their experience? How does the Church protect and nurture its followers? What is Frank's attitude toward the Church?

McCourt writes: "I think my father is like the Holy Trinity with three people in him, the one in the morning with the paper, the one at night with the stories and prayers, and then the one who does the bad thing and comes home with the smell of whiskey and wants us to die for Ireland." Was this your impression of Frank McCourt's father? How can Frank write about his father without bitterness? What part did Malachy play in creating the person that Frank eventually became?

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Women -- in particular mothers -- play a significant role in Angela's Ashes. Recall the scenes between Angela and her children; the MacNamara sisters (Delia and Philomena) and Malachy; Aunt Aggie and young Frank; Angela and her own mother. In what ways do these interactions reflect the roles of women within their families? Discuss the ways in which Angela struggles to keep her family together in the most desperate of circumstances.

McCourt titles his memoir Angela's Ashes, after his mother. What significance does the phrase "Angela's Ashes" acquire by the end of the book?

Despite the McCourts' horrid poverty, mind-numbing starvation, and devastating losses, Angela's Ashes is not a tragic memoir. In fact, it is uplifting, triumphant even. How does McCourt accomplish this?

Irish songs and lyrics are prominently featured in Angela's Ashes. How do these lyrics contribute to the unique voice of this memoir? How does music affect Frank's experiences? How do you think it continues to influence his memories of his childhood?

Read or view at least two texts that deal with rising above adversity, particularly the adversity of poverty.

How does the experience in each text compare with the experience of Frank McCourt? How do these texts add to your understanding of Frank McCourt’s life?

Having read this memoir, relate this to your personal experiences using specific details and events. How has your reading made past experiences come alive? In what ways were these memories dealt with?

What long-range goals are you planning for victory in your life?

Some believe that human life is of inestimable worth and significance in all its dimensions, including the unborn, the aged, the widowed, the mentally handicapped, the unattractive, the physically challenged and every other condition in which humanness is expressed from conception to the grave.

Sanctity of life debate.

JAMES JOYCE THE DEAD Is it better to have loved and lost rather than to never love at all?

Look carefully at the opening exchange between Lily and Gabriel. Somehow, he manages to make her angry without intending to. What's happened? What's Gabriel thinking about? What does Lily seem to be thinking about?

Unlike Yeats, Joyce believed that the Irish should engage more in the "modern" ideas and culture of the European Continent. (Yeats favored a Celtic revival of specifically Irish culture.) You can see glimpses of this attitude in Gabriel: the goloshes, for instance. This also helps to explain his encounter with Miss Ivors. As with his encounter with Lily, something seems to be operating under the surface here. What's going on?

What are Gabriel's aunts like? (Is there a difference between what they seem to be to other people and what they seem to be to him?) What kinds of values and ideas might they represent in the story?

Look at Gabriel's speech. (Notice, also, how he worries about his speech virtually the entire evening. What's he worried about?) What's its basic message? Does he mean it?

Many of Joyce's characters in The Dubliners have what he called a "paralysis" of will that keeps them from breaking out of "deadening habit." Is such a paralysis evident in "The Dead"?

On p.2028 Gabriel watches Gretta as she stands listening to music. This sets off an entire line of thought in him that, we find out at the end, leads to a misunderstanding between them. (Is Gabriel always having these unintended misunderstandings?) What is he thinking about from, say, the music-listening scene until they get back to the hotel? How does his line of thought lead him to misinterpret Gretta's reactions? (What's she been thinking about?)

Gabriel experiences a typical Joycean (and Modernist) epiphany at the end of the story. What is it?

Lily is the first character to be introduced to us. What is her position in the text -- her social class, etc? How important will she be in the rest of the story?

Why does Gabriel "color" as if he has made a mistake when Lily becomes upset about the subject of men?

What might his reaction reveal about his ability to relate to women and to people of other social classes?

Why is Gabriel anxious about the after-dinner speech he must make? How does he see himself in relation to his hosts, Aunts Kate and Julia? Does the narrative voice offer any enlightenment about Gabriel's thoughts here -- or elsewhere in the story?

Gretta explains why she is wearing galoshes. What picture of her marriage with Gabriel emerges from the interchange (spoken and unspoken) between Gretta, Gabriel, and Aunts Kate and Julia?

What mistake does Mr. Browne make? How does his conduct hint at the rift that is beginning to open up between the men and the women in Joyce's story?

Why is Miss Ivors successful in getting under Gabriel's skin? What things has she implied about him that he finds unpleasant?

What is revealed about Julia's abortive singing career? Is she a good singer? What kept her from going further with her singing? Why is the subject of Julia dropped or diverted so quickly?

Why is Mr. Browne unable to understand what he is told about the Monks' habits? More generally, what contrast does Mr. Browne provide in the story?

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What effect does the narrative's mention of snow have upon your perception of events and of the characters' thoughts?

Gabriel makes his speech. What themes does he offer his guests, and how sincerely do you suppose his words reflect his real views about Kate and Julia, his own self-image, Irish hospitality, and possibly other things?

What effect does Gabriel's anecdote about Patrick Morkan ("the Old Gentleman) have upon the speech he has just made at the dinner table?

What does the text reveal about Gabriel's understanding of his wife as an individual with thoughts beyond her marriage relations with him? Describe the advancing stages of Gabriel's desire for his wife -- what makes him remember their "secret life together," and what further excites him?

How does Gabriel's long-time misunderstanding of his wife play out? To what extent is Gabriel able to reflect accurately upon his own motivations, desires, and actions? to what extent does he seem sincere or accurate in his reflections upon himself and Gretta?

We hear that the snow is falling all over Ireland, on both the living and the dead. What symbolic and predictive value does the snowfall have by this point?

GEORGE ORWELL 1984 1. Language/Logic, Setting What does the opening sentence suggest about the book?

2. Irony, Language/Logic, Character The name "Winston" means "from a friendly country." "Smith" is a common last name. From these names, can you suggest a possible irony? Also, consider the association of Winston Smith with Winston Churchill. What similarities do you see between the two? What else do we know about Winston concerning his age, abilities, and occupation?

3. Irony/Paradox, Language/Logic What are the Party mottos? What is unusual about them?

4. Language/Logic, Theme What is Newspeak? What is its purpose? Why is it essential for the Party to rid the language of synonyms and antonyms?

5. Language/Logic Who is Big Brother and what is the significance of his name?

6. Language/Logic What is facecrime? Why is it so easy to commit?

7. Theme, Irony/Paradox How does the Party control history? Why? 8. Plot, Theme Who is Emmanuel Goldstein and how is he presented to the people of Oceania? What is the probable significance of using the obviously Jewish name?

Part II 1. Character In what ways are Julia and Winston alike? In what ways are they different?

2. Theme Why does the party permit couples to marry but discourage love?

3. Plot O’Brien asks Winston and Julia what they are willing to do for the Brotherhood. What are they willing to do? What is the one thing they are unwilling to do? What types of things does O’Brien tell them they might have to face as members of the Brotherhood?

4. Irony/Paradox Julia tells Winston that even though the Party can torture a person and make him say anything, they cannot make him believe it. How do you feel about this statement? How easy is it to brainwash a person? Do you think governments actually use brainwashing? Discuss.

5. Plot Why are the three superpowers always at war according to the Brotherhood’s handbook?

6. Plot, Irony/Paradox How are Winston and Julia betrayed?

Part III 1. Character, Irony/Paradox How does Parsons feel about being imprisoned as a result of his own daughter reporting him for thought crime?

2. Theme, Plot 22

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Before Winston is interrogated, he sees many prisoners escorted off to Room 101. From their reactions, he gathers the room is extremely unpleasant. What is in Room 101?

Plot When and in what way does Winston betray Julia?

Plot Why does O’Brien say prisoners are brought to the Ministry of Love?

Plot What happens to Julia?

Theme, Irony/Paradox How does Winston ultimately feel about Big Brother?

WILLIAM SHAKESPEARE HAMLET Be familiar with Tillyard's discussion of the Great Chain of Being. Be able to explain what it is and how it connects to Hamlet's dilemma.

Why, in Renaissance belief, did the crow of a rooster have the power to avert ghosts and demons?

When the ghost appears, who do the armed soldiers send to speak to it? Why is that a bit humorous?

What characterized Polonius' advice to his son Laertes before Laertes sets off to college?

Why do all the guardsmen react so adversely to the sound of pistols being fired? What political event are they concerned with?

Why do many critics see Hamlet as the first modern "existential" man?

Principal Hamlet Soliloquies and Key Scenes--A Handy Checklist

• • • • •

Soliloquy 1: I.ii.129-59 "O that this too too sullied flesh. . ."

Soliloquy 2: I.v.92-112 "O all you host of heaven!. . ."

Soliloquy 4: III.i.56-88 "To be, or not to be. . ."

Soliloquy 5: III.ii.396-407 "'Tis now the very witching time..."

Soliloquy 6: III.iii.73-96 "Now might I do it pat. . ."

• Soliloquy 7: IV.iv.32-66 "How all occasions do inform against me. . ."

• • • • • • • • •

Council scene: I.ii.1-128 Fishmonger scene: II.ii.171-224 Schoolfellow scene: II.ii.225-388 Nunnery scene: III.i.88-164 The Mousetrap play scene: III.ii.94-276 Prayer scene: III.iii.36-98 Closet scene/Portrait scene: III.iv.1-53; III.iv.54-218 Ophelia's madness scenes: IV.v.21-73; IV.v.154-198 Graveyard scene: V.i.1-294

1) To what extent does Hamlet correspond to classical or medieval notions of tragedy? What (if anything) is Hamlet's fatal flaw? Why does he hesitate to act after promising his father's ghost that he will avenge his murder? Compare/contrast the protagonist's decisiveness and will to act in Macbeth.

2) Note the various familial relationships in Hamlet. Compare and contrast the family unit of Polonius / Laertes / Ophelia with Hamlet's relationships to the Ghost of Hamlet Sr., to Gertrude and to Claudius. Like Hamlet, Laertes and Fortinbras are sons confronted with a father's death. To what extent do they function as foils to Hamlet? What do they have in common? How do they differ?

3) Why does Hamlet wait so long to kill Claudius? What are the reasons for his hesitation? How valid are they? How many times does he have the opportunity to attack Claudius? What are his reasons for not doing so?

4) Hamlet is a play in which nothing can be taken at face value: appearances are frequently deceptive, and many characters engage in play-acting, spying and pretense. What deliberate attempts are made at deception? Are the intended audiences deceived? While some deceptions are perpetrated in order to conceal secrets, others aim to uncover hidden truths. Which are which? To what extent are they successful?

Note references to appearances, disguises, pretense, seeming, masks, acting, etc.

5) Pay attention to the treatment of the women characters Gertrude and Ophelia. Is there any basis for the Freudian interpretation of an Oedipal attraction between Hamlet and his mother? Hamlet does seem obsessed with his mother's sexuality. How old is Hamlet? How old do you think Gertrude is? Is Hamlet's disgust at Gertrude's sexuality justified? To what extent is Gertrude guilty? Was she "in on" her husband's 23

murder? Has Claudius confided in her since the murder? How does Hamlet's perception of his mother affect his behavior or attitude toward Ophelia? Why does he tell Ophelia to go to a nunnery? Does Hamlet really love Ophelia? If so, why is he cruel to her?

6) Hamlet claims that his madness is feigned, an "antic disposition" which he puts on for his own purposes (I.v.172). Why would Hamlet want to feign madness? How can an appearance of insanity help him achieve his ends? (Compare the role of Touchstone, the "fool" in AYLI.) Is he really sane throughout the play, or does he ever cross the line into madness? What about Ophelia's mad scene? Is it real or feigned? Is there "method in her madness" as well, or is she entirely irrational? Why has she gone mad? (What two reasons do her songs suggest?)

7) Hamlet famously declares that "something is rotten in the state of Denmark." What other natural imagery is used to describe the corruption of the Danish court? What "unnatural" events or behaviors preceded the events recounted in the play? What "unnatural" events or behaviors occur during the play?

Compare/contrast with AYLI, HV and MAC. 8) Moral ambiguity? Hamlet and Macbeth recount similar stories (the usurping of a throne) from differing perspectives -- those of perpetrator and avenger. Just as Macbeth was not ALL bad, Hamlet is not ALL good.

What are some of his faults or short-comings? Do these constitute a "fatal flaw" (to use the concept and terminology of Aristotle or Bradley)? Why might Shakespeare have chosen to remain in the "grey area" rather than a more "black and white" depiction of Good and Evil? Compare with Shakespeare's depiction of the protagonists in Henry V and in Macbeth.

WILLIAM SHAKESPEARE MACBETH Macbeth is the central character in the play who is described as both brave Macbeth and a butcher. Are either of these descriptions satisfactory?

Is Macbeth an optimistic play?

Explore how Shakespeare presents the murder of King Duncan.

Who is responsible for Macbeth’s downfall?

Explore Shakespeare’s use of language in Macbeth.

How is the mood of evil developed in Macbeth?

How does the reader/audience respond to Lady Macbeth? Does her appearance in the sleepwalking scene alter our perspective?

If you were the director of a production of Macbeth what advice would you give to the actor playing the character of Macbeth?

After introducing the plot of Macbeth, discuss the themes of the play .* The four themes of most interest to students are: things are not what they seem, blind ambition, power corrupts, and superstition affects human behavior. Explore the themes with questions. For example, "Though Shakespeare's Macbeth is about 11th century Scotland, its themes of ambition run wild and the corruption of power can be seen in modern history. Can you think of examples?"

Or, “One of the themes of Macbeth is 'things are not what they seem.' Can you relate an incident from your life when you thought something (or someone) was one way, but it (he/she) turned out to be another?"

Read a nonfiction account of political ambition such as John Dean's Blind Ambitions: The White House Years or a fictional account such as Robert Penn Warren's All the King's Men. Compare the modern, overly ambitious politicians in Dean's and Warren's books with Shakespeare's Macbeth.

After discussing themes of Macbeth related directly to students' lives, examine the themes of classic tragedy: the tragic flaw of ambition, the role of fate, the inevitable nature of tragedy, the isolation of the tragic hero.

1) For Aristotle, Macbeth would not "count" as a tragedy, since Macbeth appears too evil to be a proper tragic hero. But he does not begin the play as an evil character. Note statements concerning Macbeth's past, i.e. his role and reputation prior to the beginning of the play. What has he accomplished, and how is he rewarded? What is King Duncan's opinion of him? Is it justified? How fundamentally does Macbeth change in the course of the play? Pinpoint key moments in his evolution from war hero to tyrant. Compare and contrast Shakespeare's treatment of Henry's past in Henry V. 2) One of the Aristotelian principles of tragedy is that the hero's downfall is caused by a moral weakness or flaw that inexorably leads him to his tragic destiny. In this respect, can Macbeth be seen as an Aristotelian tragedy? What basic human flaws or weaknesses does Macbeth display? How do they contribute to his downfall?

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3) The three witches have been seen as figures of the Greek Moirae (Latin Parcae), or Fates, who respectively spin, measure out and cut the thread of human life. Note how the scenes with the "weird sisters" (Old Eng. wyrd=Fate) punctuate and structure the play. To what extent do their predictions dictate events? Are their prophecies binding? Is Macbeth trapped by destiny, a victim of fate, or does he have free will? How do we know? Note specific scenes and speeches that justify your point of view.

4) Banquo is a foil to Macbeth in that both are the subject of prophecies concerning the future kingship of Scotland, but they react to these prophecies differently. How does each respond to his encounter with the witches? Are there key differences? Why does Shakespeare include two sets of prophecies? What is the effect of this juxtaposition?

5) Macbeth begins with three witches chanting "fair is foul and foul is fair" (I.i.10), a line which evokes a world upside down, the reversal of the natural order. Look for other indications of nature gone awry within the play. Where does natural imagery occur? Note references e.g. to weather, vegetation, animals and birds, sterility and fertility, disease and health. What is the connection between this imagery and events in the play? For Shakespeare, "natural" behavior includes love for one's family and the loyalty between subject and liege lord; mistreating kinsmen or betraying one's rightful leader is "unnatural" (see e.g. Oliver and Duke Frederick in AYLI; the traitors Scroop, Grey and Cambridge in HV). Note examples of such "natural" and "unnatural" behavior (and occurrences of these words and of "nature") in Macbeth. Since treachery and betrayal play significant roles in the plot, look also for the familiar Shakespearean themes of the difficulty of distinguishing between appearance and reality (allusions to disguises, masks, clothing, etc.) and the power of language to deceive (flattery, lies, double meanings, ambiguity).

6) Macbeth displays high regard for his wife, Lady Macbeth, who is a surprisingly equal partner in their marriage (a situation that many in Shakespeare's time would find "unnatural"). Pick out references to their partnership or feelings for each other throughout the play. What is the effect of these details? (To excuse Macbeth from responsibility for his actions? To humanize him by showing him in at least one "natural" relationship? Or what?) Overall, do Macbeth and Lady Macbeth appear to have a good marriage? Are they well matched? Do they feel real affection for each other? To what extent is Lady Macbeth responsible for Duncan's murder? Are she and Macbeth equal partners in crime? Does their relationship (and their collaboration) shift over time? At what point does Macbeth start to act alone, without her help or knowledge? Read carefully Lady Macbeth's words in the sleep-walking scene. What do you think caused her breakdown? What prior events does she allude to, and what does she have to say about them? How does Macbeth react to the news of his wife's death? How does her death change him as a character?

7) Apart from the Weird Sisters, there are only two significant female characters in the play.

Compare/contrast Lady Macbeth and Lady Macduff. Are they foils to one another? Why or why not? What do they have in common? How do they differ? Lady Macduff is defined principally as a mother, while Lady Macbeth is apparently childless (see IV.iii.216). Nonetheless, Lady Macbeth says that she has "given suck, and [knows]/ How tender 'tis to love the babe that milks [her]" (I.vii.54-55). Can that shared experience of motherhood be seen as a bond between the two women? Does Lady Macbeth share the blame for Lady Macduff's murder? Does she approve of her husband's actions? Before she dies, Lady Macduff complains of her husband's "unnatural" behavior in abandoning wife and children (IV.ii.9). Is her anger justified?

8) At the end of the play, Macduff kills Macbeth in a scene easily read as the victory of Good over Evil. But would that be an accurate characterization? Is Macbeth wholly evil? (Consider e.g. his initial heroism in the war against Norway; his love for his wife; any other factors that may serve to make him seem more "human" or believable.) By the same token, is Macduff wholly good? (Is he really blameless? What mistakes has he made? Of what is he guilty?) Are we dealing here with entirely "black" and "white" characters, like the "good guys" and the "bad guys" in an old western, or is there some "gray" area? And if so, is that a strength or a weakness of the play? What is the effect of this moral ambiguity?

9) In some respects, Macbeth is a meditation upon "manhood." It explores "natural" and "unnatural" gender behavior, offering varying views on what constitutes real "manhood." Note statements throughout the play that deal with "manliness," masculine identity, being a man, etc. How do the various characters in the play define "manhood"? How do these definitions shift over the course of the play?

JONATHAN SWIFT A MODEST PROPOSAL Validate or disprove the following commentary: The reader is assumed to be: rational, candid, polite, elegant, and humane.

Our reaction is not that of the butt or victim; nevertheless, it necessarily entails some measure of sympathetic self-projection. We more often, probably, feel the effect of the words as intensity in 25

castigator than as effect upon the victim: the dissociation of animus from the usual signs defines for our contemplation a peculiarly intense contempt or disgust. When, as sometimes we have to do, we talk in terms of effect on the victim, then “surprise” becomes an obviously apt word; he is to be portrayed again and again, into an incipient acquiescence: Sixthly, This would be a great inducement to marriage, which all wise nations have either encouraged by rewards or enforced by laws and penalties. It would increase the care and tenderness of mothers toward their children, when they were sure of a settlement for life to the poor babes, provided in some sort by the public, to their annual profit instead of expense. We should see an honest emulation among the married women, which of them could bring the fattest child to the market. Men would become as fond of their wives during the time of their pregnancy as they are now of their mares in foal, their cows in calf, their sows when they are ready to farrow; nor offer to beat or kick them (as is too frequent a practice) for fear of a miscarriage.

The implication is: “This, as you so obligingly demonstrate, is the only kind of argument that appeals to you; here are your actual faith and morals. How, on consideration, do you like the smell of them?

But when reading the Modest Proposal we are most engaged, it is an effect directly upon ourselves that we are most disturbingly aware of. The dispassionate, matter-of-fact tone induces a feeling and a motion of assent, while the burden, at the same time, compels the feelings appropriate to rejection, and in the contrast – the tension – a remarkably disturbing energy generated.

If Swift does for a moment appear to settle down to a formula it is only in order to betray; to induce a trust in the solid ground before opening a pitfall. Swift’s satiric method, which everywhere stares us in the face, is only dimly recognized to be a method. We praise Swift’s style; we speak of his use for allegory and his mastery of disgust; but we do not follow through with conviction.

Swift’s method is uniformly by way of dramatic satire. He creates a fully realized character and fully realized world for him to move in. The avowed intention of the satirist is to expose folly and evil and to castigate them, and there is no satire worthy of the name which does not in fact establish a moral dichotomy: right over wrong, rectified vision or virtue against twisted vision, human dignity and freedom against stupidity, blindness, perversity. If the moral sense of some satirists seems elementary, the moral sense of Swift we recognize as that inherited from the humanist tradition, in which man’s freedom was defined in terms of ethical responsibility and in accordance with Christian awareness of human incapacity and failure.

A satire of Swift’s is, we may say, an exhibited situation or series of situations. Once the situation has been suggested, once its tone, its flavor has been given, it promptly takes command of itself and proceeds to grow and organize by virtue of its own inherent principles. It is a “anything can happen” affair. The room for self-improvisation seems limitless, and the comic scale ranges from hilarious to the grim. The satirist is an observer and not involved: feelings absent. Is the observer cold? Or is Swift, the observer, an exhibitionist? Everything is shown; everything is at least one degree removed from reality. In short, the situation may be thought of as kind of a chamber within which ideas and emotions are made to collide at accelerated speed.

Parody is in itself so close to the dramatic method that the two are sometimes difficult to distinguish; in Swift, parody is only another means of creating and exploiting a situation having its own unmistakable thickness. The world which the Modest Proposal invites us to live in is our own familiar world twice refracted, our world as remade in the enthusiastic imagination of a typical projector, and that remade world further distorted through parody.

Where do you detect differences between the "proposer" and Swift himself?

If Swift does not actually think the Irish people should eat their children, what does he think they should do?

Who is the audience of this work?

Who will be the beneficiaries of this "Modest Proposal"?

When did it first become apparent to you that Swift's proposal was not serious? How did you respond?

What relevance does A Modest Proposal have for contemporary social and political issues? Can you think of historical situations that pose similar problems about ends and means?

Write a persuasive essay of your own that uses some of Swift's rhetorical strategies (adopt a persona, for example, or profess opinions that you do not hold as a way of strengthening your real arguments.)

BERNARD SHAW PYGMALION Guiding questions for Act I Setting and Stage Directions The stage directions at the beginning of act I, discuss the setting. What is the setting? This setting brings together what two places? Are these two places symbolic? What issues about money, class and spirituality are raised in this act?

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In what ways are the lighting and sounds important in this act? (e.g. p. 12, when Eliza Doolittle enters the scene, and p. 21, when Henry Higgins remembers to give money to her.) Keeping in mind the mythic allusion of the title, can you make more of the setting?

Eliza's room: How does this room, like her appearance and the way she sleeps, reflect Eliza's social background and her personality?

How would you characterize the traits and relationship of the mother (Mrs Eynsford Hill ), daughter(Clara Eynsford Hill), and son (Freddy Eynsford Hill)? How would you compare and contrast them with the flower girl (Eliza Doolittle)? In other words, which of them strike you as being independent and active?

How would you describe the gentleman (Pickering)? How does he compare and contrast with the notetaker (Higgins)? Pay attention to their different treatments of the flower girl.

Why is Higgins so upset by Eliza's dialect? (e.g. p. 20) Theme How do the divisions of social classes become an issue in this act? How are class differences embodied in the people's different treatments of the flower girl. How is language related to class divisions?

In what ways are the issue of appearance and reality raised?

Guiding questions for Act II Setting and Stage Directions Describe the setting in Act II. How is Higgins' room a contrast to Eliza's, which we see at the end of Act I? What does the room as well as its decorations suggest about Higgins' personality and life? How does the stage direction characterize Higgins on pp. 26 & 27? note: "Piranesis" (from the first stage direction) -- Piranesi, Giovanni Battista (1720-1778), "Italian graphic artist, famous for his engravings and etchings. . . . Piranesi's collection of engravings entitled Carceri d'Invenzione (Imaginary Prisons, 1745) greatly influenced 19th-century romanticism and also played a role in the development of 20th-century surrealism. (from Encarta bio) example of Piranesi's work: Imaginary Prison & Perspectives on Rome Explain how the clothes worn by Higgins and the flower girl reflect them. Does Eliza's change of costume suggest something about her change of life?

Characters: Act II shows two verbal encounter (or fights) between the play's major characters (first Higgins and Eliza, and then Higgins and Mr. Doolittle), who use different tactics to get what they want. Pay attention to their different value standards (esp. in terms of money), their language and changes of tone, and enjoy it!

In the dialogue between Higgins and Eliza, what more do we find about the two's personalities? What does Eliza want to achieve? And how about Higgins?

In the dialogue among Higgins, Pickerin, Eliza and Mrs. Pearce, what kind of cautions do Pickerin and Mrs. Pearce give to Higgins respectively? And how does Higgins respond to them? Pay special attention to the way he changes his voice from "storming" to one with "professional exquisiteness of modulation" to "beautiful low tone" on pp. 32-33.

How would you describe Mrs. Pearce's relationship with Eliza? Consider the suggestions she gives to Eliza, as well as the way she bathes her.

What role does Mrs. Pearce play in serving as a housekeeper for Higgins? Higgins says after their dialogue that Mrs. Pearce thinks him "overbearing" while he is actually "shy," "diffident," and never feeling grownup. Which of these two is a closer description of Higgins, or both?

Describe Eliza's father, Mr. Doolittle. Why does he come to Higgins' home? What does he want from Higgins? What is his view of the different social classes? Why does he prefer "undeserving poverty"(p. 49)?

What will he do with the money from Higgins? Why does he refuse ten pounds? What is his view of marriage? Higgins finds his argument irresistible (p. 50), how about you?

Themes Like Act I, money and religion are brought up again several times in this act. How do the characters (Higgins, Eliza and Mr. Doolittle) of different classes express different views about money? Religion, likewise, is mentioned to reveal the characters' sense of value. For instance, why does Higgins think of his pupils as "sacred" ("teaching would be impossible unless pupils were sacred" 41) at the same time he calls Eliza as "that thing," as well as "insect" and "squashed cabbage leave"? What does Mr. Doolittle think about clergymen as a career , when Higgins thinks that the former has the eloquence of a priest or a politician?

This is a play about education, and more specifically, learning English and learning to be a lady. What are Eliza's lessons like? In their first lesson what is Higgins like as a teacher? Is Eliza as a student? In terms of learning to be a lady, what does she feel about being a lady in this act (e.g. being clean, having fashionable dresses)?

Guiding questions for Act IV 27

Act IV takes place later in the night of the ambassador's party, when Higgins, Pickering, and Eliza return to Higgins' home.

Higgins & Pickering: What do the two men do when they get home? What do they talk about? Are they responsive to Eliza and her feelings?

Eliza: [read the stage direction closely.] Why does Eliza get Higgins' slipper? Does he expect her to? How does he respond after he finds the slippers? Why is it appropriate that she later throws the slippers at him?

How does Eliza feel? Why is she upset? What does she want? Why does she think getting married is like "selling herself" (82-83)? Is her idea of buying and selling changed from those she expressed in Acts 1 & II? How would you compare and contrast Eliza as a "lady" in Act IV with Eliza as a flower girl in Acts I and II? Has her education made her superior? Changed her?

Higgins says to Eliza, "Now you are free and can do what you like" (82). Is that true? In what ways is Eliza NOT free?

What does Eliza say to "shock and hurt" Higgins(83)? Is there a symbolic meaning to Eliza returning to Higgins the ring he gave her? What do you think the ring meant to Higgins when he gave it to her? What did it mean to Eliza?

Toward the end of this act Eliza has another costume change. Does this change also suggest a change in Eliza?

How would you characterize Eliza's relationship with Freddy at the end of this act? How does her relationship with Freddy differ from her relationship with Higgins? Does Freddy provide something that Higgins does not? What does Freddy not have?

Guiding questions for Act V This act begins on the morning after the events presented in Act III. How do Higgins and Pickering respond to Eliza's departure the night before? How does Mrs. Higgins feel about it? After Mrs. Higgins explains Eliza's behavior to the two men, they each react quite differently. How does Higgins respond? How does Pickering respond?

What has happened to Alfred Doolittle since Act II? In what ways does his change in social class and position mirror Eliza's? How does Eliza feel about her own social change? How does her father's response differ from Eliza's?

This play has had much to say about marriage. What does Doolittle mean when he says that marriage is not "the natural way" (101)? Would Pickering agree with him? Would Eliza agree?

When Eliza talks with Higgins and Pickering, she presents her view of being a lady, including the idea that "the difference between a lady and a flower girl is not how she behaves, but how's she's treated" (98). Do you agree with her? After reading the play, what do you think a lady is?

Has Higgins learned something new when he says to Eliza, "I cant turn your soul on. Leave me those feelings; and you can take away the voice and the face. They are not you" (103-4)? How does this differ from his response to Eliza in Acts I and II? How would you characterize the relationship between Eliza and Higgins in Act V? They seem to have different goals for life. What does Higgins view as meaningful in life? What does Eliza want in her life? Can you see positive values in both Eliza's and Higgins' views?

Like the sculptor Pygmalion, Higgins claims "By George, Eliza, I said I'd make a woman of you; and I have" (108-9). How, though, does this play offer a revised version of the original Pygmalion myth?

Why does Eliza turn around as she is leaving Mrs. Higgins' house and offer advice to Higgins'ÂŚ about his gloves, ties, cheese, and ham? What does this suggest about their relationship?

What does this play suggest as possible results of education? Do teachers and students alike need to be concerned about those results? What does the play suggest about the differences between social classes?

What does it suggest about marriage and family?

Endings -- Do you prefer the more open ending of Act V or the endings Shaw presents in the postscript? At the end of Act V we see Eliza's self-contradictory attitudes toward Higgins. Do you see similar contradictions in this postscript? How do you explain the various amorous implications (e.g. Eilza's jealousy of other women; her secret wish to be alone on a "desert island" with Higgins)?

Romance -How does Shaw define romance here, to be distinguished from the current trend of sentimental melodrama?

What are the reasons (about Eliza's freedom, Mr. Higgins' love for his mother and his unchangeability, and about the strong's need of the weak) he offers here to justify Eliza's marrying Freddy? Are you convinced?

Does Eliza live "happily ever after" with Freddy?

Education -- Of all the characters Clara Einsford-Hills seems to be the most snobbish as well as pitiable. How is she changed in this the postscript? How does Life "start to move with her"?(pp.

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118-20) The Play as a Whole The structure of the play: The usual structure of Shaw's Discussion play is: exposition, complication and discussion. Do you find this structure in the play?

The theme of Education/Creation: The five acts of the play can be divided into three parts: Act 1--a general introduction, Acts 2-3 -- the bet and its fulfillment, and Acts 4-5 -- Eliza's "independence" from Higgins. What does Eliza achieve at each stage?

How do the other characters (except Mrs. Higgins and Pickering) get educated in the play? How is Mr. Doolittle's similar to and different from Eliza's?

Social Structure and Class Differences -- This play has characters mostly from the working class and the upper class (except that Mr. Doolittle, at the end, takes on "middle-class morality"). How are these two classes presented? Be specific about the differences in the people of the same class: for instance, between Mr. Doolittle, Mrs. Pearce and Eliza, and between the poor genteel (the Eynsford Hills) and the rich (Mrs. Pearce) and the rich intellectual ( Higgins and Pickering).

The title of the play: After finishing the play, you must know that Pygmalion is very different from the original myth. How are the functions of using this myth, then? In other words, why does the play want us to remember mythic, fairy-tale and legendary figures such as Pygmalion, Cinderella and Frankenstein's monster?

The discussions in the play: what do you think about the discussions in the play? Are they boring or witty and enlightening? Do they come naturally out of the development of the plot, or are they distracting and digressive?

[For your reference: A critic Eric Bentley thinks that the play is a "personal play" (as opposed to discussing play, another type of Shavian plays), in which discussion is "an emanation of conflict between persons," or an integral part of the plot development (Bloom p. 13).

Comparison of the play with the two filmic versions. Besides the fact that the two films are more dramatic than the play, there are some major differences between the play and the two films.

The characterizations of Freddy, as well as the arrangement of the midnight scene, in which Eliza leaves Wimpole Street and joins Freddy.

The role of the father, Mr. Doolittle (In My Fair Lady, he appears independently from Eliza and he does not show up at Mrs. Higgins' at the end).

The settings and the presentations of the two trials of Eliza's progress.

The ending of the two films are similar to each other, but different from the original play.

MARAGRET EDSON WIT I am a retiree in rapidly deteriorating health. I've been told I should consider getting a "do-not-resuscitate order." What is it?

Why should I consider a DNR order?

How do medical professionals know you have a DNR order?

Did you like this film? Why or why not?

Has anyone seen or read the play this film was based on? Has anyone seen this film before? If so, did the film strike you differently the second time? How? What was your evaluation of the following characters: Dr. Posner, Dr. Kelekian, Nurse Monahan and Vivian Bearing? Did any of them stand out to you more than the others? Why? Were there any characters you identified with more than others? Who do you think you were meant to identify with?

All of these characters were a part of the film because they served a very specific purpose to the story— medical staff and patient. Were there any scenes or conversations you think really epitomized the true character of the people in this film (for instance, the “Cancer is Awesome” or “Popsicle” scenes)?

Vivian says she is in the hospital due to her treatment, not the disease itself. A professor once told me that a remedy tells you a lot about the severity of a malady. If the ravaging nature of chemotherapy is considered worth the benefit it gives, then that speaks volumes about the disease of cancer itself. What do we learn about cancer by watching this chemotherapy? What can we learn from this when we consider the human condition in general?

Vivian, facing the greatest challenge of her life, attempts to employ her inner strength and wit to get her through the suffering (notice she never turned her TV on). What do you think she is trying to accomplish with her wit? Did her wit sustain her? What do you think you would do in order to cope with intense suffering?

One movie reviewer (Sasha Stone) said of Wit: “Vivian begins to understand something about life—that it doesn’t matter, in the end, how much you know. Knowledge can’t possibly comfort you in death.” Do you

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agree with this assessment of the film? Why or why not? Do you agree with this assessment in general about life? Why or why not? What kinds of knowledge, if any, could bring comfort?

HISTORICAL CHARACTERS Hammurabi and Moses: Law as Mirror of Civilization What do the laws of a society tell us about the lives and beliefs of the people who write, enforce, and obey those laws?

Zoroaster and Buddha: Explaining Suffering Why does evil exist in the world?

Confucius and Plato: A Few Really Good People What is the best way to create a strong society? Can people be led by moral example because they are basically good – or do they need a philosopher-king to help them control the evil within themselves?

Mahavira and Diogenes: Unconventional Man Can a man challenge the behavior and values of the people in his society and still remain a part of that society? (Or when is a misfit not really a misfit?)

Thucydides and Sima Qian: Learning from the Past Why do we keep records of the past? How do historical works reflect the values of writers and of their cultures? Is one kind of history better than another?

Asoka and Shi Huangdi: Honey and Vinegar Is it more effective to govern people by moral persuasion or by coercion? Can the carrot be effective without the stick?

Boudica and Zenobia: Challenging the Romans Why were the Roman armies difficult to defeat? What makes female warriors attractive to historians?

Iren and Wu Zhao: Tow Iconoclasts What qualities do women rulers need to succeed in a society dominated by men? What criteria should be used by historians to evaluate their careers?

Al-Ghazali and Aquinas: Faith and Reason What is the proper balance between faith and reason in seeking to understand the Divine?

Marco Polo and Ibn Battuta: The Merchant and the Pilgrim How did the presuppositions of two famous medieval travelers color what they reported – and how they reported it?

Mansa Musa and Louis IX: Pilgrims and State-Builders How did the institution of Monarchy differ in Europe and West Africa in the 13th and 14th centuries? In a religious age, does a king show he is powerful by being pious or does his piety help him become powerful?

Prince Henry and Zang He: Sailing South How do the structures and values of a society affect the way people view contact with other cultures?

Why did Europeans benefit more from the voyages of Prince Henry than the Chinese He? Erasmus and Luther: The Redeemer’s Dilemma To what extent is it possible to reform an institution from within? What intellectual and personal qualities led Luther to be more radical than Erasmus? Is it better to promote greater change for fewer people or less change in more people?

Elizabeth and Akbar: The Religion or the Ruler?

Can a ruler use religious conflict to strengthen his or her own rule? Can a ruler’s religious performance be the basis of unity in a religiously divided state?

ANTHONY BURGESS A CLOCKWORK ORANGE Certainly one of the most challenging and difficult social problems we face today is, how can the State maintain the necessary degree of control over society without becoming repressive, and how can it achieve this in the face of an increasingly impatient electorate who are beginning to regard legal and political solutions as too slow?

What are the formal and thematic characteristics of modernistic writing and how does A Clockwork Orange fit into these characteristics?

What does the title mean?

What word stuck in your mind the most and why?

How do the endings differ between the book and the movie? Be specific.

How is Alex’s behavior ironic to his choice of music?

The opening shot which begins with Alex's (Malcom MacDowell) eye and pans back to introduce his droogies and the milk bar tells us a great deal about the characters before a word id spoken. What do you learn about Alex and his world?

There are numerous allusions to 2001 in the film: the stolen car reads DAV(E) on the license plate, the sound track to 2001 is on sale in a music store, the fight with Billy Boy in the deserted casino and the attack on the aging drunk recall the apes in the previous film, and Alex eating in silence at the Alexander home resembles 30

Bowman at the conclusion of 2001. Are these references merely a director's signature (like Hitchcock's cameos in his films), or are there thematic relationships between the films (i.e. the view of the future, human violence, the use of institutional power, etc.)?

In most satires there is a figure who represents the moral perspective from which to judge the other characters (and to find them wanting)? Is there such a figure in A Clockwork Orange? Who might it be?

The drunk attacked by Alex and droogs bitterly condemns "a stinkin' world" no longer interested in law and order where a concern with space flight leaves the old ways and people victims of the young. Is there any indication that the old ways (represented by the prison warden and chaplain) were any better?

What is the thematic significance of having all of Alex's encounters in the first half of the film repeated in the second half?

How does the musical serve as ironic counterpoint to the events it accompanies? For example, the use of "The Thieving Magpie Overture" in the derelict casino scene or Beethoven's Ninth Symphony throughout ("The Ode to Joy in the Fourth Movement begins: "All Mankind will become Brothers').

How, specifically, do both the police inspector who interrogates Alex after the Cat Lady's murder, and the Minister of the Interior who sends him to the Ludivico Center both exemplify Machiavellian principles and the ruthless exercise of power behind an exterior of polite hypocrisy?

What does the apartment and the clothes of Alex' parents reveal about their characters and culture? In what ways might their sentimentality and their law-abiding natures be seen as worse than their son's lawlessness?

In what ways does the future world of A Clockwork Orange resemble George Orwell's 1984? In what ways is it significantly different?

Are any of Alex's victims morally superior to him? Consider the behavior of the leftist writer and his political allies, the vengeful old drunks, and the moral nature of the doctors and scientists.

1.

2.

3.

4.

5.

JOHN STEINBECK’S THE GRAPES OF WRATH PREPARING TO READ In American history texts and other library sources, read about the Dust Bowl and other events of the Great Depression. If possible, obtain some of the famous 1930s photographs of poor farmers, migrant laborers, and people on city food lines. With other students, share what you see in the faces of those people.

Discuss what happens when machines replace people. What alternatives do unskilled workers have when they are replaced?

What is your definition of family? Is a family made up only of relatives? What keeps a family together? Of what importance is family unity in today's society?

Obtain a road map of the United States and, as you read the first half of the novel, trace the route taken by the Joads, noting the location of major events along the way.

As you read through the novel, stop occasionally to record your thoughts, reactions, and concerns in a Response Journal. Your journal may be a separate notebook or individual sheets which you clip together and keep in a folder. Include statements about the characters - what you learn about them, how they affect you - and your thoughts about the key issues and events which the book explores. Also, jot down questions you have about events and statements in the book which you do not understand. Your Response Journal will come in handy when you discuss the novel in class, write a paper, or explore a related topic that interests you. In addition, because this novel contains several sophisticated words (e.g., petulant) and unusual expressions (e.g., frawny), you may want to keep a list of some of those words and their meanings in your journal.

SECTION I:

1.

2.

3.

4.

5.

6.

UNDERSTANDING THE STORY Chapters 1-11: The Land What does the setting of the opening scene suggest about the rest of the novel? What does it suggest about family structure?

Animals play an important symbolic role throughout this novel. What important qualities does the land turtle have as described in Chapter 3?

What opinions does Casy, the former preacher, have about sin and using "bad words"?

How do the tractors operate? What role does the bank play? What power do the small farmers have against the banks and the tractors?

Of what importance is Muley in this story? What's the difference between being the hunter and being the hunted?

Chapters 2, 4, 6, 8, and 10 tell the narrative about Tom Joad and his family the way novels usually do. What is the function of the other short chapters (1, 3, 5, etc.)? What does Chapter 7 imply about used-car salesmen?

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7.

What do the faces of the Joad family reveal about them? What are the most important characteristics of Ma and Pa and of the grandparents?

8.

How does each member of the family feel about going to California? How does each feel about leaving home? What is young Tom's philosophy for dealing with the future? What does Ma's burning of the old stationery box illustrate?

Chapters 12-18: The Migration 1.

What is the first unpleasant event that occurs on the Joads' journey? What does that event portend about what lies ahead?

2.

What happens to solidify the family as they drive along? Of what significance is Grampa Joad's death? How does Granma take it? What is Ma's philosophy of "holdin' on"? What is the value of Casy's prayer?

3.

What does it show about the Joads when they befriend the Wilsons? What is the significance of the change from "I" to "We" (p. 165)?

4.

What is the function of Chapter 15? What does it imply about businessmen, waitresses, and truck drivers?

5.

When the car breaks down, what is significant about Ma's reaction? How does the mechanical difficulty affect the relationship between Tom and Al? 6.

How does the one-eyed man in the junkyard feel about the owner of the yard? What advice does Tom give him?

7.

In the camping area, what information does the ragged man give to Pa about California? What effect does that information have on the Joads?

8.

What effect does the nightly camping have on the people heading for California? How does it give them strength and power?

9.

What is the Joads' first view of California? What impressions of California do the two men from the Panhandle provide? Why does Noah leave? What is Ma's response?

10.

Why are the migrants called "Okies"? What do the two boys in the service station in Needles say about Okies?

11.

Of what symbolic value is the desert? Does California look the way the characters thought it would? What do we learn about Granma? What do Ma's reactions again show about her?

Chapters 19-30: The Promised Land 1.

How has farming changed according to Chapter 19? Why do the local people fear the migrants?

What is a Hooverville? How do you suppose a Hooverville got its name? What are the "three great facts of history" (p. 263), and what do they imply about the outcome of the events in this novel?

2.

Why is it so difficult to obtain work in California? Why do wages fall? What keeps the men from uniting? What advice does Floyd Knowles give? How is Rose of Sharon affected by all of this?

3.

How do the police treat the migrants? Why? What does Casy's attack on the deputy reveal about him? Why is Uncle John so upset? What causes Connie to leave?

4.

What does Ma Joad mean when she says "Why, we're the people - we go on"?

5.

In what ways does the hostility of the local people change the migrants? How are the government camps different from the Hoovervilles? What is effective about the way they are run?

6.

How does Mr. Thomas (Chapter 22) treat the workers? How does Tom feel about working? In what ways does Mr. Thomas represent the dilemma of the small farmer?

7.

How do the Joads, especially the children, show their ignorance of "modern" conveniences?

8.

What do the events in Chapter 22 say about charity, religion, and hard work? What and who are "reds"?

9.

How is it that people are starving when fruit is overabundant? Why do the owners destroy the surplus?

10.

Why do the Joads leave the government camp at Weedpatch? How is life at the Hooper ranch different? How is it typical of the lives of migrants? What does Ma's encounter in the store show about the plight of migrant workers?

11.

What does Tom discover about Casy? How is Casy different from what he once was? How does Tom react to the attack on Casy?

12.

What do the boxcars provide besides shelter? In hiding, what decision does Tom make? How does Ma feel about that? What conclusion does Ma reach about the family? What keeps them all from giving up?

13.

How does the rain affect the lives of the migrants? Of what importance is building the dike, even if it breaks? How does Ma know they will survive?

14.

What impact does the stillbirth of Rose of Sharon's baby have? What does Uncle John do with the dead baby, and what does this act signal about him and the other migrants?

15.

Why is Rose of Sharon's feeding the starving man an appropriate ending for this novel? Why is she smiling "mysteriously"?

Digging Deeper 32

1.

In the beginning, each character has personal reasons for wanting to go to California. In what ways does each individual's goal change? Which people grow to see a larger purpose in life? What factors contribute to their changes?

2.

The heroes of The Grapes of Wrath are on the bottom of the social ladder; their language is often vile, their behavior is sometimes as coarse as their language, and they freely discuss bodily functions (which in the 1930s were seldom mentioned in literature). What was Steinbeck's purpose in portraying such unrefined and coarse people? What would be the effect on readers if the Joads spoke "proper" English and did not curse?

3.

According to statements made in this novel, of what importance is anger in overcoming fear?

What must be done with anger in order to make it productive? Do you agree or disagree with that philosophy as expressed in this novel?

4.

What is the effect of the chapters which come between the narrative about the Joads? How would the elimination of those chapters affect the meaning and the impact of the novel?

5.

Identify as many Biblical references or parallels as you can find in the novel and discuss their effectiveness as well as their meaning.

6.

The political implications of this novel have been strongly attacked. In what ways is the novel a criticism of capitalism? Does the novel advocate communism? Defend your opinions with evidence from the novel.

7.

In what ways is your definition of the term family similar to the meaning Ma Joad gives to the term? In what ways is Ma Joad's meaning different? What do the implications of her meaning contribute to the author's message in the novel?

8.

If you had been an owner of a large California farm in 1939, how would you have felt about people like the Joads? As the owner of that farm, how might this novel have changed your feelings?

9.

Steinbeck wrote to his editor about this novel: "I've done my damndest to rip a reader's nerves to rags, I don't want him satisfied." Did he succeed in doing that to you? If, so how did he accomplish it? If not, why weren't you affected in that way?

10.

Some critics maintain that this novel promotes hatred between classes of people. In what ways does it do that? In what ways does the novel's effect go beyond that?

11.

What has become of Noah? What does Connie do with the rest of his life? What will Tom become, and will he be successful at it? What will Al do next? How will these events change Rose of Sharon?

12.

You might have utilized notes from your Response Journal to answer some of the questions above. Now select one specific, unanswered question that you raised in your journal and see if your classmates can shed some light on that issue.

SHORT-ANSWER WRITING RESPONSES 1.

Explain the importance of the contrast between the dryness of the first part of the novel and the floods of the final part. Note also the frequent references to the sun as a "large red drop" that made a cloud look like a bloody rag and the earth look bloody. How do those images contribute to the meaning of the novel?

2.

Describe the role women play throughout this novel. Pay particular attention to the dialog between Ma and Pa Joad on page 467, and be sure to comment on the significance of Rose of Sharon's final act in the novel.

3.

Explain how Tom's imprisonment affected the way he behaved during the journey and throughout his search for work in California.

4.

Steinbeck describes the migrants as "homeless, hardened, intent, and dangerous" (p. 257).

Write a newspaper editorial about those migrants as if you were the editor of a small town newspaper in California.

5.

Steinbeck admired the poor migrants and believed that from their enduring qualities "will grow a new system and a new life which will be better than anything we have had before." Was he right? What kinds of changes have come about because of the suffering of those migrants of the '30s? In our society today, what similar problems exist? What problems in recent times have been exposed by writers the way Steinbeck did in The Grapes of Wrath?

6.

Each of the characters in the novel had a dream of what he or she wanted in the future.

Describe your own dreams and expectations for the future and explain how you intend to go about attaining them.

7.

Write a short story to describe what happens to the Wilsons after the Joads leave them behind.

8.

Write a factual newspaper account of the citizens' raid on the camp at Hooverville.

9.

Some Americans believe this novel is dirty, blasphemous, advocates a communistic society, and therefore should not be taught in high schools. Explain to parents in your town why you feel the novel should be read and studied in your high school, or explain to a group of teachers why you feel the novel should not be required.

SECTION II: 1.

Why does Steinbeck devote a chapter to the land turtle's progress on the highway?

33

2.

3.

Why does Pa yield his traditional position in the family to Ma? As Tom leaves the family, he says, "I'll be ever'where—wherever you look" (p. 419). In what sense does he mean "everywhere"?

4.

Why does Steinbeck interrupt the Joads' narrative with short chapters of commentary and description?

5.

Why does Rose of Sharon smile as she feeds the starving man with milk intended for her baby?

6.

What does Steinbeck mean when he writes, "In the souls of the people the grapes of wrath are filling and growing heavy, growing heavy for the vintage"? (p. 349) 7.

Why does the book start with drought and end with floods?

8.

Is the family intact at the end of the novel?

9.

Why does Uncle John set the dead baby adrift rather than bury it?

10.

Does nature function as a force for either good or evil in this book?

SECTION III: 1.

Explain how the distribution of wealth in the world economy contributed to the onset of the Great Depression.

2.

How did investments in the stock market in 1929 add to the illusion of a booming economy?

3.

In what way did the industrialization of the American economy at the turn of the century complicate the Great Depression of the 1930’s?

4.

Was President Hoover to blame for the magnitude of the Great Depression?

5.

Explain how Hoover’s belief in “rugged individualism” led to a belated, and ultimately unsuccessful, public works program.

6.

Indicate the full title and function for each of the following New Deal programs: CCC, AAA, NRA 7.

Who formed the Bonus Army and what did they want from the government?

8.

Why was the TVA as a social program so significant to social planning in US history?

9.

Explain the significance of the New Deal in relationship to the role of government in American society. What would this mean for families like the Joads?

SECTION IV: 1 The importance of the land to the people a Why are the Joads and thousands like them thrown off the land? b What chain of events creates this? c What does this action do to the people? d Why do the people have such a strong feeling for the land? e Who does Steinbeck think really “owns” the land? f What do Ma and Rose of Sharon hope for when they reach California? g How does the description of the land’s current condition help set the mood for the story? h What characters have a hard time leaving? Why? 2 The strength of the women a How does the reaction of the men to their misfortune differ from that of the women? b Why do the women watch the men so carefully and feel safe when the men do not break? c As the story progresses, Ma emerges more and more as the strength of the family. Find examples (there are many) of her taking charge, getting the family to California, protecting the family, helping others, counseling Tom, and guiding Rose of Sharon. d Find examples of some of the men’s lessening ability to cope (Pa, Connie, Noah, Uncle John).

3 Symbols A symbol is a literary device that uses a concrete image—a person or thing—to represent a more abstract idea. Sometimes in literature an author will create religious symbols, not to try to promote a religious belief, 34

but rather to relate a theme that many people can understand. In The Grapes of Wrath John Steinbeck seems to employ some religious symbolism. a Jim Casey is sometimes called a “Christ Figure.” Think about the initials of his name, his time in the wilderness, his feelings for the people, and his maturity as a philosopher while in jail (“Maybe all men got one big soul ever’ body’s a part of”), and his acts of sacrifice and martyrdom. Explain how these help create such a symbol of Casey. Why do you think Steinbeck may have portrayed him this way? b Tom Joad learns from Casey and becomes like a disciple to him. What is a disciple? How do we see him become more like Casey along the journey? How do his last words to Ma show the full achievement of his carrying on where Casey left off? c How is Rose of Sharon’s final act in the story reflective of her name? Describe how throughout the story she has learned from Ma. Does her feeding of the starving man provide a hopeful ending? Why or why not?

4 The importance of the family a Why does Ma feel so strongly that the family must stay together? Give examples. b Who leaves and why? c What does this break-up do to the family unit? d Give examples of how Ma manages to carry on despite this break-up. e Who represents hope for the future? Why? 5 Unity—We vs. I The Grapes of Wrath is concerned throughout with the idea of the people’s necessity to become a part of a group larger then themselves, of a group “made up of many folks” working as a whole. a What do the following characters say about this theme at various times in the story?

(There may be several examples for each character.)

Ma Joad Tom Joad Jim Casey b How is this theme developed at the Weed patch camp? c Why do the authorities at Hooper Ranch try to break up those who believe “we” is stronger than “I?” 6 The anger of the people a Why do the women feel safe as long as their men are angry? What does that anger represent? b What happens when the men are no longer angry? c How do Uncle John’s angry words as he deals with Rose of Sharon’s dead baby perhaps reflect Steinbeck’s own anger? What do you think the baby symbolizes? d Steinbeck says, ”. . . in the eyes of the hungry there is a growing wrath. In the souls of the people the grapes of wrath are filling and growing heavy, growing heavy for the vintage.” What does he think is going to happen because people are being allowed to starve? What makes the image of full grapes of anger being harvested so effective here? How is this image of grapes different from Granpa’s vision of grapes earlier in the story? e Steinbeck took the expression “grapes of wrath” from the famous Civil War anthem The Battle Hymn of the Republic. Find the words to the anthem and explain why you think he used this strong image as the title for his work.

Section V: HISTORY SECTION 1 The Great Depression of the late 1920’s and 1930’s affected the entire country, indeed parts of the world beyond the United States. It was particularly felt in the Southern Great Plains (parts of Kansas, Colorado, 35

New Mexico, Oklahoma, and Texas). How did the Depression impact this area and add to the misery of those living there?

2 In 1935 an Associated Press writer names the region of the Southern Great Plains the “Dust Bowl.” What happened during the 30s in this area to create the Dust Bowl? Who or what was to blame—or was it a combination of factors? Have you or your family or someone you know had similar experiences with natural disasters? What effect did it have on your family or community?

3 Agriculture began to change, both in Oklahoma and California, from small farmers to mechanized agriculture. Explain how this change affected thousands of people like the Joads. What role did the banks play in this tragedy?

4 Route 66 is a highway that has had a colorful, yet sad, history during this era of the migration of people from places like Oklahoma to California. Find out what you can about the highway’s history, including its use in song, television, movies, etc.

5 Migrant workers still toil in the fields of California and other states today. How similar are their experiences to those of the Joads? Who do you think are the Joads of today? Explain.

6 Why do the residents of California call the migrants “Okies”? What do the users of the term mean by it?

Were these attitudes fair? Why or why not? What is the reaction of the Joads when they are called “Okies” for the first time? Are other names used today in a similar way? What do you think about the use of such names?

7 Why were some of the roadside camps called “Hoovervilles”? Describe the conditions of the camps and how these conditions made the Joads and other families feel. How were they treated by the authorities in the camps? How did other people in the camp help each other?

8 The federal government during this terrible time had some programs like the Weedpatch Camp to try to help these poor farmers. Describe the conditions of Weedpatch and its organizational structure. How was it different from the Hoovervilles and the Hooper Ranch and how do the people respond to the way they are treated in Weedpatch? What do these differences suggest to you about the effect of democracy and selfgovernment on people?

9 Handbills play a big role in luring the migrant workers to California. What do they promise? What does Floyd Knowles tell the Joads and others about the reality of the handbills? How does this add to their misery?

10 Why do the deputy sheriffs and other authorities call someone who questions them about the handbills or tries to organize the workers a “red” or a “red agitator”? What does the term mean? Has it been used at other times in American History? Explain.

11 When Tom sees Jim Casey near the end of the story, Casey has become a strike organizer. What does it mean to strike? Why does Casey believe that striking is the only way for the migrants to survive? What happens to him as a result of his efforts?

John Steinbeck’s Of Mice and Men Questions for Chapter 1 1.

2.

3.

4.

Why can’t Lennie keep the mouse? 9 What happened in Weed? 11 Who does George say are the loneliest people in the world? 13 What does George say is the difference between the two of them and most of the men who work the ranches?14 5. Compare and contrast the two protagonists.

Questions for Chapter 2 1. What excuse does George give for Lennie's disability?22 2. Why does George tell Lennie to hide by the river in case he gets into trouble?30 3. What two characters does George tell Lennie to stay away from?32 36

4. Who is Slim, and what does he do on the ranch?33 5. What does Carlson suggest Slim do for Candy? 36 Study questions for Chapter 3 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

What does George say made him stop being mean to Lennie?

What does Slim say doesn’t take much sense?

According to George and Slim, what happens to guys who go around ranches alone?

Does slim ever promise George that he won’t reveal what happened in Weed?

Why does George tell Slim anyway?

To what does Slim compare Lennie?

To what is Slim’s opinion compared?

Explain what happens to Candy's dog and why What do Whit and George talk about, and what does George decide to do?

What offer does Candy put to George and Lennie?

Who does Candy say should have taken care of the old dog?

What is Curley upset about?

Who does Curly get in a fight with and why does Curly choose that person?

What kind of deal does Slim make with Curly?

Study questions for Chapter 4 1. Who is Crooks?

2. Why could Crooks leave his things about?

3. Why isn’t Crooks wanted in the bunkhouse?

4. How does Crooks tease Lennie?

5. What does Crooks say will happen if a guy gets too lonely?

6. On page 75, we are told that it is difficult for Crooks to conceal his pleasure with anger. Why is Crooks happy?

7. What does Curley’s wife say the men on the ranch are scared of?

8. How does Candy say Curley hurt his hand?

9. After telling Curley’s wife about the house, the chickens, the trees, and the prettier place, what else does Candy tell her that they have?

10. How does Curley’s wife threaten Crooks?

Study questions for Chapter 5 1.

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13.

What has happened to Lennie’s puppy?

Why is Lennie afraid for George to find out about the puppy?

What does Curley’s wife admit about what she thinks of Curley?

When Lennie say, “I done a bad thing,” what is Lennie talking about?

Who is the first person to find Curley’s wife?

What does George think will happen to Lennie at first?

What punishment does Candy say Curley’s will want for Lennie?

What is Candy’s “greatest fear”?

What does George say he’ll do with his $50?

Why is Candy angry at Curley’s wife?

Why do you think Curley’s wife never receives a name?

What does Carlson find missing?

Why does Curley insist on having George travel with the men to search for Lennie?

Study questions for Chapter Six: 1. What is the significance of the way Lennie is sitting around page 100?

2. Lennie imagines that Aunt Clara is there, wearing glasses and an apron. She is not happy with his behavior. Why does Lennie think of her, and how does he react to what she says?

3. Then, Lennie imagines a huge rabbit sitting in front of him. What does Lennie think of it, and how do the rabbit’s words compare to Aunt Clara’s?

4. Why does George recite their dream to Lennie on pages around 105-106?

5. Why does George make the final decision about Lennie that he does? Explain their last moments together.

6. Why does George lie about Lennie having the gun?

37

7. What is the tone of Carlson’s comment that ends the chapter: “Now what the hell ya suppose is eatin’ them two guys?”

8. Which chapters occurred at which times: Thursday Evening: Friday Morning: Friday Night: Saturday Night: Sunday: Aldous Huxley Brave New World • • • • • • •

•

• •

•

•

• •

•

• •

•

How are our minds manipulated by outside sources such as the media, government and peers? Is this always "bad" for us?

What are the ethical issues surrounding human cloning? Are there any scenarios where it could be justified?

What steps should a government take to keep order among its people? Where does one draw the line between protection and personal freedom?

Why is it important to conform? Why is it important to be different?

What is psychological conditioning?

What function does a caste system serve?

Few of Huxley’s predictions have proven to be perfectly accurate, yet many aspects of the Utopia of Brave New World feel uncomfortably like our world. Talk about the book as a prophetic vision of the future. Which aspects of the book did you find most disturbing? Which hit closest to home? Which seem the most far-fetched?

When Brave New World was first published in 1932, the world was plunged into depression, fascism was on the rise in Western Europe, and Marxism appealed to increasing numbers of intellectuals in Europe and America. Place the book in the context of its historical moment. Which parts transcend its time and place?

The two greatest obscenities in the society of Brave New World are birth and mother. Why? Toward the end of the book, the Controller Mustapha Mond sums up the benefits of living in the “brave new world” Utopia: “The world’s stable now. People are happy; they get what they want, and they never want what they can’t get.” It sounds like perfection, and yet the world Mond describes is deeply, intentionally horrifying. Why? What exactly is so bad about this society of the future? Is there anything good about it, anything we could learn from and try to adapt to our own uses?

As dehumanizing and oppressive as the brave new world Utopia is, the alternative in the “savage reserve” is in many ways worse—dirty, violent, unhealthy, cruel, uncomfortable. What point is Huxley making about human nature and the nature of human communities? Is his vision totally negative—or does the book hold out some shred of hope, some alternative mode that fosters both freedom and community?

One of the most striking—and comic—aspects of Huxley’s Utopia is the way our sexual mores and assumptions have been turned on their head: monogamy is bad, passion is deviation, casual, meaningless sex is the socially approved norm. What is Huxley getting at here? Is there any expression of human sexuality that he finds acceptable? Is sex at the heart of the “problem” in his view of human nature?

Talk about the morality of the book. Is it a Christian morality? Socialist? Anarchist?

In many ways, the main characters of the book are cartoon figures—Helmholtz Watson the alienated superman, Bernard Marx the cowardly, hypocritical intellectual, Mustapha Mond the cynical allknowing leader, John the doomed idealist. Discuss the book as an allegory and elaborate on what each character stands for.

When John starts reading Shakespeare, he discovers that the words make his emotions “more real”— they even make other people more real. Talk about the power of language in the book, the power of the word to influence thought and behavior. Why did Huxley choose Shakespeare as the medium of John’s intellectual awakening?

Could anything like Brave New World really happen? Has it happened in some form that we don’t fully recognize?

Few of Huxley’s predictions have proven to be perfectly accurate, yet many aspects of the Utopia of Brave New World feel uncomfortably like our world. Talk about the book as a prophetic vision of the future. Which aspects of the book did you find most disturbing? Which hit closest to home? Which seem the most far-fetched?

When Brave New World was first published in 1932, the world was plunged into depression, fascism was on the rise in Western Europe, and Marxism appealed to increasing numbers of intellectuals in 38

• •

•

•

• •

•

• • • • • • •

Europe and America. Place the book in the context of its historical moment. Which parts transcend its time and place?

The two greatest obscenities in the society of Brave New World are birth and mother. Why? Toward the end of the book, the Controller Mustapha Mond sums up the benefits of living in the “brave new world” Utopia: “The world’s stable now. People are happy; they get what they want, and they never want what they can’t get.” It sounds like perfection, and yet the world Mond describes is deeply, intentionally horrifying. Why? What exactly is so bad about this society of the future? Is there anything good about it, anything we could learn from and try to adapt to our own uses?

As dehumanizing and oppressive as the brave new world Utopia is, the alternative in the “savage reserve” is in many ways worse—dirty, violent, unhealthy, cruel, uncomfortable. What point is Huxley making about human nature and the nature of human communities? Is his vision totally negative—or does the book hold out some shred of hope, some alternative mode that fosters both freedom and community?

One of the most striking—and comic—aspects of Huxley’s Utopia is the way our sexual mores and assumptions have been turned on their head: monogamy is bad, passion is deviation, casual, meaningless sex is the socially approved norm. What is Huxley getting at here? Is there any expression of human sexuality that he finds acceptable? Is sex at the heart of the “problem” in his view of human nature?

Talk about the morality of the book. Is it a Christian morality? Socialist? Anarchist?

In many ways, the main characters of the book are cartoon figures—Helmholtz Watson the alienated superman, Bernard Marx the cowardly, hypocritical intellectual, Mustapha Mond the cynical allknowing leader, John the doomed idealist. Discuss the book as an allegory and elaborate on what each character stands for.

When John starts reading Shakespeare, he discovers that the words make his emotions “more real”— they even make other people more real. Talk about the power of language in the book, the power of the word to influence thought and behavior. Why did Huxley choose Shakespeare as the medium of John’s intellectual awakening?

Could anything like Brave New World really happen? Has it happened in some form that we don’t fully recognize?

"History is bunk.": The Director in chapter 3. With no God or other divine morals, the past is regarded as backward and detrimental.

Do the fine arts (art, music, theatre, etc…) allow mankind to be whole? What is the whole man; explain your answer?

Concerning soma, are there modern-day drugs that are equivalent to soma? Explain your answer.

Compare the loss of “free-will” to another literary character that has been labeled a “savage” by humanity. Be sure to elaborate both characters using key textual references.

Relating the color-system to Shoah, can any similarities be made?

Do the characters names mean anything?

Arthur Miller Death of a Salesman In what context does the expression "death of a salesman" (81) occur in the play? Who is "Dave Singleman"? What is the significance of his name? What is Willy's attitude toward him? What does he find admirable in him? What is the attraction which surrounds the figure of Singleman and his saleman profession? Is Willy's motivation for going into salesmanship related to a way of dying rather than a way of living? What is the meaning of Singleman dying while riding a train? Are these issues related to those in Max Weber? Is Willy driven by a transcendental and irrational goal similar to that of Weber's workers in a capitalist economy?

What is the significance of Willy's suicide attempts? Why and how is he trying to kill himself? What does he expect will result from his death? Will that happen?

How is selling contrasted with other kinds of work? What does Willy sell? What would Willy rather do?

What does Biff want to do? How does Willy feel about it?

What in particular seem to be Willy's most pressing needs? Are those needs only material and financial or also psychological and affective? What does Willy want? How is his last name expressive of his lacks and needs? What is the origin of his needs and desires? How does the figure of Willy's father function in the determination of his character and his desires? Are there any ironies in the "streak of self-reliance" (81) in 39

Willy's father? How does Willy expect to have his desires satisfied by the sales profession? Is he correct in his expectation of material and psychological reward in his line of work? What does he misunderstand concerning the sales profession and the business world in general? What about his perception that there used to be "respect, and comradeship, and gratitude in it" (81)? Is he right about that or is he idealizing the past? Are his perceptions related perhaps to the transition between traditional and modern capitalism pointed out by Weber?

How is Willy treated by the company he works for? What are his expectations? How is his boss, Howard Wagner, characterized? Is Howard's name significant? Who named him? How does he feel about Willy?

What is the significance of the scene where Howard is playing with a recorder while Willy is trying to talk to him? What do we learn about Howard's family life through the voices heard from the recorder? What was Willy trying to get from Howard? What does he actually get?

Willy Loman was preoccupied with being well liked. How is being liked related to having friends? How many friends did Willy have? Generally speaking, how does "business" mix with loyalty and friendship?

Recall Howard’s observation "’Cause you gotta admit, business is business" (80) and consider Willy’s speech on p. 81 about the loss of personality, respect, comradeship, and gratitude in the world of sales.

What is the difference between having a nice personality and being a good person? (What is a "personality" anyway?) Relatedly, what is the difference between having a nice lifestyle and living well? Do you see anything in common between the notions of "personality" and "lifestyle"? If so, please describe it.

What is the significance of the figure of Willy's brother Ben? What role does Ben play in the story? Is Ben dead or alive? How is he manifested in the action of the play? What were his business activities? Where was he active? What is the meaning of the imagery of the jungle, Africa, Alaska, gold, and diamond mines?

Why does Ben say that he "never kept books" (47)? What is his attitude toward the other members of the family? What story does he offer about himself? (Is this similar to the case of Bounderby?). What story does Ben tell about his and Willy's father? How is this story related to that of Dave Singleman and other figures such as J. P. Morgan and B. F. Goodrich? What is the meaning of the mock fight between Ben and Biff? What does it reveal? What is the lesson Ben intends to teach Biff?

What is the meaning of the flute music heard at various points throughout the play? What/who is this music associated with? Why is it significant that Willy's father was supposedly a flute maker and salesman?

What is the significance of the name of the restaurant, "Frank's Chop House," where Willy, Biff, and Happy meet? Is it important that Willy's old boss (Howard's father) was also named Frank? What promises did Frank make to Willy? Is all of this somehow related to Charley's description of the famous American financier J. P. Morgan as looking like a "butcher" (97)? What businesses and companies is the name of J. P. Morgan associated with in American economic history? What is the overall significance of the meat, chopping, and butchering imagery and its relations to business and businessmen?

Is Willy Loman a tragic figure or is he pathetic? Charley repeatedly tells Willy to "grow up." What is he getting at, and is he right to think that Willy never did "grow up"? Is Linda a loving wife or a self-deceiving "enabler" of family pathologies? Is she aware of Willy’s infidelity? Why does Miller conceive of Happy as an even more desperate character than Biff? Is his name ironic?

Who are Miss Forsythe and Miss Letta? How does Happy meet them? What is the meaning of his conversations with them? Why does he say Miss Forsythe is a "cover girl"? What does he quickly uncover about her? How does he do it? What is the meaning of Happy's relationship with these and other women?

Is this similar to Willy's relationship to Miss Francis? Why does Willy give her stockings? Why are the scenes at the restaurant (with Miss Letta and Miss Forsythe) and the hotel (with Miss Francis) juxtaposed?

Why is Willy left behind at the restaurant? Why does Willy have a sudden urge to plant seeds after that incident?

What happens to Biff during his visit to Bill Oliver? Why did he steal the gold fountain pen? What discovery does he make as he runs downstairs in the office building?

The Lomans were not only habitually dishonest; they were dishonest with themselves about their dishonesty. How do you suppose they got into such a habit? How is selling related to honesty? Are there relations between these situations and, for example, the case of young Tom Gradgrind? What leads characters like Tom and Biff to become thieves? Why does Willy habitually lie about his business deals and

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other matters? What happens eventually to his understanding of his own lies? How is this related to Willy's increasing loss of touch with reality throughout the action of the play?

How is Willy's infidelity to his wife related to the other issues in the play? Was that infidelity to blame for Biff’s aimlessness?

What is the nature of the relations between business and sports? What is Willy's attitude toward sports?

What is the significance of the Ebbets Field game and subsequent events? What about the conversation which Willy has with Charley before the game? What does Charley think of sports? Is it significant that Charley succeeds and Willy fails in business? What is Charley's explanation of his own success? How about Charley's son, Bernard? What role does he play? What is his profession? Is he successful? Why? How is his story significant or revealing in reference to the concerns of the play?

What happened in Boston after the Ebbets Field game? Why did Biff give up his ambitions after those events?

What is the significance and role of the farm and farming imagery? How does it relate to business and urban life? What does Willy miss about the old days? What has changed?

What do you make of the many references to how the Loman house has been closed in by other buildings and, generally, to the contrasts between life out in the open and city life that come up frequently in the play?

How do "planned obsolescence," insurance, and "buying on time" (credit) figure into the play? What are Willy's attitudes toward the products (cars, refrigerator, home, etc.) that he buys and uses?

How is the figure of Ben related to Willy's consideration of suicide and of a life insurance payoff after his death? Is the conversation between Ben and Willy on that issue something that actually took place? How are Willy's various dreams, memories, and illusions brought together in this scenes? Why does Ben refer to a boat that is about to depart? What is Miller alluding to? What are the implications?

What commentary on modern commerce do you think that Arthur Miller means to make with his play?

What is the "business world" like? (Consider what Biff and Happy have to say on pp. 22-25). Ultimately, what forces entrapWilly and drive him to self-destruction? Where are those forces to be located? How can they be identified?

What is the meaning of Happy's comments at Willy's funeral? How about Linda's final words, "We're free ... We're free ..." Why is the flute music the last sound to be heard?

Oscar Wilde’s Our Town In what ways is your hometown like Grover's Corners? In what ways is your town different?

If you were to make a movie based on Our Town, would you include elaborate sets or retain the spare sets, with few props? Explain your answer.

The stage manager speaks directly to the audience. How effective is this approach?

At the end of the play, Emily says, “Oh, earth, you're too wonderful for anybody to realize you. Do any human beings ever realize life while they live it?” Which are among the "wonderful" things about earth and life that you fail to notice?

The stage manager says young Joe Crowell graduated at the top of his class at the Massachusetts Institute of Technology. Yet Crowell never got a chance to put his education to use, for he died in combat during World War I. In commenting on Crowell's death, the stage manager says, "All that education for nothin’." Was his education, in fact, for nothing? Is the stage manager's comment intended to be an antiwar statement? As best you can from details provided in the play, describe Joe Crowell.

The stage manager thinks it would be a good idea to place a time capsule in the new bank under construction. In the capsule, he would place a copy of The Sentinel, The New York Times, the U.S. Constitution, the Bible, Shakespeare’s works, and the text of the play he is participating in, Our Town. What is the significance of these items in terms of what they tell you about Grover's Corners?

What does Mrs. Soames mean when she says, "My, wasn’t life awful–and wonderful"?

Explain the ways in which the play violates traditional theatrical conventions?

Describe the Stage Manager and how Wilder uses him in the play. Why does he become a unifying element?

Compare and contrast Editor Webb and Doc Gibbs. What purposes do they serve in the play?

Compare and contrast Mrs. Webb and Mrs. Gibbs. What purposes do they serve in the play?

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Compare and contrast the milkman (Howie Newsome) and the paperboy (Joe Crowell.) What purposes do they serve in the play?

Who is the main character of the play and why is she/he considered the main character?

Describe how Emily and George become a couple.

What affect does the absence of scenery and props have on the play?

What is the main theme of the play and how is it developed?

Wilder uses flashbacks and flashforwards in the play. List at least two of each and explain if you think they are effective in the play.

How does Wilder give the play universal appeal?

Why does the play end as a tragedy?

Evgenii Zamyatin’s We Zamyatin is a particularly effective practitioner of Modernist color symbolism: keep an eye out for examples here (...such as colors that associate I-330 with a bee: why would that be a suitable association?).

Although dominant ideology in the US tends to stress the value of individual taste and choice, we still have schools of thought, local communities or veins of criticism that point out or avoid the down sides of too much individuality, too little community and connection. What is GOOD about the utopia Zamyatin describes? As D-503 describes his activities in the first entries, are you convinced by his cheerfulness?

How does this book work as a "diary" or journal? What does it suggest about the influence of a choice to write and the process of writing on the writer -- especially one such as D-503, who belongs to the technical elite, and who may never have written this long a connected text before?

How do you respond to this book as a reader; how does it leave you feeling or directed -- and how might it have influenced Zamyatin's contemporaries (fellow-leftists; reactionaries; vulgar Marxist critics)?

What do you need to know about the culture of the two decades before the Russian Revolution in order to understand the temptations our hero faces? Where do you feel the lures of the past have particular cultural or historical markings, and where are they the sort that any culture might have produced?

What patterns or play do you find in the letters that accompany these characters' "numbers"? Several of them are in English in the original -- "I" of course. "R" as well -- in Russian the "backwards R" is the letter "ya," which is also the word for "I", the first-person singular pronoun. So in both these cases the "speaking" name bears a hint at impermissible individualism, or at least its seeds, already present in their nature as human beings.

If you are familiar with higher mathematics, what are the associations of the Integral and other references?

What is the effect of the ending?

Primo Levi’s Survival in Auschwitz 1. What was Levi's background and how did he come to arrive in Auschwitz?

2. How were the Jews "processed" at Auschwitz?

3. What were the living conditions like in the camp?

4. What is the hierarchy of the camp?

What other types of people are at this camp besides Jews?

What do the identification numbers tell the inmates?

5. How does Levi depict the other Jews in the story, especially those who are prominent in the camp system?

6. How do the drowned differ from the saved in Levi's assessment?

7. How does Levi describe the Germans? With what types of Germans does he come into contact?

8. What morals and ethics reigned in the camp conditions?

9. Who were Levi's friends and what were his relationships with them like?

10. What role does Levi ascribe to divine providence in his understanding of what happened at Auschwitz? (see especially pp.130, 158) 11. How do the various members of the Buna community receive the news of the advance of the Soviet army?

12. How does Levi survive the ordeal? What is your impression of Levi as a person after reading this book?

Does Levi want you to like him? Does he like himself?

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Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde CHAPTER 1 STORY OF THE DOOR 1. What is Mr. Utterson’s relationship to Mr. Enfield? How are the two men alike, different?

2. Compare and contrast the description of the building and door used by Mr. Hyde and Enfield’s description of him (4344). How does Stevenson seem to be using setting to convey a sense of the man?

3. What is the story of Cain and Abel? What does it mean that Mr. Utterson says he inclines to Cain’s heresy in his dealings with others? Explain why you agree or disagree with this way of dealing with your acquaintances. Do you feel you would want to ignore or confront them with their failings or foolishness so they would improve their lives?

4. Although both Utterson and Enfield protest that they prefer to mind their own business, both men actively seek to help others. Describe Enfield’s reaction to Hyde’s collision with the little girl. Do you think a citizen today would respond similarly to a wrong doer? Why or why not? What does this say about basic assumptions of how a gentleman should act in Victorian London?

CHAPTER 2 SEARCH FOR MR. HYDE 1. Describe the reason that Dr. Lanyon became estranged from Dr. Jekyll. What does this indicate about Lanyon’s character?

2. Why is Utterson so obsessed with images from Enfield’s story about Hyde that he cannot sleep?

3. Once Utterson confronts Hyde, how does he feel toward him? What reasons does Utterson give for his feelings about Hyde? In Utterson’s response to Hyde, what does Stevenson tell us about Hyde?

4. Why doesn’t Stevenson ever tell us what Hyde’s face looks like?

5. Describe the appearance of the street and house in which Dr. Jekyll lives. What can we infer about Dr. Jekyll from this setting?

6. Utterson’s speculation on Jekyll’s connection to Hyde makes him reflect on his own vices and failings. What could Stevenson be implying about human nature in Utterson’s reflection?

CHAPTER 3 DR. JEKYLL WAS QUITE AT EASE 1. How does Jekyll describe Lanyon? What does this suggest about Jekyll’s feelings about his own abilities?

2. What does Jekyll ask of Utterson at the end of the chapter? Why does Utterson have strong misgivings about this request?

CHAPTER 4 THE CAREW MURDER CASE 1. What is revealed about the levels of Victorian society in the first page of this chapter?

2. How is Hyde described as he kills Sir Danvers Carew? How does this image fit with the other physical descriptions Stevenson has given of Hyde? 3. As Utterson takes the police officer to arrest Hyde, Stevenson gives a vivid description of “the dismal quarter of Soho” (62) where Hyde lives. What is the effect of this description on our mood? What is the effect of this description on our understanding of Hyde?

4. Why do you think that Utterson feels “a terror of the law and the law’s officers”? (62) 5. Is there any significance in the fact that although Hyde’s specific facial features cannot be recognized, everyone remembers the sense of deformity he conveyed?

CHAPTER 5 INCIDENT OF THE LETTER 1. Dr. Jekyll is a changed man when Utterson greets him in this chapter compared to the last time Utterson saw him. What accounts for this change?

2. What lesson do you think Jekyll has learned?

CHAPTER 6 REMARKABLE INCIDENT OF DR. LANYON What happens to Dr. Lanyon? Is there any suggestion about what has caused his illness?

CHAPTER 7 INCIDENT AT THE WINDOW Why does Utterson mutter “God forgive us” after the incident at the window?

CHAPTER 8 THE LAST NIGHT 1. Why does Poole believe that his master has been murdered?

2. What is the evidence that a troubled person had lived in the room where Hyde was found dead?

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CHAPTER 9 DR. LANYON’S NARRATIVE 1. What caused Lanyon to become mortally ill? How do we know that Lanyon was so vulnerable to shock?

Has Stevenson sufficiently prepared us for the disastrous effect of Jekyll’s revelations? Why did Stevenson need to kill Lanyon off for purposes of plot?

2. Why did Jekyll want to reveal his transformation to Dr. Lanyon?

CHAPTER 10 HENRY JEKYLL’S FULL STATEMENT OF THE CASE 1. What led to Dr. Jekyll’s “profound duplicity of life”? (103) 2. What does Jekyll mean when he says that man is “truly two” (104) and that “in the agonized womb of consciousness, these polar twins should be continuously struggling? (105) 3. Why did Jekyll enjoy being Hyde? In other words, what aspects of Hyde’s persona were attractive to Jekyll?

4. Was Jekyll ever able not to feel guilty for the sins of Hyde? Why or why not?

5. Jekyll describes his descent from the undignified to the monstrous. What caused this descent?

6. What are the main reasons that Jekyll tries to cast off his Hyde nature forever?

7. Why does Jekyll’s lower nature come to dominate him?

8. Why does Hyde commit suicide?

9. What morals or lessons can we draw from the strange case of Dr. Jekyll and Mr. Hyde?

William Golding’s Lord of the Flies If Jack had been elected leader and Ralph appointed hunter, would the story have ended differently?

Was Ralph wise to appoint Jack the chief hunter?

Why does Jack hesitate at his first opportunity to kill a pig?

Why does Jack pick on Piggy?

What devices does author Golding use to build suspense?

Jack and his hunters become less civilized after killing a pig. What activities in everyday life seem to make people less civilized? For example, do video games or movies depicting violence make people more prone to committing violent acts? Does participation in certain sports? Does possession of guns or other weapons?

Which character in the story do you most admire and why?

Write an essay telling what you believe happens after the boys leave the island with the naval officer.

Chapter 1 1. Why does the author pay such close attention to each minuscule detail?

2. How do the character descriptions assist the overall effect of the book?

3. How does the island initially look to the boys?

4. How does the conversation between Ralph and Piggy show their personalities?

5. What is the significance of having selected a chief for the group?

6. Why are some of the boys fully clothed, while others aren't?

Chapter 2 1. How are the boys' age and experience evident in the way they handle being on an island?

2. Why are the boys brutally mean to Piggy?

3. How does the island look later in the afternoon?

4. What does the disappearance of the small boy do for the plot?

Chapter 3 1. By reading the first few chapters, how do Jack's actions display what type of person he is?

2. What parallels are there between the way the boys act towards each other and the way the boys act towards their chores?

3. How does chapter three change the perception of the island?

4. Why weren't they allowed to talk about snakes? (pg. 52) Chapter 4 1. What are the differences between how the littluns and the biguns act when they're on the island?

2. What does the "unfriendly side of the mountain" mean?

3. Why are they more concerned about the killing of the pig than missing than ship?

Chapter 5 1. When does Ralph acknowledge that their group is falling apart and why? (page 82) 2. On page 84 and 85, a littlun named Phil tells about his encounter with the beast. From this story, how can you tell what the beast is?

3. What does Ralph's speech reveal about his character on page 79-82?

4. How does the setting of the meeting about the beast affect the results of the meeting?

5. Why does Ralph say that he wants to give up his chief status?

6. On page 94, Ralph and Piggy discuss how adults would function in this situation. What does this conversation reveal about society and human nature?

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7. What is happening in the last paragraph of Chapter 5?

Chapter 6 1. What prompted Ralph to take the lead in exploration rather than allowing Jack to do it?

2. Why was Jack so determined to have a fort on the rock island?

3. How does the "sighting" of the beast by both Sam and Eric affect the plot?

4. How does the personification of the darkness symbolize what is happening to the boys?

Chapter 7 1. How do the first four paragraphs of chapter seven go along with the general theme of Lord of the Flies? (page 109) 2. What in chapter seven shows the utter evilness that is beginning to envelope the boys? (page 114-115) 3. What does Ralph begin to realize in his confrontation with Jack? (page 118) 4. On page 123, does Ralph become nauseated because of the beast or the absence of the fire?

5. What does Ralph's daydream (on page 112) communicate about his feelings and character?

6. Does Robert's near-death experience foreshadow anything? How does it relate to humanity?

Chapter 8 1. What does the support of Ralph's authority show about the boys? (page 127) 2. What does Jack's separation from Ralph instigate? (page 127) 3. Why didn't the boys think about moving the fire before? (page 129) 4. What was the effect of the hunt for the sow? (pages 134-136) 5. Why do the boys "act out" the pig killings?

6. What is the Lord of the Flies?

Chapter 9 1. What does the phrase "the beast is harmless and horrible" mean?

2. Why do Ralph and Piggy go to Jack's feast?

3. Did the boys realize that it was Simon when they killed him?

Chapter 10 1. What's the difference between Ralph and Jack's interpretation of Simon's death?

2. What does the lack of fire do to Jack's group?

3. Why was Piggy so insistent on retrieving his glasses?

Chapter 11 1. Why does Ralph think that "dressing like they were" would assist them in dealing with Jack?

2. How does the contrast of the paint and smoke on page 173 symbolize the two forces that are motivating the boys?

3. How does Golding subtly begin to portray Jack's group as heathen?

4. Why were the boys so scared of the war paint?

Chapter 12 1. Why did Ralph feel that Jack would never leave him alone?

2. Why don't the adults seem more shocked at the death of two of the children?

3. Why did Jack let Ralph assume the role as leader when asked who was in charge?

4. If the adults had not arrived would the tribe have killed Ralph?

5. Why was the stick sharpened at both ends?

Harper Lee’s To Kill a Mockingbird

To Kill a Mockingbird Chapters 1-2 Vocabulary • • • • • • •

Apothecary Assuaged Dictum Entailment Live Oaks Taciturn Talcum

Quiz on Chapters 1-2 1.

2.

3.

4.

Identify Finch's Landing.

What had happened to the Atticus' first two clients?

In what town and state does Atticus practice law?

Who are Alexandra and Jack to Scout?

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5. What were the summertime boundaries when Scout was six and Jem was ten?

6. Is Dill older or younger than Jem? 7. Which is not true about Dill? (a) he had snow white hair, (b) he was taller than Scout, (c) he had a cowlick in the center of his forehead, (d) he was staying with his aunt Rachel, (e) he could read.

8. Who comes up with the idea of making Boo come out?

9. What is not one of the things unusual about the Radley house? (a) the doors were closed on Sunday, (b) the 10.

11.

12.

13.

14.

15.

16.

17.

people were afraid of walking by it, (c) the people kept to themselves, (d) once a fire burned the back part of the house, (e) all were true.

What had Boo done which got him intro trouble with the law and would have sent him to a state industrial school?

What had happened which caused Mrs. Radley to run screaming into the street?

Who was Calpurnia referring to when she said, "There goes the meanest man ever God blew breath into…"?

Identify Miss Caroline Fisher.

What is the Dewey Decimal System according to Jem? How does Miss Caroline insult Walter Cunningham?

How do the Cunninghams pay their debts?

What does Miss Blount threaten to do to class if they don't get quiet?

Examples of Scout's sense of humor: • • • • •

Atticus' first two clients were the last two people hanged in Alabama.

"Because of Simon Finch's industry, Atticus was related by blood or marriage to nearly every family in the town."

Scout's teacher "hauled me up the front of the room and patted the palm of my hand with a ruler, then made me stand in the corner until noon."

The teacher shows the class the alphabet and asks if anyone knows what they are… "Everybody did; most of the first grade had failed it last year."

"I mumbled that I was sorry and retired meditating upon my crime [being able to read].I never debilerately learned to read, but somehow I had been wallowing illicitly in the daily paper."

Descriptions •

Maycomb was an old town, but it was a tired old town when I first knew it. In rainy weather the streets turned to red slop; grass grew on the sidewalks, the courthouse sagged in the square. Somehow, it was hotter then; a black dog suffered on a summer's day; bony mules hitched to Hoover carts flicked flies in the sweltering shade of the live oaks on the square. Men's stiff collars wilted by nine in the morning. Ladies bathed before noon, after their threeo'clock naps, and by nightfall were like soft teacakes with frostings of sweat and sweet talcum.

•

Maycomb County had recently been told that it had nothing to fear but fear itself.

•

The Radley Place jutted into a sharp curve beyond our house. Walking south, one faced its porch; the sidewalk turned and ran beside the lot. The house was low, was once white with a deep front porch and green shutters, but had long ago darkened to the color of the slate-gray yard around it. Rain-rotted shingles drooped over the eaves of the veranda; oak trees kept the sun away. The remains of a picket drunkenly guarded the front yard-a "swept" yard that was never swept-where Johnson grass and rabbit-tobacco grew in abundance.

Consider later • • •

Atticus says, "there were other ways of making people into ghosts."

"Our first raid came to pass only because Dill bet Jem The Gray Ghost against two Tom Swifts that Jem wouldn't get any farther than the Radley gate."

Note how the ideas of tolerance and understanding of others are conveyed by the children's views of Boo and Scout's views of Miss Caroline (i.e. her sympathy for her as she leaves).

Chapters 3-4 Vocabulary • • • • • • • • •

Contentious Condescension Diminutive Fractious Amiable Auspicious Wrought Tyranny Scuppernong

Quiz on Chapters 3-4 1. Who invites Walter Cunningham home for lunch?

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2. What does Walter do during lunch which causes Scout to ask, "What the sam hill is he doing"?

3. What lesson does Calpurnia try to teach Scout about Walter?

4. Why does Miss Caroline scream and point a finger at Burris Ewell?

5. What strategy does the Ewell family have regarding the children's education?

6. How does Cal show she cares for Scout and Jem? 7. Why, according to Atticus, do people allow Bob Ewell to hunt out of season?

8. What compromise does Atticus make with Scout regarding school?

9. On her way home from school, what does Scout first find in the live oak tree knothole?

10. What do Scout and Jem find together in the tree?

11. Where does Scout end up when Jem rolls her in the tire?

12. What new game do the children play?

13. What finally stops them from playing the game?

14. What was the reason Scout wanted to quit the game which she says occurred the day she rolled in the tire?

Lessons that Scout learns • •

See Calpurnia's comments regarding the Walter Cunningham incident.

Atticus: "You never really understand a person until you consider things from his point of view-- until you climb into his skin and walk around in it." How does Scout show an understanding of this regarding Miss Caroline?

Chapters 5-6 Vocabulary •

Quelled

Quiz on Chapters 5-6 1. What does Scout do with Miss Maudie at summer twilight?

2. What does Maudie like to do instead of being in her house?

3. How does Uncle Jack tease Miss Maudie?

4. What term does Miss Maudie use for Mr. Radley: "he was a __ Baptist."

5. What quality best describes Miss Stephanie? (a) caring, (b) gossipy, (c) religious, (d) hard, (e) soft 6. What do Dill and Jem plan to do with a fishing pole?

7. Why does Dill ring a bell?

8. What does Mr. Avery do which Jem and Dill try to imitate, but Scout decides she can't do?

9. What do the boys plan on doing the last night Dill is in town?

10. What happens to Jem's pants?

11. What lie does Dill tell about how Jem lost his pants?

12. Is Jem able to get his pants?

Characterization •

What kind of person is Miss Maudie? How she contrast with some of the other characters in the book?

Chapters 7-8 Vocabulary •

Pilgrimage

Quiz on Chapters 7-8 1. According to Scout, what was the only good thing about second grade?

2. What secret does Jem share regarding his pants?

3. Which of the following is NOT one of things found in the knothole of the live oak? (a) a medal, (b) twine, (c) soap 4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

figures, (d) a pack of gum, (e) all of the above are found What two things consistute the children's "biggest prize"?

What subject does Jem particularly like studying when he reaches sixth grade?

What stops the gifts in the knothole?

Who does Mr. Avery blame for the change in the weather?

What unusual thing happens which causes school to be cancelled?

Who is the snowman first made to look like?

Why does Atticus send the children in front of the Radley house to watch the fire?

What does Mr. Avery do which redeems him as a character?

What makes Atticus think the children didn't "stay put"?

What disappointment does Scout have regarding Boo?

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14. Why does Jem suddenly reveal all that has happened to them?

15. Why isn't Miss Maudie upset about the fire?

Characterization •

What kind of person is Mr. Avery? Is he someone you would like to have dinner with? Why or why not?

Chapters 9-10 Vocabulary • • • •

Changelings Trousseau Provocation Jubilant

Quiz on Chapters 9-10 1. Why does Scout fight with Cecil Jacobs?

2. What reason does Atticus give for not using the word, "nigger"?

3. From what he tells Scout, does Atticus believe he will win the case he is trying?

4. Whose arrival was one of the good things about Christmas?

5. What is Atticus' brother's occupation?

6. T/F Atticus disapproves of the children getting air rifles for Christmas.

7. What relation is Francis to Aunt Alexandra?

8. How does Uncle Jack protect Scout?

9. Why does Atticus not tell Scout to go to bed earlier when he is talking with Jack?

10. What complaint does Scout have regarding Atticus?

11. Why, according to Miss Maudie, does Atticus believe it's a sin to kill a mockingbird?

12. What target does Scout want to shoot at?

13. Identify Tim Johnson.

14. Why is the incident with the dog unusual for February?

15. What does Atticus do which flabbergasts the kids?

16. What was Atticus' nickname at the Landing?

Characterization •

Compare and contrast the characters Atticus and Jack.

Chapters 11-12 Vocabulary • • • • • •

Umbrage Rectitude Interdict Camellia

Propensities Ecclesiastical

Quiz on Chapters 11-12 1. What does Jem use to destroy Mrs. Dubose's flowers?

2. What does Jem have to do as result?

3. What do the children listen for that means they are free to go?

4. What are Mrs. Dubose's fits?

5. What does Mrs. Dubose say that Jem should have done to get rid of her flowers?

6. Why does Atticus say Mrs. Dubose was a courageous woman?

7. What does Mrs. Dubose leave Jem and what is his reaction to it?

8. Why is Calpurnia babysitting the kids?

9. Identify Lula.

10. Identify Zeebo.

11. Why are the blacks "lin'" their hymns?

12. How much money is Rev. Sykes attempting to raise?

13. Who is the money for?

14. What does Rev. Sykes do to assure he has the amount he wants?

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15. Why do the children feel Calpurnia leads a double life?

Characterization • •

Both Mrs. Dubose and Calpurnia teach the children by their actions. Make a list of things we learn from each.

Why might Harper Lee have picked chapter 11 as the end of the first part of the book?

Chapters 13-14 Quiz on Chapters 13-14 1. Why does Scout feel it wouldn't make much of a difference if Uncle Jimmy had come with Aunt Alexandra?

2. What best describes Aunt Alexandra's figure? (a) diminutive, (b) formidable, (c) wispy, (d) Maycomb, (e) none of the above

3. What is not true about Aunt Alexandra? (a) she joined many groups, (b) she is concerned with her heritage, (c) she 4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

gossips, (d) she admires Calpurnia, (e) she feels Atticus is too easy on the children Fill in the correct word for this idea from Aunt Alexandra: "Everybody in Maycomb, it seemed had a __: a Drinking ___, a Gambling ___, a Mean ___, a Funny ___" In the discussion of the history of Maycomb, who was responsible for the formation of the town: (a) Abner (b) Maycomb, (c) Sinkfield, (d) Cunningham, (e) Ewell What had Cousin Joshua done?

What does Atticus come to talk with the children about that Scout feels he really doesn't want to talk about?

What story about Calpurnia does Scout tell which creates an arguement between Atticus and Alexandra?

Why do Scout and Jem fight?

What do they think is under Scout's bed?

What is under her bed?

How does Jem "break the remaining code of childhood"?

How does Atticus show he has sympathy for Dill?

Why does Dill say he ran away?

Where does Dill think he and Scout can get a baby?

Where does Scout think they can get a baby?

Characterization • •

Compare and contract Atticus and his sister Alexandra.

What qualities of Dill's would serve him well as a writer?

Chapters 15-16 Quiz on Chapters 15-16 1. Why do the men with Heck Tate come to see Atticus?

2. What was Atticus's "dangerous question"?

3. What happened when the Ku Klux Klan tried to intimidate Sam Levy?

4. Why is Jem afraid?

5. Where does Atticus sit at church?

6. Why does Atticus take the long extention cord with him?

7. Why does Scout kick someone?

8. What does Mr. Underwood show?

9. According to Atticus, how had Scout gotten Mr. Cunningham to "walk around in my shoes"?

10. Why do some people get upset with Miss Maudie's yard?

11. How do people treat the trial?

12. According to Jem, how does one judge being "colored"?

13. Identify Dolphus Raymond.

14. Who takes the children "under his wing"?

15. Where do the children sit (be specific).

Themes •

• •

One of the themes running throughout the book has to do with the world of children opposing the world of the adult. How do we see the two clash (particularly from a sense of understanding or not understanding what is going on).

What attitudes toward "colored" people are shown in the chapters?

Author Lee exhibits a real concern for the life of even the minor characters in the story. Who are some of the characters that stand out in these chapters?

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Chapters 17-18 Quiz on Chapters 17-18 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

Identify Mr. Gilmer.

What do we learn from both Mr. Tate and Mr. Ewell about how Mayella had to have been struck?

Who lives by the dump and where does Tom live?

What was the surprising feature in the Ewells yard? (a) a refrigerator, (b) a bathtub, (c) a dentist chair, (d) flowers in slop jars.

What question is asked by Atticus that shows both Mr. Tate and Mr. Ewell had no real concern about Mayella's condition?

What does Atticus prove by having Mr. Ewell write his name on the envelope?

Does the judge feel sorry for Mr. Ewell?

Did Mayella look like she had tried to keep herself clean?

Who does Mayella say she's afraid of?

Does the judge seem to feel sorry for Mayella?

How does the chiffarobe figure into Mayella's story?

What contradiction to the story Mr. Ewell told is revealed in the following quote from Mayella? "…next thing I knew Papa was in the room a'standin' over me hollerin' who done it, who done it?"

How old is Mayella?

Why does Atticus ask Mayella if Tom chocked AND hit her?

What is Mayella's response to whether her father had ever beaten her?

Where is Mayella's mother?

What does Mayella do after her last speech to the courtroom?

Chapters 19-20 Quiz on Chapters 19-20 1. How had Tom ever been in trouble with the law before?

2. Why does Scout think Mayella must have been lonely?

3. According to Tom, why were the children gone that day?

4. According to Tom, what had Mayella asked him to do?

5. Did Mayella suggest she'd ever been kissed before?

6. According to Tom, whom did Mr. Ewell direct his anger toward?

7. What, according to Atticus, is a lawyer supposed to concentrate during a witness's testimony?

8. Why is Tom's left arm important to his defense?

9. What does Tom say to Mr. Gilmer that makes the crowd angry?

10. Why is the Judge furious with Link Deas?

11. Why do Scout and Dill go outside?

12. Why does Dolphus Raymond pretend to drink?

13. Why, according to Atticus, does Mayella want Tom to be found guilty?

14. What did Atticus do in public that Scout had never seen him do?

15. What one way are all men created equal, according to Atticus?

16. Who comes to the trail at the end of the chapter?

Characterization • •

•

Readers must often "read between the lines" of literature and find what is really being implied. What important implications do you find in Tom's testimony in what really happened?

What does it add to our understanding of Bob and Mayella Ewell? What uncomfortable assumption are we to make

by Tom's reporting, "She says she never kissed a grown man before an' she might as well kiss a nigger. She says what her papa do to her don't count"?

What do you think actually happened viewing all the testimony?

Chapters 21-22 Quiz on Chapters 21-22 1.

2.

3.

4.

5.

6.

7.

8.

Who wrote the note that Calpurnia gives to Atticus?

What agreement does Atticus make with the children regarding the trial?

Why are the children surprised when they return to the courthouse?

T/F The jury is out until after 11:00 p.m.

How, according to Scout, do you know whether a jury has found the defendant guilty or not before the verdict?

How do you know the blacks think highly of Atticus at the end of the trial?

What do the blacks do for Atticus the next day?

What immediate reaction does Jem have to the verdict?

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9. Who, according to Atticus, are the only ones to cry when Maycomb does terrible things like the jury did?

10. What was Miss Rachel's reaction to the previous night?

11. What does Miss Maudie do for the children, which shows whose side she's on?

12. How, according to Miss Maudie, did Judge Taylor help Tom? 13. What occupation does Dill decide he wants to pursue?

14. What had happened to Atticus that prompts Miss Rachel to tell Dill to stay at home and say, "There's danger a'comin'"?

Characterization • • •

In the first section we saw Jem growing up. How is the trial an important awakening on Jem's part to what the world is really like?

How does Miss Maudie explain what has happened and how one's Christianity is shown?

Do you find a similarity between Maycomb's prejudice towards black and the prejudice between women? If President Richard Nixon's view of women in the 1970's was that they should not serve on his cabinet and should not be educated, what was the viewpoint of the 1930's evident in the book?

Chapters 23-24 Quiz on Chapters 23-24 1. What was the only thing Atticus said about his encounter with Mr. Ewell?

2. What is Jem's solution to the jury system?

3. What kind of person does Atticus call trash?

4. Why couldn't women be on the juries, according to Atticus?

5. Who does Aunt Alexandra talk about which causes Scout to cry?

6. What are the four kinds of people in Maycomb, according to Jem? 7. What kind of folks are there, according to Scout?

8. What causes the difference in background, according to Jem? 9. Identify the Mrunas.

10. Who is the woman who seems to lead all the discussion?

11. Identify J. Grimes Everett.

12. What news does Atticus bring?

13. How do Aunt Alexandra and Miss Maudie show courage?

14. What is Jean Louise's reaction to Aunt Alexandra at the end of the chapter?

Characterization • •

• •

Chapter 23 is important in defining Jem's new perception of the legal system and the class sytem of his world.

Note how Scout perceives the same worlds. What changes are evident in the children's views?

Look at the topic of the Missionary Circle's meeting. How is the hypocracy of the women illustrated. One of things which angered people of Monroeville the most was this chapter. What about this chapter would get such a reaction?

Scout is an accurate reporter for us, but she doesn't understand the subtext of what she is seeing. What battle is going on between Mrs. Grace Merriweather and Miss Maudie?

How does the idea of courage reimerge with both Miss Maudie and Aunt Alexandra?

Chapters 25-26 Quiz on Chapters 25-26 1. What is Scout about to do which upsets Jem? 2. What were Dill and Jem doing that allowed them to go to Tom's house with Atticus?

3. What was Helen Robinson's reaction at seeing Atticus?

4. How long was Maycomb interested in Tom's story?

5. To what does Mr. Underwood compare Tom's death?

6. What comment does Mr. Ewell make, which is reported by Miss Stephanie?

7. What is Scout's fantasy about Boo? 8. How does Miss Gates react to the Grit Paper?

9. What does Cecil Jacobs bring up that prompts Miss Gates to discuss "democracy"?

10. What had Miss Gates said, leaving the courthouse, that confused Scout?

11. How does Jem react to it all?

Characterization •

What hypocracy does Miss Gates exhibit? How could the plight of the Jews be compared to the plight of the blacks of the 1930's South?

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Chapters 27-28 Quiz on Chapters 27-28 1. What is Scout about to do which upsets Jem? 2. What were Dill and Jem doing that allowed them to go to Tom's house with Atticus?

3. What was Helen Robinson's reaction at seeing Atticus?

4. How long was Maycomb interested in Tom's story?

5. To what does Mr. Underwood compare Tom's death?

6. What comment does Mr. Ewell make, which is reported by Miss Stephanie?

7. What is Scout's fantasy about Boo? 8. How does Miss Gates react to the Grit Paper?

9. What does Cecil Jacobs bring up that prompts Miss Gates to discuss "democracy"?

10. What had Miss Gates said, leaving the courthouse, that confused Scout?

11. How does Jem react to it all?

Plot •

•

To understand the end of Chapter 28, you really have to finish the book first. Then you need to remember that Scout is a very accurate reporter, but she doesn't always understand what she is reporting. Don't assume she is right in her assumptions.

Scout's costume is an important prop in the story because it saves her life. Look back over the description and see if you can draw what it looked like.

Chapters 29-31 Quiz on Chapters 29-31 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

Describe the two knives that Mr. Tate had.

What assumption does Mr. Tate make about Scout's costume and the shiny line on the back of her costume?

How did Scout know she was by a tree?

Why could none of the neighbors have heard Scout call?

Why couldn't Atticus and Alexandra hear Scout?

At first, who did Atticus believe killed Mr. Ewell?

What does Mr. Tate say happened?

How did Mr. Ewell actually get killed?

Scout in one of the previous chapters had a fantasy about her being with Boo. Was her meeting the same?

Explain.

How did all the adults treat Boo? What does Boo ask Scout to do for him?

What does Scout realize standing on the Radley porch?

What does Atticus read to Scout?

What realization does Scout have about other people at the end of the book?

Plot •

As was stated in Book 28, Scout is a good reporter but doesn't always understand what is said. Here she does, but sometimes younger readers miss what she is saying. Note that Mr. Tate says he took one of the knives off a drunk, earlier that evening. He doesn't really lie, but the drunk he is referring to is Mr. Ewell. Mr. Tate is not trying to protect Jem, he is trying to protect Boo. Can you find the point where everybody understands what he is saying, even Scout?

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